Magical Beauties

Happy Mother's Day!

of machines and men

I squint at the six open DIY check stands at Home Despot (I call it that in honor of my Peepop, who once said “depot” when he meant “despot” during the annual reading of the Hagaddah). I had cash. I didn’t know whether the machines could handle cash, and I didn’t want to find out. I spied a guy and asked if he would do me the pleasure of ringing me up, and he was delighted.

“I hate those machines,” I tell him. “I feel like they take jobs from people.” I do.

“I can’t comment on that, so I will just say thank you very much.” He smiles.

He’s a decorated employee. By that, I mean his many tattoos, a sign of his loyalties, are visible. A still-scabbing tat shows Woody Guthrie with his guitar and the famous slogan from it: “This machine kills fascists.”

“Did you see this one?” he asks, proudly showing off the asterisk on his left arm, with “and so it goes” beneath it. Of course. My friend Dave and I both know it—Kurt Vonnegut, from Breakfast of Champions (and everything else).

I get permission to take his photo and am wrestling with my camera as a line forms. Here are like-minded people—regular folks who probably have mastered a Google search—lined up to be checked out by a real person.

I don’t want a drum machine or a phone router or an ATM. I want someone to pump my gas. And even if I had to choose between a robot or the nasty witch at the post office who can never manage a smile and will actually rear up and ask, “What did you just say?” if she thinks you might have called her on her bitchness, or the crazy old bat at Burlington Coat Factory who grumbles and complains about everything and slams your shit down if it doesn’t have a price and asks you why you couldn’t get the one with the tag on it—I’d probably still choose the real people.

Or maybe companies can hire more people like the Home Depot guy or the two ladies at Family Dollar on Harford Road. Yesterday, while hanging our 3 Hipstateers* show with Dave Pugh and Steve Parke, Steve and I stopped in to get some long nails; we didn’t have the right ones to hang our photographs. A woman asked, “Can I help you find something?” I told her I was looking for nails. She said, “Oh, they’re in the front of the store, just past those two young ladies.”

I looked at the two people up the aisle—a middle-aged woman and her mother—and I turned to tell the woman how sweet she was. She smiled. But I was lost when I got to the front of the store and didn’t find any hardware. Why, this is all—fingernails! I shared a good, emotional belly laugh with the woman who sent me to the nails that most of the women in our area would have meant.

At the cash register, our checker gave us the once over. “You two are rockin’ the superhero shirts.” Steve and I didn't really understand her at first, but we looked down. Not only were we both wearing t-shirts with superheroes on them, but we had the same four superheros on our shirts. “Ya’all didn’t know that?” she asked, surprised that we hadn't consulted on our outfits that morning.

You don’t get any good stories from an ATM. Your computer does nothing delightful. No DIY checker will ever tell you that you're rockin' a superhero shirt. And no robot is going to love you like I do.



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*Please join the 3 Hipstateers—me, Steve Parke, and Dave Pugh—for a show of photos taken exclusively with our iPhones (a machine that can't do anything without a person at the controls), Thursday, 6-8, at Clementine Fine Foods, 5402 Harford Road.

Less Miserables

The change machine at Safeway spit out a Tennessee quarter, guitar-side up, and I considered it a sign: I should play my guitar! I consider everything a sign these days: the sale of a photo, the rejection of a proposal, an un-stolen iPhone left in an unlocked car with all the windows down.

But I’ve changed how I deal with the signs. Last year, the rejection of a proposal meant giving up writing altogether. The sale of a photo meant something else would go wrong. An item of value left in my car overnight would not have signified my incredible luck but my overwhelming carelessness. Eh, I say now. Mistakes happen. But maybe I should buy a lottery ticket!

Is this really the result of a simple attitude adjustment?

A year ago at this time, I might have told you it was impossible. I might have argued with you the way I argued with my mother, who has, for years, told me to smile and pretend, because there’s a chance it could rub off. But she was right.

I’m not saying you can become happy—or even that you should. Who said happiness was a normal state? Some of us are not cut from cheerful cloth. But we don’t have to be miserable. At least we can be less miserable.

When I didn’t believe in it, I thought those smilers looked like morons. In truth, I was a little resentful: what did they have that I didn’t? Probably a song in their heads or the memory of that grove of iridescent grackles or a picture of their kids playing saxophone along with Pink Floyd’s “Us and Them.”

The famous and handsome author/filmmaker Michael Kimball (Dear Everybody, I Will Smash You) and I discussed happiness at lunch one afternoon. He told me that smiling has been proven to release endorphins that cause you to actually feel happier.

So I’m sitting here now, smiling, on a gray day. Did you catch that? I spelled gray without an e; the latter seems so much more moody and dismal that I rarely feel compelled to use it anymore, even to describe those annoying squiggly wires coming out of my head en masse. I’m sitting here composing, writing, typing, with a smile on my face. Do I look like a moron? Maybe, but I’m a moron whose daughter rocks, who is writing in the face of rejection, who is listening to “Us and Them” on her un-stolen iPhone. I am a @#%&*! smiler who has a shiny Tennessee quarter in her pocket, a smiler who is about to play her guitar and sing.

What will you smile about right now?

words love to be loved

with thanks to David Bowie. and spring.

a poem about life during wartime—in the spring

things in the road

driving home from the market
prime fillet and avocados
in bags beside her
she sees a thing in the road—
a thing in the road is always a bomb
that detonates the moment
her car makes a shadow on it.

in minutes she’s made headlines
like "meat and murder,"
imagined the flash of light
and resultant rubble—
blood and strawberries
and smoked salmon salad,
flesh and meat both well done.

now she's in the hospital,
a Dalton Trumbo heroine,
coming upon the thing in the road,
bracing herself and squinting
as she drives over the bomb
drives over the bomb
over the bomb

she turns right down her street
the day warm and brilliant
the grassy median a kind of heaven
exploding with star magnolias.

to stuff or not to stuff: that WAS the crowstion

For most people, a dead crow in the grass is hardly a jackpot. It would more likely elicit a shiver of revulsion and a step back, rarely a second glance, hardly a second thought. Those who might linger over its body are among an elite group: five-to-ten-year-old boys, devil worshippers, scientists. And me.

I admit it sounds a little creepy that someone would come home bearing the gift of a dead animal; it may be creepier still to recognize said dead animal as gift. But how often do you get to see a bird that close? I think it’s weirder not to look! It’s weirder not to recognize the unique beauty of a creature.

That said, it’s hard to argue for going beyond rolling the thing over with a stick, snapping a few quick photographs, marveling at the shape of its feet, noting they are, indeed, like the lines around my eyes. I could, as my husband and daughter would, bury it in the yard and examine its bones later; bones are cool. The reasons to choose the bones over the body are rational ones: I’m underemployed and broke; our house is cluttered with things; this is not something I need, like a prescription refill or a computer repair; taxidermy is a bizarre art. And do we really want to have a harbinger of death staring down at us?

But:

1.) I have given up my 4:00 beer, my weekday ale, thereby reducing the amount of money I drink from a cold pint glass by at least $10 a week. This crow is the new beer.

2.) Writers gather experiences about which to write; the most resourceful of us hope to parlay those words into publication, paying publication. This crow is my experience.

3.) Photographers are always in the market for models. This crow is my model.

4.) Things—jewelry, instruments, art—can’t make us happy, but they can certainly provide us with diversion from our problems. This crow is my diversion.

5.) I collect crows. I study them, I read about them, I take pictures of them. They are in my stories, essays, and poems. I have crow coasters, two crow puppets, crow statues, a set of wings, wall decals. I have t-shirts and masks and feathers. My first poetry chapbook was called Croetry (I sold it on my blog). This crow is the feather in the cap of my collection.

6.) My mother’s brother, who’d be known as my uncle had he uncle’d me any time in the past three decades, is a trophy hunter. He hunts all kinds of exotic animals and has them stuffed to populate his frozen zoo. He confessed to me a few years ago that he has an electronic box that replicates crow calls, which he and his hunter friends used to lure crows to them for target practice. He has no crowphy, however. They are not such a prize. This crow is a totem to replace his irreverence with my love.

7.) One hour after the crow came to us, our old friend, John Guttierrez, a fabulous furniture designer and my brother-in-law’s employer, died after a brief battle with late-stage cancer. This crow is a symbol in loving memory.

8.) Crows saved my own life. For the months of my back surgery recovery, when I knew only pain, the black birds I usually visited on the hill at sunset came to me, stopping to pick fruit from the flowering crabapple tree in front of my house. For their brief visit, I stopped crying. This crow is, ironically, my choice to live.

9.) For all I know, I am a crow. I like shiny things. I squawk when I am not pleased. I look good in black. This crow is self-preservation.

10.) Cawpe diem. I’m forty-seven, and I have never before found an intact crow on the ground. This is the crow.

The answer is clear. And it is beautiful.

crowked

The dead crow is on my deck, on a snack table, in a box, in a black garbage bag, weighted down by a rusty metal vise. The whole package of crow and box and vise is partially covered by this morning’s snow.

While my husband and daughter were walking the dogs in the park yesterday, a fellow dog walker was looking for the keys he lost in the snow. Marty and Serena helped him look, and Steve eventually found them, so they headed back out of the park together. Steve put his dog on the leash and cautioned them about the dead crow that lay up ahead. Moments later, Marty and Serena were carefully rolling it into a discarded box with a stick while the walker looked on, incredulous. “What, are you channeling your inner ten-year-old?” Steve asked.

“It’s for my wife,” Marty told him.

“Well, she’s either gonna be really pleased or really pissed off!”

After some bit of (probably) unsatisfactory explanation, my family came home. I was in the kitchen pondering dinner. “We brought you something,” Marty said, a gleam in his eye.

"You're gonna love it," Serena added.

As revealing as it is that a man would bring his wife a dead crow—her first and only crow, living or dead—it is equally telling that his wife could guess the surprise just by the expression on her husband’s face. I nearly cried with reverent delight.

While Marty went back out to retrieve the frozen blackbird, I fetched some rubber gloves and my camera, set up a spot with the best light, and locked the dogs out of the kitchen.

I put on one of the gloves to pick it up and was surprised by its lack of weight. Still, the crow required two hands because of its size and its broken neck. The head and neck bobbed and flopped like a slinky. His eyes had disintegrated into crust; his beak was grained like wood. But his feathers were good as new, with a glorious kiss of red, and I imagined him flying over my house at sunset on his way to the park, wings glowing auburn in the last light.

Shooting the dead crow’s portrait was difficult. His wiggly neck made an upright pose impossible, and the kitchen’s dull yellow light added an artificial sickness. Too long inside and a moment of hot lights would have thawed him, and I wasn’t ready for the decomp to begin, so I let Marty pose him on some white foam core while I shot quickly and returned him to the cold.

Marty’s plan was to bury him in the yard, let him decompose, and dig him up later for the skeleton to add to our collection of rodent, fox, and deer skulls, turtle shells, and random bones of random beasts. But a skeleton has to be rearticulated, or it’s just another pile. “You could always try taxidermy,” Marty said, and before he could say another word, I was hunting down the maker of my trophy.

Having never priced taxidermy, I hadn’t a clue—three hundred bucks? A hundred? And what would be the most I’d pay, considering I have only outgo (and no income)? Naturally, taxidermists seem to set up shop in the wilderness—faraway Maryland counties with a hunting season—rather than in the middle of the city. But I found one willing to stuff my bird for a mere $120. It will take two months because this is the end of hunting season, and the shop is full of stuff to stuff.

Last night, my sleep was fitful. The wind rattled the windows and whipped around some stuff in the yard, and all I could think about was the bird—whether it would be ripped apart in the wind, whether some animal would get it, whether it would be covered with snow. I promised myself that if the crow remained intact overnight, I would get thee to taxidermy, and it did.

But my husband is squawking at the price, so while he showered, I prepared a list of reasons he should tell me to go ahead and stuff it.


To be continued.

(Next: To Stuff or Not to Stuff: That is the Question)

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If you would like to help me pay for the taxidermy, I would be happy to exchange it for a 5x7 dead crow print of your choice, signed and numbered!