A curving trail—the callused field obscures it until we shovel out the clotted brick, lug a ton or two of sand to fit trenches, level rumpled earth, correct courses. A mallet stuns a thumb, new blisters bud as self-impressed we shout, “This row is done!” but then a kid names names, prefers George Toad, Kate Cricket, slaps William Mosquito, pats Barkly, unleashed, our best company. We rest and share cold drinks. David brings homemade muffins, burned, blueberry plenty. Sun flickers around us, summer’s wings. Yet sand, we need more sand! Deer watch from trees while we adjust the pathways on our knees.
Crossing the lake in thick fog with nothing to be seen except the buoy to starboard marking the rock we didn’t want to hit that Tom said we’d already passed but Whit said No, we’re way beyond it which is when the boat rose up bow riding high to leave us stranded the boat an ark the rock a mountain the fog a cloud that covered us waiting for who knew what—a voice, a face, a sudden shining— but there was nothing more than thinking how many times when losing sight we circle back to where we started only to begin again.
O the very fact that there are friends who write with their hands Even if just the forefingers hammering away on keyboards, and Also then print out the resulting muddle and scrawl and scribble And pop it in the postbox! The lickable areas on the envelopes! The Return Address Just in Case! The choice of stamps, and we All blessedly have friends who carefully choose their stamps, & Stand in line at the post office asking for the ones with Authors, Or members of the Simpson family, or stamps with Polar Bears! And the fact that there are fifty addresses in your memory, some Of them no longer inhabited by the people you loved to write to; Much like your mind retains past phone numbers and exchanges, Like Mayfair and Ludlow and Allegheny and Cypress and Tulip! And the fact that you can draw all morning on an envelope or by God paint it flagrantly with horses and angels, and your postman Will deliver it anyway! Probably grinning at the nut who mailed It to you! And you can put a few grains of sand inside your note, From the beach we went to as children, or a feather from a hawk Who glared in the window like an insurance adjuster with talons, Or a painting by a child, or a photograph of four of the names of That which we call God for lack of a better label. Even the folds Of the paper, and the paperness of the paper, and the fact that it’s All about miracles and affection, which is to say, of course, love! Sure it is. All the good parts are about love, in all its many masks.
We practiced at “The Decontam”— clumsy name for an ugly place—bare concrete rooms buried beneath a protective pyramid mound of soil, turf, and God knows what, designated sanctuary nonetheless for any unlucky enough “in the event of nuclear attack” to survive the initial blast and burn to reach this subterranean space of hollow refuge. The Station Decontamination Centre—to rhyme the place in full, an—as yet—unfrequented location (praises be . . .) where, Tuesday nights, an ill-assorted crew of horns and woodwinds—sackbuts, cornets, clarinets, even the occasional bassoon—would fumble-stumble along through “Colonel Bogey,” “The RAF March Past,” old favorites from Gilbert and Sullivan, “Chu Chin Chow,” and Noel Coward, rehearsing for the CO’s garden party, full-dress dinner evenings at the Mess. They echoed so, those naked rooms and sounding corridors, as if our music might drown out—yes, decontaminate—the cold, blind fury cradled tight beneath the wings of our sleek avenging bombers; full squadrons perched above in laden readiness, paying no heed to our hapless melodies and marches.