Wednesday, April 09, 2008

A Hole in Nebraska

I.

There must be a hole in Nebraska,
A bottomless chasm of dark,
A mysterious gap of desire and decay
Into which no wise man would embark.

If you went there, you'd find much detritus:
A cell phone, a painting, a ring,
And a Kenmore Elite Mesa washing machine
(The pit tends to soil everything).

At least that's what twelve-year olds conjure
To comprehend vacuums of care --
A way to ignore the unspoken:
Why did dad spend all his money there?

II.

No man knows how it came to be dug there,
Nor can you tour Lincoln to see
Where the love of a father went wasting;
Where the pitiless woman doomed me.

Fortnightly they fell into canyons
Of pleasure and peril and sweat,
Forswearing cords binding them upward
To the sun-lovers they would forget.

At first, my dear pater could counter
His descent with resplendent goodwill,
Blacking out the crevasse of betrayal
With the smiles and beguiles of a shill.

But emerging from Venus' chasm,
These dreamers would crave dark again,
And like sibilant symbiont vampires,
They'd slink down, drink deeply, to sin.

Until finally father no longer
Could hide the essential deceit:
That his soul was now buried in cornfields
And his eyes held the sighs of the deep.

III.

For years I avoided Nebraska,
Just as I did deny my old man,
But in March I felt drawn to encounter
The crack that consumed our good clan.

So I rented a car in Chicago,
Drove out through a blizzard alone,
Across the still-frozen Missouri
To the place where my father had gone.

As I shuffled through drifts on the sidewalk,
My eyes beckoned closer my prey --
Every fifty-odd aged old woman
Who I happened to pass on my way.

But none would gaze at me with hunger;
In none of their pupils were pits
That could cast a corruption upon you
No effort would ever acquit.

Midway through the day I sought refuge
At a bar in Haymarket on Q
And shook off my white-pasted trenchcoat
Before she approached me, on cue.

Her eyes had been carved out of emeralds
Verdant and lively with fire,
And they matched the green glint on her finger,
As bright as a princess-cut star.

She smiled as she drew out my order
While I struggled to speak and not stare
But I could not avoid glancing upward
As the light spun delights in her hair.

I've mostly forgotten what happened
From then until Mickleson's closed,
When she took my ninth glass of Warsteiner,
Made a gesture, said "It's time to go."

IV.

We stalked through a wedding-white landscape,
Two dark-featured figures alone,
To a small Craftsman cottage on North 24th,
Not familiar, but neither unknown.

She reached out her hand and directed
Our path 'round the back of the house
To some grime-covered flagstones descending,
As my eyes did decline through her blouse.

Once I entered the dimly-lit cellar,
Which smelled of a swamp when in bloom,
My mind was abuzz with faint warning
While my hands sought her flesh in the gloom.

Before long we were tumbling tightly,
Virile youths seeking solace in skin,
With no thought of the past, just of pleasure
And of finding what depths lay within.

But as I knelt o'er her, beginning
My worshipful work, I was struck
By the perfect round darkness her mouth made
As our merger converged in a --

And here was a hole in Nebraska,
And I was inside, in the midst
Of a gash with a pit in a crater unlit;
With a woman I couldn't resist.

In a panic, I threw myself upward
And pointed a sweat-covered hand
At the stunning, stunned creature below me
And her green-glinting, gold-fashioned band:

"Who gave you that ring on your finger,"
I ordered, now shaking with rage.
She convulsed, pulled the sheets tight around her,
A siren now silenced, now caged.

Strangely happy, I cast about idly,
Scanning bookshelves and wallboard until
Two shadowbound figures, framed smartly,
Were found, making love with some skill.

I laughed much too hard, told the woman,
"You have it still, too, do you not?"
The Lorelei gasped, yelled "Who are you?"
I intoned, "I am what you begot."

Terrified of the judgment before her,
She lunged at the jeans on the floor,
But I snatched them away, searched the pocket,
Then threw the small phone at the door.

"There's only one more thing to find here,"
I said, and she sobbed in her hands
While I searched the small cell for a corner
That might hold the last mark of the man.

Of course, there it was, churning softly,
Nearly buried beneath the soiled clothes,
Still preserved in my mind, thirteen years now
After Sears charged the card Father chose.

V.

All driftwood must feel, after crashing
Ashore from its turbulent trip,
Some relief, along with a faint longing
For tumult, the rise and the dip.

And once a proud elk, once prevented
From having his way with a cow
By a bull locking horns and defending,
Will do the same, once he learns how.

Though no lesson from wilderness tells us
What happens when cravings collide
To confirm the worst fears we imagined
And leave us bereft of all pride.

I found myself thus in that basement:
Surrounded by signs of my fall,
With my innocence properly shattered,
And caught in a jealous God's thrall.

Emerging from hazed introspection,
My eyes opened wide to observe
The doe who had drawn me within her,
Whose visage had regained some nerve.

In her undulant hand shook a hammer --
In her sea-colored eyes shook her rage --
But her legs barely bore her above me
And I calmly arose, took the stage:

"My darling," I murmured, "please leave me.
Your damage has been so complete
That nothing you'd do would compound it.
Now go, and enjoy my defeat."

My lover's response was confounding.
She dropped the steel tool on the ground
Then grappled my neck with her fingers
And screamed while she squeezed her hands down.

Undeterred, I bent down, grabbed the hammer,
And as her nails clawed through my locks,
I tapped her skull rather lightly
As one nails through a cypress-wood box.

Having dragged the girl out of the dungeon
And away from the house to the wood,
I returned to the hole that unmade me
To make whole what my dad never would.

I retired on the bed once I finished.
I stared at the floorboards above.
I flicked the match onto the mattress.
I bathed in the waves of his love.

Have you ever been freed from a pit, friend?
When the first streaks of light enter in?
As the hole in Nebraska burned open,
Did our men escape from their sin?

6 comments:

M.J. Pullen said...

I love this -- it drew me in. I find the rhyming, cutesy style a little dissonant with the dark subject and the $4 vocabulary words, which may be the point, but it did throw me off a little. After a couple of verses, though, my mind was putting it to music like some midwestern version of Sweeney Todd on broadway.

I was a little confused by the Sears card reference and the cat. That part of the poem might need the most attention: I can see how you were trying to explain without explaining, but it's not quite there yet. I wanted to be either more or less in the narrator's head (somehow) at that point....

hoodawg said...

Thanks Manda. I made some changes in response to your comments -- the catbox is now a painting, and I tried to be more explicit about why these items were important to the speaker. Let me know if you think it solved your confusion....

hoodawg said...

Oh, and someday I need to hear you hum the music you heard while reading this poem!

M.J. Pullen said...

I really like the changes!

Also, it didn't fully register with me the first time that you compare a woman's genitals with a pit of darkness.... something you need to talk about?? ;)

plg said...

So here's my impression:

The style and the subject matter seem like they're at odds. I also started to have a real sing-songy rhythm in my head after the first few stanzas, and that's one of the things that in my opinion hurts this poem.

But I think the even bigger picture here is that you have a really interesting subject and a really personal story underneath it all, but it just gets lost underneath the formal structure and what comes across to me as something of a forced narrative. I think the artifice is just covering up what's really interesting.

Not that I think you should turn it into a diary entry with big margins, but I wonder what it would be like if you took the real stuff and pulled out some really precise details (like the credit card bill) and recollections (observing the people in your own family when you were young) and worked up something a little more quiet, a little more natural.

hoodawg said...

It's a fair criticism, Phil. I did intend to put the subject matter and the form at odds with each other. I think it has the effect of disturbing the reader, which frankly is what the poem is all about. The childlike rhyme perpetuates through a very adult subject, in the same way that the boy's trauma never leaves his adult psyche.

But you're absolutely right that the form is limiting -- there were several stanzas where I wanted 8 lines instead of 4, and so I had to decide whether to slow down the pacing and spend time on development, or just kill the detail and move on. In most cases, I killed the detail (mostly because I think it's overlong as it is). Unfortunately, the resulting poem may have the impact of a song heard on too low a volume -- the person who can sing it by heart fills in the gaps, but the person who's hearing for the first time just catches flashes of the story.

I'll consider whether a more free-form might work better. Maybe the sing-song rhyme structure early, when he's describing events from his childhood, but then a more free verse starting in III, but with glimpses of the older rhyme scheme as a device to indicate his growing madness?

Thanks as always for the comments.