poetry

Glass. Packages. Blood.

/ Brett Ann Stanciu / 3 Comments

My daughters spent years playing with glass containers. Sure, we also had the usual endless assortment of empty yogurt containers, the odd plastic collection, the paper cups such as the beloved Easter bunny cups (known lovingly as cups-with-bunnies), but we made and sold maple syrup for years.

At one point, wedding favors in leaf or heart bottles was a chunk of our livelihood. I made endless trips to different maple distributors, loading up the back of my station wagon and often around my daughters in carseats with cardboard boxes of glass. That 8oz maple leaf with a gold foil top? Top seller.

I packed and shipped maple syrup in the PO’s flat rate boxes. Those boxes made shipping syrup a viable family endeavor, and I knew all the post offices in my small sphere of travel. Headed to story hour at the library? I swung by the Greensboro post office. Picking up more glass? East Montpelier post office. Need bike parts? Morrisville.

I had a “well, duh,” moment this week at the post office when I weighed a package to my parents. The clerk kindly handed me a flat rate box, tape, and a mailing label. I asked for use of a pen, too, then stripped off my winter coat and hat, and went to repackaging work in the PO corner. I sliced my fingertip on the blade of the knife dispenser and bled on the label and then on my check. All those years, so many bottles filled with sand and pebbles, with colored water and concoctions of leaves and flower blossoms, and I don’t remember a single glass cut on my daughters’ little hands.

I ripped up the check I’d bloodied and wrote another, left-handed and nearly illegible.

Cutting into with the ax,

I was surprised at the scent of.

The winter trees.

— Issa

Winter Koan.

/ Brett Ann Stanciu / 10 Comments

I stop in at the former Hardwick Gazette building, now turned into the Civic Standard, an organization trying to figure out itself. An acquaintance and I stand at the windows in the building’s rear, staring down at the Lamoille, where ice feathers only along the edges. The water is low enough that the rocks are mighty in the rushing current.

I drink coffee and sit crosslegged on the couch, and we talk for hours. I finally vaguely inquire if we haven’t had enough of our own words, and then we go on and on again. The building itself seems marooned in the 1970s, and even in 1972 the building likely felt stranded in 1957. An old printing press hulks beside us. One of us has an Hungarian immigrant family, and our conversation inevitably weaves in the first half of the 20th century.

December in Vermont is as good a time as any to ponder the Zen koan chop wood, carry water in the pieces of my life. Sunlight on the living room floor. Kim chi and brown rice. Reading Ruth Ozeki’s The Face on the rug.

Sunday afternoon, light snow sifts down, the sweetest gift, its fresh cold sweeping away our stale human layers of mind and emotion. I carry in an armful of wood to feed our little stove for the night. The snowflakes melt in my eyebrows. Finally, I think, finally, a scattering of snow. Then I quit thinking, close my eyes, and listen to the falling snow.

“The past is weird. I mean, does it really exist ? It feels like it exists, but where is it ? And if it did exists, but doesn’t now, then where did it go ?” 

— Ruth Ozeki

The Whole World.

/ Brett Ann Stanciu / 2 Comments

In the beaver dam realm, we spy the quicksilver flash of wet fur, bright eyes. The ice there is thin, barely beginning its winter’s work. We cross the snow-shallow field, then head into the woods and cut down again where the swamp lies in the fold between two hillsides, ghostly in its black-water, dead tree beauty. Then up, up, up we trudge, the dogs eager. We find bootprints in the snow, a few drops of blood from a wounded prey, and then we’re back again to the dirt road. All day, the light seems like twilight, and then we pass through twilight and into the night, and still we’re awake, talking, circling back to the same old subjects. In the morning’s dark, I scrape ashes from the stove and carry out the hot bucket. My brother stands on the porch, watching his dog nose at my herb garden. The damp rushes at my face.

“Like Maine,” I say.

“Yeah,” my brother answers. “But it’s Vermont.”

Happy Thanksgiving, wherever you might be.

“Assurance”

You will never be alone, you hear so deep a sound when autumn comes. Yellow pulls across the hills and thrums, or in the silence after lightning before it says its names — and then the clouds’ wide-mouthed apologies. You were aimed from birth: you will never be alone. Rain will come, a gutter filled, an Amazon, long aisles — you never heard so deep a sound, moss on rock, and years. You turn your head — that’s what the silence meant: you’re not alone. The whole wide world pours down.

— William Stafford

Sunday.

/ Brett Ann Stanciu / Leave a comment

My father emails me a Chris Hedges’ article, “Death of an Oracle,” about the recent death of poet Gerald Stern. I toss a few slivers of bark on my stove’s embers and listen while my cat stares out the window at two cardinals in the twiggy mock orange. The birds are brilliant crimson in the merciless November gray.

I’ve just submitted a 100-word story of Thankfulness to the zillion and more that the New York Times will receive this week. Mine is precisely 100 words, drenched with gratitude and, honestly, rage. My little cat flicks his tail at me, as if asking if I, too, see that pretty bird my cat would like to hunt. Indeed, I do. The birds are wise enough to understand the merits of glass and peck away at the grass, unperturbed. Sunday morning, and my list lies on the table. A long week looms ahead. As I listen, however, a kind of peace settles around me, and not simply because of the warming fire. I’m reminded that I never sought a life of blandness.

My cat yawns and naps. The cardinals disappear. I brew another pot of espresso. My brother’s coming for Thanksgiving, bringing steak and endless conversations about the utterly mundane, like Wordle, the downright silly, and gritty existential pondering about the afterlife. November is looking up.

If the Buddhist’s job is to be detached, I think that the artist’s job is to be both detached and attached.

— Gerald Stern

Which Way?

/ Brett Ann Stanciu / 2 Comments

Midday, I walk along Caspian Lake’s edge. By now, the summer people have long since gone elsewhere, back to their own tangled lives. In no mood to see anyone and chat, I take the woods path. I know my way well enough now — all these little wanders — that I know where to turn and hide when I hear voices through the woods. The day is clear, the water so transparent I can almost imagine swimming across its blue surface.

I’m so caught up in my mind’s little narrative that when I cross out of the trees and into a meadow I nearly step into a woman walking her dog. We nod and exchange little greetings about nice day and who knew November could be so pleasant? Her golden retriever rubs my knee. I crouch down and let her dog touch the palm of my hands with her nose. There’s nothing more between the stranger and me but this: the dog, the wet nose, the creature hungry to know me.

November is the beaver moon, sunlight falling through bare branches, and the question of winter: which way will this go?

Upon a withered branch
A crow has stopped this
Autumn evening

— Bashō