January 2020 | Best of Net nominee, nonfiction, Pushcart nominee
Karen Carpenter was emblazoned into my retinas in the mid-1970s. I see her as the delicate, elfin creature who tiptoed into the spotlight inside the Hersheypark Arena and simply said “hello.”
That night, Karen wore a bell-bottomed, lace pantsuit and a metallic gold belt. Pantsuits were the rage then. Everyone was wearing them from Gloria Steinman to Charlie’s Angels. But this pantsuit! Fashioned entirely of beige lace. I imagined an elderly, nimble-fingered woman from Bruges, pins pressed tightly between her lips, toiling under weak candlelight with her loyal, calico cat by her side. The lace maker had read the measurements sent by the famous American pop star to a tee. That pantsuit fit like an elegant glove.
As soon as I sat down in my seat eight rows from the stage’s lip, I pretended my concert companion wasn’t there. I vanished the form of her body inside a navy pea coat perched loosely around shoulders into thin air. I blockaded her Shalimar perfume scenting our section like an old flower delivery inside a closed room and concentrated instead on the hopefully intoxicating qualities of second hand pot smoke.
I have no idea how or why my mother and I came to be sitting at that concert together. It was out of our ordinary. We never transcended. We never became more than what we were by blood. We almost never did “friend things.” It wasn’t meant to be. We were too different, and there is nothing wrong with that.
Even with the attendant mystery of why my mother and I attended a concert together once, I remember what a good performance it was. In addition to Karen Carpenter’s outfit, I have a permanent recording of her unique and beautiful voice inside my head: deeply resonant, pure, strong. But when she sang of being on top of the world, her smile was staged, a Cheshire grin on a thin face. Her brother Richard, seated at the piano, had the opposite problem. He was too consistently perky, bobbing his head every second note even during the sad songs like the one about rainy days and Mondays and having the blues.
It’s raining on a Monday. My mother forgets what day it is now. Her short-term memory has gone missing and the other parts of her, her distant memories, her sense of humor, are frequently on the fritz.
Today, she has forgotten more than usual. The index card standing at attention in the middle of her kitchen table is waiting in vain to learn: “TODAY’S DATE IS…” The Lilliputian billboard offering a daily reality check has taken the place of traditional, cheerful seasonal centerpieces and candleholders. I pick up the nearby red pencil and print: “Monday, October 7, 2019.”
“Here is your tea, Mom. No sugar, right?”
“I don’t want that milk.”
“Tea requires a drop of milk, remember? To protect teeth enamel. How about a cookie?”
“What kind?”
I open the “sweets cabinet” underneath the toaster oven, noting the blackened toast crumbs and frozen pizza cheese coating the bottom tray like an ugly scab. Some changes about this kitchen of my childhood I will never get used to.
My mother’s sweets cabinet never harbored much promise while I was growing up in that house. Not today either.
“Fig newton or a gingersnap. Unless you want a Saltine or a box of golden raisins.”
“No chocolate chip?”
“No chocolate chip.”
“Forget it then.”
I give her one of each kind of cookie. She bites and chews.
“These cookies are stale. I can’t believe your father hasn’t inhaled them yet. Still good though. These are the classics, figs and snaps. Stick with the classics, Virginia. You’ll never be sorry.”
My mother stands. Limps. Retrieves both cookie boxes. Leaves the cabinet door open in a wide yawn. Takes one more of each variety for he paper plate. I put up my hand in protest when she reaches in for more. She hands over two fig newtons anyway.
“Speaking of the classics, Mom, how about pea coats. Remember those? People still wear pea coats.”
“Those were smart. Nice, big buttons with embossed ship anchors I think. Sailor coats.”
“Remember when you and I saw The Carpenters at the Arena? Remember the lace pantsuit Karen Carpenter wore?” I ask.
“I don’t really like pantsuits on women. Pantsuits make them look like astronauts.”
“What’s wrong with women being astronauts?’
“Nothing, I guess. If you want to fly to the moon, go ahead.” A rare laugh erupts from my mother, but it doesn’t succeed in changing the flat expression that has come to reside on her face.
“Do you remember that, though, Mom, when you and I went to the Hersheypark Arena and we saw The Carpenters? We sat really, really close to the stage?”
Outside, the rain intensifies. In the street, drops dart earthward, bounce off the standing, trampoline puddles. A red bird waits under a grey shrub, twitching nervously. Down the cement sidewalk, across the street, and up an identical walk, Mrs. Milhimes’ has arranged her customary, autumnal display of rust and yellow mums. The straw-hatted scarecrow stuck in one of the pots doesn’t like cold rain on his face. He’s slouched forward. He’s waiting it out.
My mother blinks, smiles weakly, swallows cookie.
“Yes, I do. I surely do,” she responds. “Didn’t we have a lot of fun together.”
I open my mouth and close it. Outside, the red bird decides she can’t wait huddled underneath shelter forever. She leaps, lifts her wings and flaps silently away.
Virginia Watts
Virginia Watts is the author of poetry and stories found or upcoming in Illuminations, The Florida Review, The Moon City Review, Palooka Magazine, Streetlight Magazine, Burningwood Literary Journal, Ginosko Literary Journal among others. Nominee for a Pushcart Prize and Best of the Net 2019 in nonfiction, Virginia resides near Philadelphia, Pennsylvania.
July 2019 | poetry
The Truth About Eternity
The happily ever after is the return to the disenchanted life. —Ruth Daniell
Check the refrigerator door,
the photos of your son at six, at ten,
graduating from high school,
gone, lost to the skirr of time,
of your wife before the pain set in—
the hikes, the ski trips, vacations
to lands with grapes and siestas,
yourself fifty pounds ago holding
a little boy on your lap, your arm
around a gorgeous woman with hair
the color of a midnight fairytale,
of Fred and Toots in Michigan standing
in front of the largest birch tree you’d
ever seen, cut down by Fred shortly
before time’s timber felled him and Toots,
of Dave Fick, your wife’s sailing instructor,
whose swim trunks slid south exposing sailors’
crack when he launched his boat from your dock,
and whose ashes now mix with sand and soot
in the depths of Walloon Lake,
of Art and Cee Culman, multimillionaires who spent
a summer laying tile in their kitchen only to realize
that what they’d learned was useless since they’d never
use those skills again before they died—and they didn’t—
of Bill Mackinen who taught you that no politician had
the right to define a “family” as a man, a woman, and
their children only—Bill who died watching the Tigers
route the Braves on his hospital TV, and
today, photos of Chuck Kinder, the best writing teacher
you ever had who, in the midst of criticizing a boring story
you’d written, fell into a raucous coughing spasm and,
once recovered, proclaimed, “that’s what happens
when you smoke seven joints in a row.”
Your refrigerator door gives the lie
to eternity—the door from whose surface
someone, someday, will remove your photos,
put them into a shoebox, and store them
on some disenchanted shelf.
The Truth About Conspiracies
What about those nitwits that won’t vaccinate
their kids against measles—the same screwballs
who criticize climate change deniers because
they denigrate science? Didn’t god invent jail cells
for parents who refuse to vaccinate their children?
What do you think happens when an
antivaccine ninny gets wheeled into
an emergency room gasping for breath
and holding her chest? Does she shout,
“Don’t touch me with that EKG!” Or,
“Keep that oxygen away from me!” Or,
“Don’t you dare take my blood!” No,
once in the ER, she becomes a big booster
of medical science. Just as there are no
atheists in foxholes, there aren’t many
antivaccine nutters in cardiac care units.
What about extended warranties?
A company has so little confidence
in its product that it sells you a warrantee
on top of the warrantee that already
comes with the oven, iron, refrigerator,
or the most shameful appliance of all—
the electric can opener. Isn’t a sign
of adulthood, of entrance into what Lacan
called the “Symbolic Order,” the ability
to operate a manual can opener? Doesn’t
that old-timey can opener allow us to assume
our place in Western Civilization? The truth
(and this poem is about the truth) is that
the company knows these gismos will last for years.
They play on our insecurity and incompetence: sell us
warrantees that make us pay twice as much for the widget
than it’s worth. Thank you P.T. Barnum!
Speaking of what lasts—every day I put cat poop
in the plastic bag my newspaper comes in
and it will stay in that plastic bag as long
as the plastic bag exists, which is forever.
Think of that—the only proof we have of eternity—
a plastic bag full of cat poop! Wait, there’s more—
I shave with the Gillette razor my father bought
in the thirties and used all through World War II.
Stainless steel doesn’t rust! The Gillette company
realized in the sixties that, if they kept making
this quality product, something that never needs
to be replaced, they’d go broke. So they turned to
the plastic disposables they make today that occupy
our landfills and compete for space in our oceans.
What about expiration dates? I get it with mayonnaise.
When green spores or brown splotches spoil its virginal
perfection, it’s time for the garbage bin. No problem there, but
everyone knows that salsa and Tobasco sauce never go bad.
They’re too hot to go bad, like my wife whose body may
be gnarled in places and is often wracked with pain,
but her essence, her bedrock goodness, her passionate
kindness and understanding will outlast any date etched
on a tombstone or printed on a death notice.
The Truth About Obituaries
The one time you absolutely must read
the obituary column and you can’t
because you’re dead! You will never read
what the amorphous “They” wrote about you.
And no fair writing your own obit. That’s cheating.
Talk about a conflict of interest!
The point of reading your obituary
is to see what others thought about you.
After all, as Sartre said in rebuke to Heidegger:
My death is not only not my ownmost possibility,
it isn’t my possibility at all. I’ll be dead!
No, my death, wrote Sartre, is some other
poor sod’s possibility (I’m paraphrasing here).
Someone other than me will discover my body—
maybe my sweet wife as she struggles to
find warmth in our bed only to discover
the cold hulk that was me; or some overworked
cop, called after a neighbor saw too many
newspapers bunched on my front porch;
or some luckless EMT who has to pry
my broken body out of twisted metal.
Will that final scribe highlight my kindness,
my fortitude in resisting the government as
a conscientious objector during Viet Nam?
Or will she focus on my disgust with academia
and the ever-dwindling psychoanalytic mirage;
my disappointments about growing up
in Cheyenne, Wyoming—a dusty, backward,
one-horse town that might as well have been
in the deep South—with an alcoholic father
and a mother who chose an alcoholic man?
Will she emphasize how ill-tempered I am
after my daily walk? How crabby I get
before dinner? Will she find some scandal
I’d forgotten or didn’t even know about?
As I rethink this now, it will be good
to be dead when my obit appears.
I’m with Sartre’s—let the other
deal with my demise.
Charlie Brice
Charlie Brice is the author of Flashcuts Out of Chaos (2016), Mnemosyne’s Hand (2018), and An Accident of Blood (2019), all from WordTech Editions. His poetry has been nominated for the Best of Net anthology and twice for a Pushcart Prize and has appeared in The Atlanta Review, The Main Street Rag, Chiron Review, Permafrost, The Paterson Literary Review, and elsewhere.
October 2016 | poetry
what to do when the missiles come (at last)
1962
watch the moon through crystal skies one time,
telescope your life into the week it takes
to build a crisis into chaos,
then,
crawl beneath your desk,
press your head against your knees
and take up all the burdens of the world,
the weight,
slam the door just opened
and learn about equality
as suddenly as thunder,
then,
forget about your first steps into logic
and see the one great, simple truth:
reasons can be found for doing anything
to anyone,
in any way,
at any time;
there will be no quiz,
just a final
folded shirts, penknives
thoughts, folded, put away like clothing waiting to be worn,
tried on only when we are alone
and think that no one understands;
no one asks about the silence of our wisdom,
so it sits in dark like dated shirts
below the top drawer of the dresser and its stew of odds and ends:
a penknife that we had to have, once,
its reason long forgotten;
photos growing older every day
until the faces and the fashions fade,
like cars once new, now tired as an old idea;
watches stopped at random like friends who came and went;
a ring that once said everything,
silent now like books we thought we’d read;
all these things still moving like the steeple in the rearview mirror,
once the edge of everything, the front,
now fading back as we go ever on;
these things we’ve kept to save time in a jar
like fireflies when we were kids,
things we will not send out to the curb,
these salvaged words of life;
what do they say that we cannot resist?
is this our sad rebuttal to the reasoning of time,
or just our failed argument, the ‘you can’t have this’
markers from the road we can’t take back?
or are they like the folded shirts below,
baggage from the miles spent,
or provisions for some journey yet to go?
monologue
he was talking,
but he didn’t care who saw,
sitting by the flat gray stone
as if beside an altar,
white shirt brilliant,
red face torn,
careworn once again, anew,
six years since it changed forever;
legs stretched out
parallel with hers
as they always were,
side by side,
stride by stride
so many years,
there to share where words refused to go
though he was sure she heard;
“everything we say is talking to ourselves,”
he learned when he was young,
and so it was along that hill,
muted marble markers
warming in the sun
that cut into the letters, dates
carved upon the rocks
beneath the endless sky
that smirks at him,
at all of us
as it passes in its hubris overhead
Standing in Line
Moving forward toward the front, the edge,
wherever this is heading to,
this herd, a rosary
as fingers count the beads
leading to the draggle
of the crucifix;
impatient at the back
standing on our toes to see,
we peek beyond the queue,
jealous though we do not know
the space beyond horizon, shadow.
We do not know
what waits for us in front,
though we all will get to see it
soon enough.
John Kristofco
John P. (Jack) Kristofco’s poetry and short stories have appeared in about two hundred publications, including: Slant, Folio, Rattle, Fourth River, Santa Fe Review, and Cimarron Review. He has published three collections of poetry and has been nominated for the Pushcart Prize five times.
