Our parents constantly reminded us to stay away from the tracks. Parents are always nattering on about things to avoid—eating before exercise, eating before bed, eating in bed, crossing the street without looking both ways, acquiring a lover who is ten years older with an addiction to Xanax, not getting grossly drunk at a wedding and peeing in the azaleas—that it eventually becomes hard to imagine they had any fun in their own probably non-existent childhoods.
It’s enough to sit down in the middle of the street, / the garbage trucks picking up trash, / the school buses stopping and starting, / the dirty rain falling from the neon clouds;
The road narrowed down and twisted as they got closer to the lake. The hot air hit Marcus’s face, and he smelled algae and ashes. He thought that this might be the place. “Let’s camp here,” he said and stopped the car.
Because devotion. Because ether. Because the saint holds a paintbrush, his sorrow. Because the grass may grow sharply, its knives. Because wonder.
ut that Carroll, a food historian whose delightful nonfiction book, Three Squares: The Invention of the American Meal (Basic Books, 2013) garnered strong reviews, was simply gearing up for her emergence as an extraordinary nature poet in the tradition of, among others, Wordsworth, Emerson, Emily Dickinson, Walt Whitman, and Mary Oliver.
The minister is at the Days of Jesus before the girl arrives. He is in his office, waiting. His sermon is written and placed on the pulpit and he waits for the girl to arrive as he has all summer. She comes in the side door and takes the stairs to the basement practice room where she says she is working on her scales. The minister’s office has a large glass wall facing the basement. The girl looks up. The minister is standing at the bank of windows.
In the black water it is hard to see the body, one more shape floating amid chunks of ice. The railroad trestle looms ahead, the lights of town casting a faint latticework shadow on the water’s surface. There is no moon.
My first camping experience. We’re in Vermont over a Columbus Day weekend on the land of our absent friend Vinny. I’m keeping my husband company as the camera on its tripod records the imperceptible nighttime movement of the stars. Peace. Love. Tranquility. Until the mood is shattered by Ron’s passionate certainty that the two young strangers—unexpected intruders we’d encountered on this private land—are our murderers-in-waiting.