I Feel You Everywhere Now
by Rochelle Jewel Shapiro
Married Fifty-Two Years | The Beach Where We Met
Sarah’s Ashes | Emptying Her Apartment | Tinnitus
Married Fifty-Two Years
Breathless, I return from Great Neck Chemists to tell you that after taking care not to trip on pavement cracks, on acorn nuts and the spiked balls of the sweetgum, a golden retriever bounded at me. “Sorry, sorry,” his owner sang out. The dog reared up, pounded his weighty paws on my shoulders. I tottered back, but my fall was broken by a high school boy about the age you were when we first met. I find you stretched out in the lounge chair, shirtless, wearing only cargo shorts. I well up at the graying vee of tendrils on your narrow chest, your gangly legs with ropy veins, mushroom cap knees, your bald head, the patch of whiskers you missed on your cheek because of your cataracts. You reach for my arm. I feel the slight tremor in your left hand. Let the gods dressed as beggars come to our door as they came to the couple in Ovid’s tale. I will feed the gods kasha varnishkes, thickly sliced nova lox, cinnamon babka. Let’s give them our IRA, 401(k), social security checks, the use of our king-sized bed. In gratitude, may they grant us the same wish they granted Baucis and Philemon— to die at the same moment, transformed into willows, our roots entwined, deep.
The Beach Where We Met
It wasn’t like this brownish, gritty sand lapped by the flat water of the Long Island Sound rippling in concentric circles. The beach where we met had sand fine and white as confectioner’s sugar and mountainous waves that rose in foamy tiers and smashed against jetties so craggy and dangerous that we couldn’t resist climbing them. The jetties of this beach are piled rocks, rounded and tame as turtlebacks. At the beach where we met, the ocean churned up seaweed that braceleted our ankles and wrists. On the surface of the Sound floats leaf fall from trees hugging the horizon. Whoever heard gull-cry mixed with sparrow song and honks of Canadian geese? Canadian geese, you tell me, mate for life. On the beach where we met, piping plovers skittered toward the tide and back. Gooney birds, we called them. Oh, look, I say. Dragonflies are stitching the sky, and over there, a monarch just landed on the head of a Queen Anne’s lace.
Sarah’s Ashes
(for my art teacher, Sarah Pincus, 1912–1989) No one told me where your ashes were scattered. Your apricot flesh, raspberry hair all devoured in flame. No grave to cool you. Were your ashes strewn off the dock where we sketched rocking skiffs, stilted shacks, your straw hat casting a shadow-veil over half your face? Were your ashes at the house in Provincetown where you painted pink-toned bathers dappled in lavender and green? Were they scattered in Washington Square Park as a remembrance of your years in Greenwich Village where you sold your paintings in cafés, and survived on a gruel of cornstarch and water or sometimes spaghetti sprinkled with cheese until you got the grant from the WPA? You gave me a beer-stained Max Bodenheim poem that he clothespinned to a string and signed with his shaky hand, then sold to you for a buck in Three Steps Down on West 8th and that note from Martha Graham thanking you for your India ink sketches of her, and those two tiny ivory Buddhas given you by a Japanese doctor and the love letters he sent you from the internment camp after the bombing of Pearl Harbor. Were your ashes scattered in your studio in Far Rockaway, that one night crackled and sizzled with fire, taking most of your paintings with their shifting planes and simultaneous points of view? I feel you everywhere now, still dressed in your long skirts and peasant blouses, composed of edgeless wind-stirred notes. When I stand before a work of art, I sense your silent concentration like a tide coming from your high forehead, rippling into mine. Your black-and-white photo hangs in my front hallway. People ask, “is that your mother?” I say yes.
Emptying Her Apartment
I come upon it in the third drawer of her sewing cabinet, her cigarette lighter with a mechanical pencil at the end, bought in 1934 with three months of tips from the fancy barbershop where she did manicures for men who wore diamond rings on their sausage fingers. I touch the cool barrel and its green band where iridescent shapes float like lilies on a black lake. “The silver is rhodium,“ she’d told me. “Ronson. Ronson, rhodium,” I chanted. I heard the sst, sst, sst when she struck the flint that sparked a wavering flame and cast a Raphael-like glow on her powdered face. As I twist the tip and watch the fine lead descend, words seem to write themselves in her whispery script: Ronson, roses, rhododendron. She puffed rings for me to put my finger through like the O of wonder when, for a moment, I wore a smoky ring.
Tinnitus
I hear a buzz that can’t be a bee in this Northeast winter when bees cluster about their queens. This buzz cannot be a fly when flies in winter sleep in cracks and crannies to wake in spring and lay their eggs on compost heaps. The ringing I hear cannot be church bells when my double-paned windows are weather-stripped, shut tight against the icy winds, and I live two miles from St. Aloysius. Are the cricket chirps I hear outside or inside my ear? Am I crickets to think that males are rubbing leathery front wings together, a come-hither to female crickets? Will I hear a fly as I die or the buzz of bees or be serenaded by crickets or will a bell toll for me?
Rochelle Jewel Shapiro’s novel, Miriam the Medium was published by Simon & Schuster in 2004. She has published essays in The New York Times (“Lives”) and Newsweek. Her poetry, short stories, and essays have appeared or are forthcoming in many literary magazines, such as Moria, Streetlight Magazine, Grub Street Review, and Frontier Poetry. Shapiro currently teaches writing at UCLA Extension. You can find out more about her life and work at rochellejshapiro.com.
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