Showing posts with label Mary Jo Atkins Barnett. Show all posts
Showing posts with label Mary Jo Atkins Barnett. Show all posts

Wednesday, April 24, 2013

24 APRIL 2013: MAGGIE'S POETRY SELECTION FOR YOUR PLEASURE


(Mary Jo Atkins Barnett, December 1964, Dilley, Texas; gone 28 years today)
 

THE COURAGE THAT MY MOTHER HAD


The courage that my mother had
Went with her, and is with her still:
Rock from New England quarried;
Now granite in a granite hill.

The golden brooch my mother wore
She left behind for me to wear;
I have no thing I treasure more:
Yet, it is something I could spare.

Oh, if instead she'd left to me
The thing she took into the grave!-
That courage like a rock, which she
Has no more need of, and I have.


By Edna St. Vincent Millay, from Collected Poems.

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Sunday, April 26, 2009

SIFTING THE NEWS

(Liquid Kachina, acrylic on canvas by James Wille Faust)

I was just directed to a news item from Radio Netherlands which states:

"The Czech authorities have ordered the former Grand Wizard of the Ku Klux Klan to leave the country by midnight on Saturday. David Duke, a US national, had been invited to Prague by a number of neo-Nazi groups to celebrate the presentation of a translation of his book.

"The Czech authorities say the book denies the extent of the Holocaust and approves of it and other Nazi crimes. On Friday evening, Czech police detained Mr Duke on suspicion of denying the Holocaust, an offence punishable by up to three years in jail in the Czech Republic."

I find this very heartening, and wish there was some way to similarly deny him re-entry to the U.S.

I also thought of how, when Duke was running for Governor of Louisiana, a member of my family decided to relocate from Texas to Louisiana because they hoped to live in a state under his leadership. Yep, blood kin to me. Hard for me to admit. I believe a lot of people can be reached and given a roadmap to change, probably most people, but I have given up on that relative.


It's been a tough week here in Maggieland, in some respects, and I'm looking for good news wherever I can find it. If there is a global pandemic of the swine flu, I may be one of the survivors because I have no human contact and thus no means of transmission. Of course, without outside help to deliver groceries, I'll also starve to death, that is if the utility infrastructure stays operational, so I'll call that one a draw.

Last week I undertook some physically demanding tasks around my house which I have been literally putting off for months. I pushed myself through the pain and strain to get 'em done, and felt virtuous as I collapsed in bed for the next 36 hours, in severe muscular distress. One of the tasks was to finally get my DTV converter box working, on the third try. (The difficulty lay in accessing all the equipment, plus dead batteries in the new remote control which took me an unconscionably long time to troubleshoot.) So, as I was laid up, I had sudden access to wildly improved reception and a range of channels I hadn't ever gotten before, including a PBS side channel that shows cooking, garden, and home improvement shows around the clock. Or, as Jesse remarked, "crack cocaine" for the likes of me.

I had a second relapse in Saturday, with prolonged bouts of vomiting which is a new development after profound exertion and muscular stress. I'm up at my computer with caution, choosing not to eat or take any risks with my body for the time being.

(Carrots at Boggy Creek Farm: Yellow, Orange, Maroon, White...)
During my down time this week, I was thrilled to find that one of these shows, called "Cultivating Life" with host Sean Conway, featured a tour of our own Boggy Creek Farm, an urban organic intensive farm here in Austin, including a delightful interview with Carol Ann, one of the owners and who I think of as "my farm gal". They re-ran it and I watched it a second time through, nostalgic for the smell and look of the place itself.

(Acarajé frying, photo by Joao Eduardo Penna de Carvalho)
I was also taken back to my past by Daisy Martinez on her excellent cooking show when she made acarajé, a dish we ate from street vendors when I lived for a year as a girl in Brasil. When I was grown, my mother and I back-engineered the recipe and it's been a favorite of mine ever since. I included the dish in my novel, and have written about it as memoir, including the recipe, and in a poem, both located in my post Brasil As A Girl.

I watched the second installment of "We Shall Remain", the PBS documentary series purporting to be a history of Native Americans. I've decided it's deeply flawed, both in approach and some of the content. I didn't realize until this episode that Ric Burns was involved with it, and his weaknesses are definitely evident -- he has a hard time with the macro view, always leaving a glaring gap. And, in particular, he is absorbed with the male gaze: His inclusion of women and girls is too often incidental and distorted. With this series, the speakers and focus has been overwhelmingly male-dominated, which is particularly galling to me given how First Nations culture prior to white overrun had a gender balance that we often fail to comprehend.

For instance, this second episode concerned Tecumseh, a Shawnee military strategist who came close to shutting down U.S. expansion into the Midwest, creating a pan-Indian confederation the likes of which has never been accomplished before or since. Tecumseh worked in collaboration with his brother Lowawluwaysica, a prophet and spiritual leader who emerged from near-death due to alcoholism to re-invent himself (as Tenskwatawa) and inspire all who came into contact with him.

The obvious question is, how did these two men become such brilliant leaders and innovative thinkers, especially at a time when Native culture was under profound assault, having suffered at least two generations of disruption from epidemic and attempted white genocide? At one point, the documentary refers to the fact that because of constant warfare, the male Shawnee population had been dramatically reduced, and in some villages there were four females to every one male. But this is glancingly referred to as a toxic imbalance. At another point, it is mentioned that Tecumseh's father died when he was seven, which is around the time his younger brother was born. This means that these boys were raised with strong female influence and a widowed mother. But no exploration of how this might play a role in their singular development is ever undertaken, and indeed, their mother is never named. Nor is any other female in the entire 90 minutes, despite the fact that someone had to be doing the farming, home construction and maintenance, making clothing, tending the ill and wounded among these warriors, as well as raising the next generation. But Burns doesn't find it worthy of mention.

What a fucking joke. I wish Paula Gunn Allen. were still alive to make her opinion about it known. However, even in death, she has something pertinent to say: "I have noticed that as soon as you have soldiers the story is called history. Before their arrival it is called myth, folktale, legend, fairy tale, oral poetry, ethnography. After the soldiers arrive, it is called history."

(Paula Gunn Allen. Oakland, California, 1988; photo by Robert Giard)

Also this week (Friday) was the 25th yartzeit of Mama's death. How can it be 25 years I've gone without her? You know, even with my imagination, I cannot grasp in my mind the ways in which she would have grown and changed by now, had she lived.

Since Dinah's mysterious illness a couple of months ago and my freak-out about it, she and I are much closer, interacting in a different way. I make sure not to ever take her for granted, and in turn, she's allowing more tactile affection between us. It's quite the blessing.

I feel I should also inform those of you who are readers of my novel, Ginny Bates, that there are six months left of the story as I intended this (initial) book to be -- I designed it to end in June 2020. Further, this does not mean the remaining chapters will extend over the next six months in real time. I think it may be over in six weeks or perhaps two months. Of course, I've created characters who will go on, with a third generation emerging, and I'm definitely planning to continue the joy of writing. But I don't have the draft in hand that I did of this first monster effort, and I'm not sure if I should keep posting much rawer, new material, without the intricate structure and plot development I had devised for what I've done so far. Let me know if you have thoughts on the matter.

I'm now going to lie down, drink some water, and see if Jacques or Julia (or Ming or Daisy) have something diverting to show me. Dinah is sitting on the back of my chair, chirruping about treats and possibly throwing a toy for her to chase. Catch you later.

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Thursday, April 24, 2008

MARY JO ATKINS BARNETT, 1927-1984

(December 1973)

Mama died at 4:04 in the afternoon on April 24, 1984. Lots of fours in that stop.

My first year of college, I was living entirely on my academic scholarship which was inadequate. My food budget was $8 a week, which meant I didn't eat two days a week. Still, somehow, I saved $25 to buy a photography package deal: I wanted my family to have an official photograph of us all.

In the back of my mind was the fear that it might be the last chance we had. Mama's mortality hung over me like an unreliable cantilever.

It meant driving to Wichita Falls, which pissed off my father. It meant being stuck in the car with all of us, which meant my little brother acted out. And Mama had only one dress which sorta fit her, no money for a hair salon, which shamed her.

But I hectored and harangued, and we went. The photographer was mediocre and rude. Still, here's the photo. The outfit I have on was my Christmas present from my lover then. It was called heather green, with a dark green turtleneck. My little brother and I had no idea, until the photo came back, how similar our hairstyles were.

After the fold are Mama poems which I've not posted here before. Time to light a candle. I guess I'll never stop needing her.



CHUCK-WILL'S-WIDOW

Driving home past a small woods
holding its own against the subdivisions
I heard a chuck-will's-widow
dopplering in my window
Fireflies are out tonight
and the moon is a smaller orb
resting on bright pagan horns

At home, a rib-showing tabby,
clearly in heat, flopped
herself down on my sidewalk
then flipped to the other side
like a beached bass. She looked
at me without hope, got up
and trotted into the dark

The studies say people who
live alone are likely to die
decades earlier. Mama stuck it out
with my father, your guess is
as good as mine. He is eighty
and I owe him a call. Mama
rides the moon, lights a tiny
thorax, squats in the waiting
eggs of a cat looking for
something she does not want
but needs


© Maggie Jochild, 29 April 2006, 10:01 p.m.


I MAY BE SOME TIME

That day before Thanksgiving, Mama took
me to the new mall, with energy in her
I had not seen since I was twelve
We drank Orange Julius and I told her
about Annie Dillard's writing, what
it meant to me. After emptying
our cups, we strolled over to B. Dalton
Bought Teaching A Stone To Talk
On the bench outside, my arm next to hers
I read aloud the quote by Captain Oates
Then burst into tears

Six months earlier, she had
four emergency bypasses
Cracked open before I could
even get to the airport
I came down the ramp
looking for my brother's face
The face that would tell me
if she still lived
How do we walk ahead
at times like these
air frozen and white
sound gone
alone


© Maggie Jochild, 9 February 2006, 10:00 p.m. (her birthday)


CONTAGION

The well-dressed teacher from New York who laughed out loud
at how we talked asked me to hand back spelling tests.
She picked me I would guess because I never acted up
I always knew the answer when I was called on
and I was new, too. She was a fill-in. Nobody
liked either of us. When she made me walk up and down
the woodfloor aisles, me trying hard to remember names
but not to look at the red letter grades, I kept my
skinny skinny arms pressed tight against my ribs
My dress was short-sleeved, it was May, and at my
solitary lunch I had seen a rash, fine and red
creeping up the inside of each forearm. I knew
it would not be good news, but maybe I could keep it
secret. Until I got to the row where
Peggy with the pointy glasses sat, Peggy who got
big laughs from from mocking me, and of course she saw
the rash. She said out loud and clear I know
what that is, that's measles. I called her a liar
which shut her up with shock, I'd never spoken to her
not once, but the teacher heard and I was led
down the green-tiled hall to the nurse's office

Mama picked me up and sat me in the back seat with my
four-year-old brother, said she might as well get it
over with, he was going to come down with it anyhow
She said she couldn't tell if it was red measles or German
On the way home she stopped and bought calamine lotion
I was put in a dark room, no books allowed, and by
that time the fever was coming on. Right before
I blinked out, I murmured about how I would not get to play
with the dachsund puppy of the downstairs neighbor lady
The downstairs neighbor lady -- Mama put her hands over her mouth
and said She's eight months pregnant. She left me alone, then,
with my little brother. I heard her run down the stairs
and pound on the door, then women's voices full of fear
and Mama saying over and over My god I am so sorry
I had no way of knowing


© Maggie Jochild, 30 November 2005, 6:57 a.m.


MAMA CARRIES THE CONVERSATIONAL BALL AT DINNER

Bonnie was a Gilmore before she married Sherrill
Not the ones out east of here, but trash
from down near Alvord. She has always looked at least
ten years older than him. You know that place
on the way to Queen's Peak where somebody's painted everything
the house, the barn, the metal fence
the mailbox and the driveway rocks
a shade of doctor office green? That's the house
where Bonnie's sister lives. I don't know how
Sherrill met her, I was out of here by then
They never did have kids. Sherrill was shot up, you know
while he was in the Philippines
Held his entrails in his hands as they jeeped him
to an army field hospital. That's why he drinks
Bonnie didn't drink at first, they say, but now
she's worse than him. The only job he's ever had
is at the school. The boys in Ag
do all his janitor work for him. He does drive bus
Thank God it's just dirt roads and he can creep along --
That tea is sweet enough -- And Bonnie
got her teacher's aid position because she is
his wife, though she can barely write her name
Don't you be telling anyone that Sherrill is my cousin
He isn't really, just the nephew of my aunt by marriage
But you be nice to him, he's had it hard
And don't imagine you will leave this table without
eating something besides meat and bread


© Maggie Jochild, 28 October 2005, 7:44 a.m.


SPACE CADETS

One day when Mama took a nap
we turned a corner of the porch
into a spaceship. Hammered nails
to push as levers on the rail
Painted dials and colored buttons
with leftover Testor enamel
and lettered labels: Radar
Oxagin and Retro Rockets
We had to make two Retro Rockets
because it was our favorite one
and we could not agree who was in
command. We dragged over metal
lawnchairs and between two slats
we jammed a broken baseball bat
to be our joystick. Countdown, then
we flew to Saturn. With warp speed
it only took a minute, dodging the
Van Allen belt and asteroids

Turns out, the rings are solid, smooth
You can slid around the rings
on your bottom. Jupiter's giant spot
is a sea of red root beer
and the polar caps on Mars
are ice cream. We came back
to earth after Mama woke
and shrieked this was a rent house
Who was going to fix this damage
Cracker kids do not grow up
to become astronauts, you know


© Maggie Jochild, 6 September 2005, 7:15 p.m.



BEULAH LAND

When Mama was this age I am, I went
as West as I could go
She waved me down the road; she knew
I would not make it back in time

Travelers to the west seldom return
We miss them most at funerals
Sometimes they come through in April bringing flowers
And stand at graves alone

The dead will not forgive us in their own words
We conjure it ourselves in dreams
After long enough, you can forget
how your own mother's voice sounded


© Maggie Jochild, 30 July 2005, 6:37 p.m.

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