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January 2008

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13 Anniversary Issue

14 Green Winter

15 Elections Perspectives

16 Books

17 From the Streets

18 Abuse

19 Abuse Part II

20 Audiophile

Letters from the Editors

Nicole's Letter for HEART

Brooke's Letter for HEART

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All Because of a Hole: I

All Because of a Hole: II

All Because of a Hole:III

Subjective

Heart: journal entry

The Heart of a Trucker

Poetry and Art Corner

Love, XLV

Our Family's Heart

Homage to Esteban Jordan

Poetry of Jim Stewart

Beseme

Through My Heart

Pitty

The House of Love

Hole in My Heart

Poetry by Willie Garza

Scarred Woman by Bob Ross

Scarred Woman Prolog

Book 1

Book 2

Book 3

Book 4

Book 5

Book 6

Book 6.5

Book 7

Book 8

Book 9

Book 10

Book 11

Book 12

Book 13

Book 14

Book 15

Book 16

Book 17

Book 18

Book 19

Book 20

Book 21

Book 22

Book 23

Book 24

Epilog

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Book Three: Where the Heart Is


15. I slept away most of Friday evening.

 

             I slept away most of Friday evening. When I finally awoke, I decided that, instead of making another walking tour of downtown Lincoln, I would crack a beer at home and start work on my presentation for Leonard’s class. (I had to give a report on a Modern Poetry subject, and I had to acquit myself honorably if I hoped to pass with a “B”.) Sometime after midnight, as I sat tilted back in my chair, listening to late-night music over KUFM and nourishing my spite at T. S. Eliot, it occurred to me that one thing that seemed innovative about his poetic technique was in fact ripped off from the way tunes were interlaced in jazz—that his worked-in snippets of other people’s poems, quoted or parodied, functioned more like riffs than like, for instance, Milton’s allusions. Once this notion lit up my attention, I listened harder, and the more I listened, the more it seemed to me that I had found the key to his mysterious (considering he was such an arch-conservative jackass) creativity.

             I remembered that the roots of the Cubist movement lay in Africa. If the Modernist painters of the 20’s raided black Africa for techniques, could not the poets have done likewise with black America? I grabbed a pen and started scribbling. If I could demonstrate that riffing was “in the air” of the early 1920’s, I could make a case that Eliot must’ve heard and adapted it. I could argue further that the scat-like phrasing in poetry that began to show up everywhere following publication of “The Waste Land” might have come, not from Eliot, but directly from his source, black American singers and instrumentalists. Ergo, the constipated Jew-hating toady was not as influential as was commonly taught.

             That’s as far as I got with it that first night: a few lines scratched on a yellow note pad, surrounded by margins full of Afro-Cubist doodling. All the writing I did I could’ve put on a soggy napkin, but the fate of soggy napkins is, you lose them. I went to bed feeling accomplished because I’d have something tangible to start from in the morning.

             My idea survived the Shower Test: when I woke up, took a shower, made myself some tea, and sat down fearfully to examine what I’d written, it didn’t look as if a chimpanzee had thought of it. Even the marginalia were conventional in a Cubist sort of way. The result was that, unaccountably, I did something I’d never done in my life before. I spent a good part of each of the next five days in the library. I read a lot of boring pages, but I found nothing that would support my jazz-riff theory. That might be good; it could mean I’d hit on something original.

             When you use Love Library while the campus is on vacation, you find out who the real students are. Asian, African, Caribbean, Middle Eastern faces suddenly become the majority; quietly and sociably, people of color from all over the world are going about the business of educating themselves. It made me think of my father’s generation, how college had a meaning for many of them that it never had for me. My uncle Bertie, Dad’s brother, put himself through the University during the Depression by bussing dishes for thirty cents an hour. He got his meals at the back of a frat house, knew Weldon Kees and Loren Eiseley, and rode the rails with hoboes. It took him seven years to fight his way through; he wrote rhymed Marxist poetry for the Prairie Schooner and got his degree in Business Administration, then went to work for Westinghouse, stayng on as a company hack for the rest of his life. For all his Commie poetry, Bertie made the University his ticket to the middle class.

             Kind of an odd duck, Uncle Bertie. He lived alone in St. Louis and collected rare books and stamps. I could’ve used his record collection to help make my argument about T. S. Eliot, but Bertie died while I was in the Air Force; his stuff, for all I knew, had been dispersed. Luckily I knew another jazz buff of his generation, Jack Keogh, a banker from my home town. I figured he’d be glad to talk to me, because his son Ed had joined the Air Force on the same day I did. In fact, he was still in it, swooshing around over Nam. Ed was a better officer and pilot than I turned out to be, and got into the Thud program. Flying A-1’s as I had done was a joke, sort of like a Nazi on Hogan’s Heroes getting sent to the Russian Front. Thuds were jets; if you wanted to get somewhere in the Air Force, you had to get a jet. Ed Keogh wanted to get somewhere, so he got a jet.

             On Wednesday I made up my mind to drive to Palemon the next day. Even if the old man was gone with a load, the house would be open. I’d have Thanksgiving dinner at the Milestone and call up Jack Keogh. But on Thursday morning, I found myself uneager to go. Once I’d showered and poured a cup of coffee, I telephoned the cafe in Palemon and asked for my father. Good to hear from you, he told me when he came to the phone. Nope, won’t be home all day. Taking a load of feeders up to Aberdeen. Kind of a busy time. Be real glad to see you, though. Maybe we could have dinner together on Sunday. I told him I didn’t know, and to expect me when he saw my pickup in the driveway; I wished him a safe trip and hung up the phone, in dread of those empty hours in my father’s house. Pheasant season was on, and Pop had a nice old Ithaca shotgun which he seldom got to use, but in the three years or so since I’d taken up my recent occupation, blasting some desperate creature out of the air had lost its appeal for me. There’d be nothing else to do in Palemon besides drink.

             I put a couple of eggs on to boil and sat down to my notes. I’d already taken my project as far as it could go without the music itself, so I didn’t accomplish anything; nevertheless, the eggs had boiled nearly dry by the time I noticed them. Breakfast over, I rolled a narrow joint to help me focus on the accumulating homework for my other classes; I read a little of the Canterbury Tales—it was the right way to approach Chaucer—but after an hour I was staring at the page, the characters an out-of-focus blur. My problem, of course, was the party at Selva Andersen’s. Though I disliked her personally, I needed to see her red, red hair again.

             I closed the book and went out to buy groceries. On a shelf at the B&R I found a condensed-milk can with a pumpkin-pie recipe on the back; I got brown sugar, spices, and Quaker oats and chunky peanut butter for the crust. Instead of canned pumpkin, I purchased a big green warty winter squash, confident it would give more flavor to the pie. Back home, I lit the oven and tried to read again, but my eyes would not stay focused and my brain refused to connect with the paragraphs. Finally, I had to give it up; I lay down and took a nap while the squash baked.

 


 



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