Showing posts with label Marianne Szlyk. Show all posts
Showing posts with label Marianne Szlyk. Show all posts

Fiction: Leaving the City of Jewels, 2018

Marianne Szlyk
Alicia wants to cry. She could just weep bitter, salty tears in this yoga studio with its smooth, honey-colored wood floor and warm brick walls. This should have been final relaxation, savasana. The almost-Southern voice of the teacher is explaining to her students what it means to live in the city of jewels, the third chakra, the solar plexus. 
But as the students lay down on their mats, David, whose kind, brown-eyed gaze and quiet voice comfort her, reached out. The small room is crowded. As she lay, arms at her side, palms up, it was easy for him to take her hand. They came in together, set up their mats next to each other. She brought him a strap. He brought her blocks and a blanket. They look like an almost young, curly-haired couple. True, he is about a foot taller than she is although he does slouch a bit, endearingly, she thinks. The teacher won’t stop her after class, ask her if she’s okay.  Alicia feels fine. His larger hand encloses hers. It is calm, patient. She feels the electricity of his presence, the beginnings of her love for him. 
But David is her sort of friend Mary’s partner. They’ve been together for years. 
With or without another woman’s man, Alicia will have to leave the city of jewels, the secure city where everyone loves to worship, where worship is like breathing. She will retreat to the second chakra, that swamp of desire, the place that has always pulled her back. The place where she has been mired for so many years, even before her desire had a name. She smiles, remembering when she used to read novels that were far too old for her. Novels that her mother, then her father’s girlfriends, left lying around the house. David is far from the first man she could love. 
At least he doesn’t push her away—or make her contort herself in strange ways. She smiles, remembering the weeks she trotted off to Bible study with Wesley, her father’s male nurse. She would have gone with him to start his church in St. Louis, but he told her that God had wanted him to take Blessing, another nurse, a holy woman from Liberia, as his wife. She still wonders what her life would have been like had Wesley chosen to marry her. Certainly, she would not be in this DC studio during final relaxation. Once when she came back from her yoga class near the St. Agnes Library, Wesley sadly mentioned that yoga was “demon worship.” Needless to say, she did not go back to yoga until after he and Blessing had departed for St. Louis.
In the last moment of final relaxation, David’s fingers pull away from her hand. Soon they must return to the world outside this small room on the third floor. The teacher taps her miniature gong, and the class dissolves into fifteen or twenty individuals, each rising from the mat, wiping it down, stretching, hanging up the straps, returning the blocks and blankets to the shelves, leaving separately. Except for her and David, for they are a couple. She wonders whether he and Mary would appear to be more of a couple. She thinks not. 
She and David don’t speak until they are outside. She ponders whether she would have been safer staying in his house, in Mary’s house, even if it meant sleeping on the red sofa downstairs. She has never really liked Mary, but, after her father’s death, she had to go somewhere. Caring for her father for so long has exhausted her. Where else could she go besides Washington, DC? St. Louis? Her stepmother does not trust many of her poetry friends, and her only friend in NYC is married and has boisterous children. 
She would rather be anywhere else, doing anything rather than walking on this main street with almost every storefront promising some wonderful bar, caf├й, or boutique by fall. It is late spring, early summer. She glances over at the basilica, white as a replacement moon rising on this cloudy evening. She considers going to Daily Mass there, even to confession, just to remain in the city of jewels. Her father’s ghost would be horrified. Her stepmother, a Catholic, would be thrilled. Perhaps the priest she would confess to would find a convent for her to stay in. She wouldn’t mind if she were the only one under seventy, if they kept her busy, if they kept her too busy for yoga.
But David is holding her hand again. She can feel his hand squeeze hers, constricting it. She considers going to Barnes and Noble, the one live storefront on this street. She could certainly lose him there. Especially since, as he confessed after yoga yesterday, poetry bores him. The store has a good poetry selection—something beyond Shel Silverstein, Poe, and Maya Angelou. 
Alicia and David walk past the Barnes and Noble. They turn down the street to her Airbnb. She actually isn’t paying attention to what he is saying. He could be explaining math to her, far beyond what she studied in high school. He might be talking about the conference he is going to next week. Whatever he is saying, she is glad to be holding hands with him on this moonless night as they walk away from the basilica that should mean nothing to her, a Jewish man’s daughter. Perhaps she should have gone to Israel, a trip one of her poetry friends has recommended. Or she could have visited her mother in Laurel Canyon for a day or two. She has other friends in LA, so this could have been a longer visit.
Almost too quickly, they are at her Airbnb, a wooden house shaded by the street’s largest tree. She imagines that the tree’s thickening shade hides her from God, Vishnu, Jesus, her father’s ghost, even David’s partner Mary, her stepmother’s friend. 
“I wish you could come in,” Alicia says, balanced between regret and relief.
“Come with me to the conference next week. It’s in Philadelphia. We can take the train.”
“Yes. Yes, I’d like to very much,” she says, pulling away from him, almost turning to go inside.
He pulls her in for a hug as if they were just friends. He is too tall to kiss her easily, especially when her feet are on the ground. But his embrace is more than enough.
“All I need is you. All you need is me,” he tells her as he withdraws, before he turns away to walk home.  Alicia watches him for as long as she can. Until he takes a right turn at the cross street to walk home to Mary. The woman he claims not to need anymore. The woman he may or may not have loved at some point. The woman who never loved him—or so he said yesterday over too-strong green tea at the Starbucks in the Barnes and Noble. 
Alicia stands still for a moment, then taps in the key code, and walks in. Another guest is watching TV, probably one of the political shows or maybe a sports show. It’s hard to tell nowadays with all of the bickering and posturing. She enters the kitchen and takes out red grapes, brie, crackers, and seltzer from the refrigerator. She adds an almond or two from her purse. Then she turns off her phone, not wanting to hear from her older and wiser friends or her stepmother who had advised her to stay at an Airbnb rather than at Mary’s. Her stepmother feared that David would chase after her. The older woman added that David looked too much like a younger version of Alicia’s late father—with light brown hair, not dark, with thick, plastic-rimmed glasses, not stylish, metal-rimmed ones.
Eating at the counter, her back to the TV, Alicia tastes the food mechanically. Next week she will be in Philadelphia. She will finally be leaving the city of jewels, once again losing herself in the swamp of desire. “All I need is him, and all he needs is me,” she reminds herself.

Marianne Szlyk (Western Voices 2023)

Bio: Marianne Szlyk lives on the east coast but has dreams about what could have been out west. Her poems have appeared in various journals and anthologies including of/with, Setu, and Pure Slush's anthologies Home and 25 Miles from Home. Recently she published a chapbook Why We Never Visited the Elms with Poetry Pacific Press. Her books On the Other Side of the Window and Poetry en Plein Air are also available from Amazon and Bookshop.

When We Lived in the Desert

East coast leaves and wood houses had become dreams,
los sue├▒os, as the guest with a steel guitar 
sang, when we lived in a cinderblock house.

Before bed, we looked to the interstate through
our spindly trees, older than the trees back home.
Once asleep, I drifted past birches, reached 

for the feel of green, so much water.  I didn’t know
what you dreamed, sometimes beside me, sometimes not.
One night I dreamed of steady rain where we were.

Birch trees protected us. For this I rejoiced.
***

The Last Mushroom Pickers

The bus driver was speaking to my husband 
about mushrooms he found in Maryland,
up past Frederick, where the state grows
mountains, one-lane roads, and small towns.
There hen of the woods flowers,

white flutter against fallen trees.
I wondered if it fluttered near us
in the lot we sometimes walk through 
past the bright green pond that breeds
rank smells and biting flies.

I’ve seen circles of mushrooms
on a neighbor’s lawn, puffballs
blossoming behind a chain link fence.
But I’ve always thought that anything
that grows here would be poisonous,

not to be touched by the last
mushroom pickers, men who wander
this part of the state, through the woods 
that remain. They hope to find 
the earthy, spicy hen of the woods,

morels, chantarelles, shaggy manes,
ink caps, even puffballs, all that
they found back home.
***

This Angel Music
After two sonatas by Scarlatti

In a world of strong scents,
this music purged the air,
made the audience believe
that the body could produce
only sweet smells

like those of the angels.
Perhaps their Heaven was scentless,
like our lives are today.
Only the aroma of roasted meat
hangs in the air, not to be purged.

Our roses have no scent.
Grass briefly mingles with gasoline
as a neighbor purges his lawn
of clover, dandelions, even
the tiny purple flowers
and wild strawberries
that hide there.

Our noses wrinkle, gorges rise
at others who dare to wear perfume
or cologne. Some of us imagine
this angel music purging the air.
***

Poetry: Marianne Szlyk

Marianne Szlyk
(Credit: Photographed by Matthew Bailey)
Lunch Time, Summer 1970

Three years past someone else’s summer 
of love, smoky sunlight squeezes
past metal blinds.  I am dancing
to no music but dust motes that twirl.

At 12:00 sharp, my grandmother is making
deviled ham sandwiches on Roman Meal,
not my mother’s dry Hollywood Dark.
Here the radio is silent.  The TV is off.

Humming, Grandma spoons out piccalilli 
relish and Hellman’s Mayonnaise
into the small bowl of deviled ham.
As I twirl, she tells me stories

about my mother as a little girl
who went to dancing school 
and was a butterfly at the spring recital.
I sit at our toy table and look out

the window at the lilac bush
that, in summer, hides rusted hulks 
to imagine butterflies dancing,
becoming girls in this city.
***

Ritz Cracker Pie

One Sunday afternoon in 1960 my father saved us from Aunt Moo’s mock-apple pie. Made with margarine, Realemon juice, cinnamon, sugar, and Ritz crackers, served with Cracker Barrel cheese, it wasn’t a bad pie.  It was probably a good pie.  It was even homemade.  It just wasn’t an apple pie.

Sixty-two years later, I find it hard to believe that the Victory Supermarket on North Main Street had run out of apples.  This fruit was grown all over New England before ranches, split-levels, malls, and McMansions took over.  Perhaps the pie was a trick to test my father, the young dentist with a crewcut and a convertible.  Or the pie was my aunt’s specialty, served at canasta parties and picnics by the lake, the mid-century equivalent of your kiwi cheesecake or my coffee brownies made from a mix. Or a sign that my father would be invited to the next picnic on the shores of Lake Whalom.

If Dad hadn’t discerned that the pie’s apples were really crackers fresh from the box, would Aunt Moo have brought the pie every blessed Thanksgiving throughout the Seventies?  I wince, picturing my brother and my mother picking at their slices of pie while Dad and I hide ours in French vanilla ice cream from Friendly’s.  We might have had more Thanksgivings with his side of the family where my aunt Irene served the mashed potatoes made with skim milk from a gigantic aluminum pot and my uncle’s girlfriend brought key lime pie and, for the younger adults, grasshopper pie.

Would I even be here if Dad had not passed the test?
***


In Praise of Molded Salad

In wartime, canned olives and sweet pickles 
jitterbugged through the cherry red moonlight.  
Girls played Crazy Eights while praying for
boyfriends and brothers who fought overseas.

Years later thin cucumbers floated in
the zero-gravity of sweet lemon 
Jell-O cut with white vinegar and posed
on frills of lettuce on a gilt-edged plate.

Until the year when the Berlin Wall fell,
Gram brought molded salad each Thanksgiving.
The salad might have been served on a plate
once or twice, but mainly I remember

the faded Tupperware mold, container
for the lime-green or sometimes lemon pond
where carrot curls, chopped celery and canned
mandarins floated past pineapple shreds.

My brother called this dish “moldy salad,”
but we all loved its light sweetness even
when I lived on brown rice in Boston and 
Mom was on the Atkins Diet again.

Gram’s molded salad was the home where fruits,
vegetables, and sweet Jell-O all lived
in harmony even when we did not.
***

Bio: Marianne Szlyk is a professor of English and Reading at Montgomery College. Her poems have appeared in of/with, MacQueen's Quinterly, Setu, Verse-Virtual, Sequoyah Cherokee River Journal, Bourgeon, Beltway Poetry Quarterly, the Sligo Journal, Lothlorien Poetry Journal, and Mad Swirl as well as a few anthologies such as The Forgotten River and Resurrection of a Sunflower. Her books On the Other Side of the Window and Poetry en Plein Air are available from Amazon and Bookshop.  She is working on a new chapbook as well.  In addition, she has led workshops where poets write tributes to both survivors of COVID-19 and those whom we have lost.

Marianne Szlyk (Western Voices 2020)

Exclusive: Western Voices, 2020: Edited by Scott Thomas Outlar
Bio: Marianne Szlyk's poems have appeared in of/with, bird's thumb, Cactifur, Mad Swirl, Setu, Solidago, Ramingo's Porch, Bourgeon, Bradlaugh's Finger, the Loch Raven Review, Epiphanies and Late Realizations of Love, and Resurrection of a Sunflower, an anthology of work responding to Vincent Van Gogh's art. Her full-length book, On the Other Side of the Window, is now available from Pski's Porch and Amazon. Later this year she intends to revive her blog-zine The Song Is... as a summer-only publication: http://thesongis.blogspot.com



Music of the Aztecs
            After Los Lobos

Phone wires score my northern
sky for starburst trumpet. 
I can’t play that tune. 

Bobby Womack sings “Rain/
Across One Hundred and
Tenth Street,” not this place
with stubs of streets named for
trees we don’t talk to now,
as if we ever did. 

The band can’t talk with trees
either, for there are none
in East LA. These wolves
cross faded ground beneath
clouds about to rain, clouds
about to drift away.

Guitars grind like a ghost’s
chainsaw, like east winds full
of dust.  Drums are footsteps
across hard ground: asphalt,
concrete, dirt, or stone.




On the Astral Plain 

We spend night facing south,
looking over water. 
Contorted on soft wool,
we ignore the loud land
behind us.

Lights on rusty barges
become stars dipping down
onto cold, black ocean
that we pretend is womb.
Waves shush our few thoughts,
calm our cramped limbs.

At dawn, we stagger out
as if we’d been drinking,
laughing, dancing all night.
We step in the thin edge
of tide that pokes beyond
the beach.  Everyone
disappears.

I meet my friend crossing
over from the dry side
of the street.  Masked, she
came to bring me back north
on the contagion
train.

            There, holding our breath,
standing on the sixth floor,
we will not see the ocean,
and I’m still the girl with
the brown aura, laughing
inside at someone’s tales
from the astral plain.




Murals on Meserole Street
  
Clouds shaped like flying pigs
circle the metal sky.
Phone wires fence them in,
keep them from tumbling
into the asphalt stream.

Dogs, eagles, gators, cats
coexist at the zoo
on the concrete island.
Teeth gleam white like
thick ice in an old freezer;
they do not sting
or burn or bite.

Children perch on a stoop
to watch white tourists
snap photos of their street,
the razor wire on roofs,
the murals that replace trees,
playgrounds, and even weeds.

Poetry: Marianne Szlyk

Marianne Szlyk
In the House of Mirrors

She became a person
who showered at night, fell
asleep, hair wet, taking

Medusa’s form, only
stiffer.  Her snakes would not
wave, would not hiss, would not
turn anyone to stone.

She did not see herself
on these walls.  Neither did
the cat, her only friend.

The sky she saw at dawn
was white, a sixteenth-slice
that could have been a cloud, could
have been heat, could have been

only the sky before
it turned blue and couples
walked the street to work.  She

could live on sixteenth-slices—
on vacation.  The cat
ignored the sky without
birds or trees.  She slunk past

mirrors, hugged the cool floor,
its pattern mimicking
the leaves that would soon fall.



At McKenzie Bridge, 1988

Sitting on a flat rock,
I dip fingers into cold,
soapy water.  It darts past
towards PVC pipes and chrome
faucets we left behind in Eugene.

I expect fish to flash by.
I fear their nips and twitches,
the sharpness of fins and scales.
But I feel nothing.

This water
could be the blue-green marble
it appears to be, a simulacrum
of a river, an artist’s design,
river that I will explore
only in dreams.



In the House of Masks

Clouds cloak the sun that warms
the ground, the smell of black
pepper and scallions rising from matted,
unnamed plants.  Above the bulging ceiling
of clouds, planes criss cross, hidden
contrail marks fading into blue sky.

Inside, the Great Dane’s mask is
alone with the dozen shells lining
the bookshelf.  He beams at them,
his near-kin who hide the absence
of spineless animals that once dwelled
in them.  He ignores the apples
kept out in a wooden bowl.
They are not food.

The shells conceal what they think
of him, heavier than they are,
impossible to pick up.  They are
smoother, lighter, and polished, with pink
highlights.  Their horns do not pierce
skin.  The dog’s mask might be
sculpture, that doesn’t hide but
is.



Face App in the Time of Climate Change

Dwyane Wade poses in front of
the last snow-capped mountain in Nepal.
It matches his wise beard, matches
his crisp linen suit.  At sixty,
with bionic knees and ankles, Steph
Curry might still play.  His uniform
fits.  Draymond Green has barely aged.
Only his neck betrays him.

In the world of these pictures,
glaciers have withdrawn from us, leaving
crushed beer cans, piles of rocks,
polar bear bones.  Air in Maryland
thickens, clotting lungs,
grabbing hearts tight.

There we stay home, order take out,
let grandchildren draw mountains with snow
even if any peaks they might climb
will be bare and once there
they will see only fog
covering sprawl like an ocean,
like a translucent plastic sheet,
both of which are the same thing.

Miami is another memory.  Dwayne Wade
has long since moved inland, built
a mansion in Buffalo.  Lake Erie
is his ocean now.



Listening to the Lovin’ Spoonful’s “Fishin’ Blues”

Placing the needle
on the album,
she holds her breath, waiting
for one song
to transform her world.

Tall pines become
distant skyscrapers, felt
but not seen.
Hardwood floor turns to
linoleum.

Music bounces out of
speakers.  Twang-
ing words spring through her.
She is dancing,
imagining the Spoonful,

now middle-
aged men, on stage.
She wants to go
fishing, take the train to
where pickerel

hide in a river
like the sound of
quills Henry Thomas played
when he first
sang those Texas blues.

Marianne Szlyk is a professor of English and Reading at Montgomery College. She also edits The Song Is... a blog-zine for poetry and prose inspired by music (especially jazz). Her book, On the Other Side of the Window, is now available on Amazon. Her poems have also appeared in of/with, bird's thumb, Loch Raven Review, Bourgeon, One Sentence Poems, Red Bird Chapbook's Weekly Read, and Music of the Aztecs. She lives near Washington, DC with her husband, environmental writer and wry poet Ethan Goffman. Recently they were part of Pony One Dog Press' reading at the New York City Poetry Festival.

Western Voices: Marianne Szlyk

Bio:
Marianne Szlyk edits The Song Is... a blog-zine for poetry and prose inspired by music (especially jazz). Her poems have appeared in of/with, bird's thumb, Cactifur, Mad Swirl, Setu, Solidago, Red Bird Chapbook's Weekly Read, Mermaid Mirror, Epiphanies and Late Realizations of Love, and Resurrection of a Sunflower, an anthology of work responding to Vincent Van Gogh's art. Her full-length book, On the Other Side of the Window, is now available from Pski's Porch and Amazon. She invites you to stop by her blog-zine and perhaps even submit some poems:  http://thesongis.blogspot.com




On Drawing the Six of Cups


Snow-covered spruce, my age-mates, surround me
as I walk the long-gone path,
once dirt, trodden-down grass, and stone,
now asphalt.  Ghosts of ponies linger,
breath rising and mingling with mine.

Beneath tall white pines, needles lie
as if no snow fell today,
heaping onto stiff spruce, bare trees,
bleached grass, and stony fields alike.
A toy stove, still aqua and
white, waits below.  Plastic, it will
persist long after the trees will
be felled, long after I’m gone.
I look for a sword but find
only dolls, only a white bear
in a yellowed hand-smocked dress.




Dancing in 1984


In Friday night’s blood-red ballroom, clots
of couples twirl to electronic music,
notes like string binding them together,
keeping them apart.

No cat who can see through
patchouli murk, Lila looks for space
away from mirrors, shirtless bald men,
tiny sleeveless women.

White skirt flapping, she runs past
couples now clutching, now coming apart. 
Her bare feet pound the floor.
She stops, finding herself next to
the fire escape.

The man she came with dances
beside flickering candles.  A birdlike woman
flutters past, red hair like feathers.
He touches her elbow, a wing.

Wincing, Lila imagines blue flame catching
the hem of his faded jeans,
burning this brick building down
while she waits on the fire escape.

Poetry: Marianne Szlyk

Marianne Szlyk
At the Art Institute
            After Mary Cassatt’s The Child’s Bath (1893)

Thelma remembers the warm, clammy museum she visited as a child.  There the smell of turpentine and charcoal washed in from the art school.  At noon the smell of dank stew and hamburger grease crawled up from the cafeteria.  Some days she could hear the sound of a circular saw from sculpting class.  Tight, heavy braids pulled at her scalp, and the vinyl belt above her stiff white skirt made her suck in her stomach so much that she wanted neither candy nor pop.  Sun streamed down from the skylight, tropical even over Christmas break.  She could smell the green in the lush paintings around her.  Now she knows them as Gauguin, Monet, and Renoir. 

She moves on to this indoor painting by Mary Cassatt, a painter she doesn’t remember from that other museum.  The water in the shallow tin bowl reminds her of the pool where she and her sister Trina stood that summer.  Or rather she stood, and Trina splashed, even stomped while her father stood with the hose, filling up the pool with cool water that smelled of chlorine like a real pool did, while the boombox played all the old songs from last summer. 

The girl in the painting is free like herself and Trina, standing, then splashing, with no dress or petticoats to weigh her down.  The mother in gray and white linen will never be free.  The floor-length dress smothers her as she swims in the day’s heat.  Thelma thinks of her mother and remembers her boiling the cool water from the tap.  Since it smelled of chlorine, it had to be boiled and then refrigerated before anyone could drink it or even make coffee.  She thinks of her mother and remembers her working weekends at Mercy Hospital while her young daughters pranced in their pool, splashing water onto hard dirt and asphalt, dancing to “Stayin’ Alive,” singing “Ring My Bell.”

Thelma shivers in the air-conditioned museum.  She changes her mind. Cassatt’s painting could be set in winter when weak heat radiates from a wood stove.  Wind races across the tiles above, loosening them and letting them fall.   Trying not to tremble, the daughter quickly steps into the warmish, not yet soapy water.  The mother is dressed for the indoor weather of weak heat and strong drafts.  She will wrap her daughter in a thick towel to keep her from shaking.  She will protect her from hunger and the ice that forms on unheated water.  She will protect her from harm.

The Schoolteacher in Summer


In these months I long to be
silent.  No fifty-minute classes
to fill with my projected voice.
No complete sentences.
No instruction.

I long to walk without
my full backpack, to move
less stiffly.

I vow to sit less
and in different places.
To do yoga on rainy mornings.
Read poetry in the junk room
while my cat inspects
the bags of shoes and
summer clothes
I can no longer wear.

I may even
listen.


Summer 2004


The heat rises over the horizon,
over asphalt not yet melting,
yellow lines not yet smearing

the six-lane highway that separates me
from class, from air conditioning.
I cross it in fits

and starts until I am standing
on the median strip far
from trees and walk lights.

Hatless in striped cotton, I stand
beneath a sky the color
of a convertible driving south

into endless summer, blue highways
up into tree-lined mountains, down
to the sea I’ll never see again.

Here there are no trees.  Water
remains in bottles, in purses.
I drink tepid Diet Pepsi.

My students wait in class.
For them, this weather is
nothing like summer was

at home, further south than one
can drive, further south than
I will fly.


Death and the Miser

            After Hieronymus Bosch’s panel of the same name

In the end, Death slips in,
the only whiteness in a room
tinged with blood and sweetly rotting
flesh’s infectious pink.  Terra cotta curtains
are drawn against a dizzying sun.
Death’s light fingers on the door
smell of absence, not brimstone.

He is a wide-eyed neighbor
looking for gossip, looking for loot
like the green-clad brother who clutches
the miser’s coins for his own.

Death sees the blue-ish angel,
color of marble and the future’s
scrubbing powder, holding out a slim
crucifix.  The tiny devil, slimy gob
of spit and ashes, offers a bag
of coins heavy enough to weigh
the miser down. 

Nevertheless, Death will not
stride into this crowded sick room,
forcing the dying man to choose
between coins and crucifix, Hell and
Heaven.

He is waiting for the miser
to decide. 

A Minor Character

            After Abraham Verghese’s Cutting for Stone

She once imagined herself the center
of her life, as the pupil
with such promise.  She once expected
to quickly leave this gated hospital
in the capitol for a post
in the wilderness, a clinic in
the ruins, beneath spreading trees
she couldn’t name although this was
her own country. There dust rose
in the wake of speeding jeeps,
obscuring all names, the native trees’,
her patients’, her co-workers’, her own.

Passing all but the true test,
she remains a student.  She dances
alone in a spotless, narrow room
to a hidden radio turned low.
She hears only rhythm, no lyrics.
Instead she chants her name.
Concealed behind adobe walls, that day
she turns thirty.

Poetry: Marianne Szlyk

Marianne Szlyk

My husband and I are waiting
for the biopsy that will doom
me, for the procedure that will
not save me.  I’d always thought
my heart would be the killer.
It won’t be.

Today began early.  The clinic’s
bright and buzzing colors buoyed us
as staff whizzed by as if
on skates.  All afternoon we wait
at Our Lady of Lourdes’ hall,
its muted, matte blues and greens
reminding me of silence, of
once-fashionable nail polish. 

I’d always imagined at this point
that I would be confessing
to Jamaica Plain’s last priest. 
Instead, my husband and I chatter
as we always have.  Making predictions
about next year’s elections, the Celtics,
he spoons sugar into green tea.
I rummage through the blue cookie tin
for pecan sandies, pretending to eat.

I do not know how much longer
we have beyond this working day.
I do not know if it’s dark
or light outside.  No newspapers
on the table reveal to me
the day that I begin dying.




Ms. Hawthorn thinks about the space
where the sticker’s line drawing used to be,
showing how the singer in her afterlife
had hardened into a gaunt carapace.
Amy’s hair extensions were bundled
up into a cross between a beret
and a turban.  Her face
sharpened.  She is silent.
A matching powder blue wool suit,
white high-necked blouse, and pearls
cover her tattooed body
smeared with blacks, reds, and greens.
All this is gone,
the body itself cremated,
the sticker peeled off.
Ms. Hawthorn supposes
the voice will follow soon.
She remembers
to put in her ear buds
for the rest of her walk.
A white-haired singer’s voice
floods over her thoughts.





Astoria at Dawn

Nobody braves the city street,
black as an iced-over river
between cars like snow banks.

Behind blinds a man lingers
over coffee, its taste bitter
enough to slice through sleep’s
thick fog.  He pours in
cream and sugar.  Sleep sneaks
back, washing through him.  Sweet
coffee cannot buoy him up.

His wife lies awake beneath
blankets as white as dreams
of summer’s clouds.




“Of drawers that smelled of elbow grease”
n  Quote from “Woman’s Home” by Mary Stone Hanley

The smell of elbow grease
is the body, its sweat glowing in summer
without air conditioning or tank tops,
its Lux soap in marble cakes
clinging to the bottom of a claw-foot tub,
its weekly shampoo at Rose’s Beautyrama,
its Pepsodent toothpaste, its denture cream,
its Listerine mouthwash as strong as
diluted Pine Sol in the stainless steel bucket,
its mid-afternoon smoke in the backyard,
away from sheets and underwear on the line,
its pork for dinner, its franks and beans on Saturday,
its black coffee for lunch, its coal in the cellar,
its molasses cookies in the oven, its lime
lingering in the air
long after the body is forever
at rest, the house
sold, then demolished
.




Into the Healing Water

Somewhere I wouldn’t normally go.
Wearing a dress, I refused
to kiss the Blarney Stone.
Wrapped up in gauze, sunburnt,
I refused to swim
in the ocean off Veracruz.
This time I go.
I climb into the well.

At first it filled with crystal waters,
just out of my reach.
Then the waters receded.
At first the wall was slimy.
Then it shimmered with patches
of purple, green, red,
and yellow jewels, reminding me
of games I’d played.
The waters shrank into a tiny pool,
the size of a puddle
after a moment’s heavy rain.

The sun is shining.  Shadows dance.
I climb back to grass and trees,
back to a path
where I do not fear my heart
slipping and skipping.

Three Poems by Marianne Szlyk

Evening Walk in East Rockville

After Kenny Barron’s Clouds


Marianne Szlyk
This evening I am walking
towards the thunderheads as full
as oaks on the horizon.
Before sunset, the light thickens
to the yellow of juice
from ripe peaches.  The color
stains not only towering clouds
but also trees and lawns.
Smoke blurs the air as
men grill flank steaks behind
clipped hedges.  The backyard stereo
is thumping Daddy Yankee’s “Gasolina.”

I walk to Maryvale Park
to see shadow colored turtles
paddling underwater, or bees hovering
above the Joe Pye Weed.
I wait for Red-wing Blackbirds
to dart through the cattails
and over the pocket-sized pond.
I listen for Northern Mockingbirds
imitating the flute flowing through
open windows. I watch for
blackening clouds, shrinking blue sky,
or the darkness after sunset,
whichever comes first.  

Eugene in the Fourth Year of the Drought

At first, at fairs and festivals,
we basked in sun.
Clothes dried out fully, without mold.
Cotton skirts twirled as we walked.

Grass turned to straw.  It
often did.  Fires blazed further inland.
Streams dried up.  We hoped
for snow in the mountains.

Now in the fourth year,
we wander, unwashed, skirts stiff.
No winter rain will be
enough.


Blue Green and Brown (Rothko 1952)

She wonders what is intimate
about an enormous canvas hung
up on a museum wall.
Museums are silent except for
garbled conversations, docents’ lectures, spills
of sound from someone’s device.
Nothing is intimate, not even
silence, the pristine space between
each person in a public place.

She sits at home with
the image on her screen,
all other lights off.  In
twilight, blue, green, and brown
envelop her, keeping her company
in this humidity.  Cicadas call
outdoors.  Indoor and outdoor sounds
blend : buses’ wheeze, the washer’s
slosh.  She feels the space
between her and them dissolve.

Marianne Szlyk

Marianne Szlyk is the editor of The Song Is ... , an associate poetry editor at Potomac Review, and a professor of English at Montgomery College. Her second chapbook, I Dream of Empathy, was published by Flutter Press. Her poems have appeared in a variety of online and print venues, including Silver Birch Press, Cactifur, Of/with, bird's thumb, Truck, Algebra of Owls, Literature Today, and Yellow Chair Review. Two poems have received nominations for Best of the Net and a Pushcart Prize respectively. Her first chapbook is available through Kind of a Hurricane Press.

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