Onion skin, they called those thin pages in our Bibles, translucent and strong. Finger smudge at the edges, pages shining over the layers that wait for understanding. After decades I taste them new, the onion sliced raw, tang of earth in my mouth.
Book of leaves, a tree in our house. My father brings it to the table. Before oatmeal and bread, the words like seeds drop down into a damp place. “The Lord giveth, the Lord taketh away,” blessed be the leaves turning in his hand.
My children, bathed and fragrant, lean against my shoulders as I read. They listen to the Shepherd who calls to them, who walks the edge of a cliff. They smell the burning bush, huddle with me as the glory passes over, as I cover them with these paper wings.
The stories walk out the door with us— Joseph dreaming, Ruth gleaning, Jesus in a boat, Jesus wearing thorns. Sometimes he gazes like a lion, stares down the marble aisles of churches through glass angels, out to the ruins we have made.
One red satin ribbon marks the place, cord of God’s desire for us sewn to the spine of the text. No matter where the scarlet falls, no matter which chapter or verse, it is relentless in pursuit, the prophets stumbling behind us, weeping and singing, the blind man seeing.
Veins in the leaves are traceries of Hebrew and Greek, hidden and sweet, stories from which we begin again. I smell roots and eat. “Blessed are those planted by the river.” I will sleep in threads of silk, for I have eaten the Book, and one day will emerge with wet wings lifting toward the white lilies.
Did God create the microbes, too? On which day did God say, “Let there be Brie”?
Are these, then, messengers of the Holy One— Clostridium Gabriel Difficile and Staphylococcus Michael Aureus? The seraphim Influenza and Pneumonia?
No drunk driver will take her away. No warriors wage this assault. No mugger, no terrorist, no drive-by shooter. No one to blame. No one.
Unlike the monotonic booping of her monitor And tweeting IVAC pump, Her ventilator pipes an almost merry tune From time to time, Like close encounters of some kind, While tiny creatures who, naturally, Dance in colonies on heads of pins, Swing, Lo, to carry her home
Wendy Carroll (Michelle Williams) is a homeless woman driving cross-country with her dog, Lucy, and sleeping in her car at night to save money and stay warm. One morning, her car won’t start. Her funds are limited, and she finds herself at the mercy of the local mechanic (Will Patton). She panics and shoplifts some dog food. She is caught and arrested.
In June the World’s Fair with bright red strawberries and cream over seared Belgian waffles. It grows hot. Trapped in the crowd, a tangled skein of nerves, lost and hungry for quiet, for tenderness, I ride with my aunt on a long conveyor belt to see the Pietà. So gentle the grieving, tranquil mother with her downcast eyes, the stone folds still around her, the cold flesh of her perfect son. She does not attempt to cry. My aunt, primed by The Agony and the Ecstasy, leans to recognize “Buonarroti” on the chiseled band, tasting the contours of each round unaccustomed syllable. She whispers the name. She will not last two years. Silent, thrilled and careful as dancers, when we step off on solid ground we are joined by our secret, sworn never to tell what we have no words to say. This is how it will be in the winter we take our leave: bitter flakes in a sharp ribbon of wind beyond tears or anger, the long frozen loop home from the hospital waiting for me, as we both know. Suddenly shy and tongue-tied as a girl, she will reach out from her bed to touch me, recalling too the marble brow, faintly wrinkled, the white hand, open, as if it were asking a question.
For a practice to qualify as “evangelical” in the functional sense means first of all that it communicates news. It says something particular that would not be known and could not be believed were it not said.
I was, no kidding, a visiting writer in a kindergarten recently, And the children asked me many wry and hilarious questions, Among them is that your real nose? and can you write a book About a ruffed grouse, please? But the one that pops back into My mind this morning was what do poems do? Answers: swirl Leaves along sidewalks suddenly when there is no wind. Open Recalcitrant jars of honey. Be huckleberries in earliest January, When berries are only a shivering idea on a bush. Be your dad For a moment again, tall and amused and smelling like Sunday. Be the awful wheeze of a kid with the flu. Remind you of what You didn’t ever forget but only mislaid or misfiled. Be badgers, Meteor showers, falcons, prayers, sneers, mayors, confessionals. They are built to slide into you sideways. You have poetry slots Where your gills used to be, when you lived inside your mother. If you hold a poem right you can go back there. Find the handle. Take a skitter of words and speak gently to them, and you’ll see.
Patients at the Maple City Health Care Center in Goshen, Indiana, have a new way to pay for medical services. They can join Martha’s Gift program, which knits blankets for babies in the community, and receive a credit against their bill. The knitting happens in a group setting in which people joke, laugh, and share their lives. The center serves low-income people and the uninsured. It has a sliding scale payment plan, but offers community service projects as another way to pay off bills. The knitting program not only makes health care more affordable but counters the isolation that often accompanies illness (Elkhart Truth, December 31).