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Hope Is Conditional

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David Hadbawnik

Maybe all we really have is what’s right in front of us. So many of the plans that we made, dreams we had for the future – even something so ordinary as an upcoming ballgame, birthday party, or vacation – have been taken away by the Covid crisis. At times it feels like we are all, each of us in our little “self-isolated” circles, standing on a tiny island watching the water rise, swallowing things one by one.

Last year at this time my wife and I, and our soon-to-be one-year-old son, were living in Kuwait. Tina and I had full-time jobs as professors at an all-English private university. We were making good money and we enjoyed our work and our colleagues. But our tolerance for life in Kuwait, with its harsh weather and social restrictions, had run its course, especially with an active son who wants to play outside. So I reluctantly waded into the job market once again. 

I was delighted when a late-breaking opportunity arose as a Visiting Assistant Professor in the English Department at Wisconsin-Eau Claire. Two great friends of ours from grad school days were professors there, and we’d heard good things about the school and the area. Luckily – in a lightning-fast interview, job offer, and moving process that is a whole different story – things worked out, and we arrived in Eau Claire in August 2019. Our friends helped a lot, and we found the city itself and my new colleagues to be incredibly welcoming as well. The ability to walk outside in the pleasant summer air, visit the farmers’ market, go running on trails along the river – this was a miracle, one we didn’t take for granted after four years in the desert.

But I couldn’t relax for long. A position as VAP is transitional and transactional – you are providing temporary, needed labor to a university, with the idea that you leverage it into something more permanent elsewhere. This is the nature of the beast in today’s precarious state of higher education.

 Thus, I continued applying for jobs. Through an agency, I was referred for a job as “head of academics” at a small, private, Muslim-centered K-12 school in Austin, Texas. I eagerly applied and was soon invited to interview. This seemed like an unbelievable opportunity. My wife and I had met in San Marcos, just south of Austin, and we still had many friends in the area. After ten-plus interviews, both over the phone and in person on a campus visit, I was offered the job in early February. I negotiated and signed a five-year contract soon after, and with relief and joy we began telling friends and family, and posting on social media about our impending move.

And then came Covid.

Looking back now, it’s easy to see the warning signs. The early rumblings from China, the growing alarm in the rest of the world, the (false) reassurances from the Trump administration that we wouldn’t have to worry about an epidemic here. As recently as the second week of March, I was still planning to fly to Austin over our spring break to observe some classes at the school, still planning to meet with realtors to find out what kind of housing our stretched budget could afford, still gleefully making plans with our Austin friends.

In the space of just a few days in mid-March, everything changed. Austin’s famous SXSW festival was canceled (along with the NBA season, Coachella, many other events). Suddenly it became obvious I couldn’t fly to Austin anytime soon. Then I received an ominous email from my contact at the school, telling me they’d already had parents unable to pay tuition and were worried about enrollment for next year. Soon after that I spoke with the school owner, and she asked me to give her until mid-April to try to figure things out. 

I said yes – what else could I say? – and waited with chagrin as the virus ravaged New York, California, most of the country, while millions of people were instantly out of work. We began letting friends and family know that we might not be moving to Austin after all. And I informed my (very understanding) department chair that I might need to rescind my resignation.

A few days ago, I received a regretful message from the school that, indeed, they would not be able to honor my contract. Though we’d come to expect such news, it was still a blow. Still is a blow. In just a few weeks we’ve gone from dreaming of buying a house and enjoying the type of security that would see us towards retirement, to wondering how long we can afford our current rent, and what kind of employment prospects might lie ahead in this dark new world.

Is there hope? I refuse to subscribe to wild-eyed optimism – the wishful thinking of an administration that until recently claimed the virus would simply disappear in warmer weather – even as I refuse to submit to despair. Covid has already taken so much from so many of us. 20,000 dead and counting. Millions unemployed. Front-line workers and care-givers still without basic protections. And the small, personal things the rising tide takes away: the party we’d been planning for our son’s second birthday, and Tina’s brother flying in from Europe to celebrate with us.

What we’re left with is what’s right in front of us. The still-miraculous gift of taking walks outside in nature. My son’s face as he smiles and laughs and sings, blessedly oblivious to the worries of the pandemic. These moments give me the spark to get through the otherwise monotonous days. And they fuel my cautious hope, leavened with anger at what’s been lost. That hope is conditional on turning the anger into action to transform the world we go back to. A world in which we no longer tolerate the systemic inequalities, and the underfunded and overwhelmed health care system, that have made this crisis so much worse. A world in which we prepare for such storms rather than waiting for them to sweep over us.

David Hadbawnik is a poet, translator, and scholar  living and teaching in Eau Claire.

Hope is the thing that treasures the bone after the marrow is licked clean

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Hope is the thing that growls at dawn when you poke it with your toes. yowls and yawns. chases sunrise into the kitchen. kibble clinks tin, kettle whistles, toast pops, slurpy slops. hope pricks up its ears, chases its tail, guards the yard. hope squirrels away memories. piney hikes, campsites, gnawed sticks, marshmallow licks. hope pulls the lead. hope rescues. rangy, mangy, flea-bitten, parasite ridden. hope circles, settles, claims a spot by the hearth. hope is the thing that stays with you even when thunder drives her under the bed.

 

Lisa Henner is a writer and educator. She co-founded the Driftless Writing Center in Viroqua, Wisconsin where she lives with her husband and two indulged dogs.

Hope Is the Thing With Silence

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Jackie McManus

Hope is the silent thing, the space before

robins sound out their warning, seet-seet,

and the space after.

 

Hope is the thing that fills a room

when flowers and cards have had their say,

 

when our frayed and complicated lives shout

thank you from windows, doors and yards,

then go quiet, everything forgiven.

 

It is the toll of a church bell across the brooding sky,

its deep tenderness over a town, over a world in crisis.

 

Then hope falls on our grieving, so let us grieve.

And when we are done and not before

it won’t seem outlandish to look

 

to where we are and see how just showing up

has carried us.

 

Maybe there is a fear of hope.

There is a fear of hope.

Yet hope is in the silence that saves you

 

on an impossible day, waiting for things to be well,

listening to everything holy between sounds.

 

 

 Jackie McManus is a poet who splits her time in Washington and Wisconsin. She is the author of The Earthmover’s Daughter.

Hope is The Thing: Easter, Plan B

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Katherine Schneider

A corny Easter joke from Alexa reminded me I’d better get planning my Easter celebration.  The joke:

Q: What do you get when you pour tea on a rabbit?

A: A hot cross bunny!

Those of us who live with disabilities are used to planning and replanning on the fly. If something isn’t accessible, how can we make it work somehow? Is a daily question for us. Planning for Easter in the days of Corona, no problem!

I love Easter with its emphasis on resurrection and new life. In addition to the faith parts, there’s the friends and family, the food and the fun to be enjoyed. Some of my modifications this year:

I’ve ordered food a week ahead of time to be delivered before Easter. Hot cross buns are sometimes hard to find, so I have two people looking for them when they next go to the stores. If I get extra, I’ve already got friends in mind to share with. The friends and family will be greeted by calls or emails. No Easter lily, but the paper white narcissus I’m forcing should be blooming by Easter. 

Instead of attending services, there are many Facebook and YouTube choices (even at my convenience) in addition to the traditional radio and television options. I’ve already downloaded my favorite Easter hymn, “Jesus Christ Has Risen Today” from Freegal music to be played throughout the day.

As Rachael E. Goodrich said in her poem “Easter Is”, “Easter is…
Hoping, believing,
Reviving spent life,” May you have a blessed Easter, full of new life.

Katherine Schneider is a retired clinical psychologist and author. She blogs at http://kathiecomments.wordpress.com and has a column “Corona Chronicle” at www.cvpost.org

 

 

Hope is the Conversation that Keeps Us Together

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“So apparently ‘piss’ is not an acceptable Scrabble GO word. How can you be 50-0?”

“This week I am ranking all 22 Pixar movies—all I have left to watch is The Good Dinosaur. Can we re-watch Wall-E on Friday for our movie night? I need to revisit that one to get my rankings right. I don’t know if it will beat Coco or Toy Story 2.”

“You are the first spouse to photobomb one of our meetings—can’t you just use the other bathroom?”

“Thank me for this later. . . then tell your dad. ‘Where did Arnold Schwarzenegger find toilet paper? Aisle B. Back.’ You’re welcome.”

“We just have to ride our bikes up to the cones in front of the restaurant and they bring the food out to us? This is the best! I hope they keep doing this after everything opens again!”

“Papa, your camera is still pointed at the ceiling fan—all we can see is your left shoulder. You don’t need to hold the phone to your ear every time you need to talk.”

“You should show outtakes from your Othello videos for class at virtual happy hour tomorrow.”

“Yes, I agree it would be funny, but I don’t think we should record your video jazz band audition with me playing off camera and you just moving your fingers.”

“Am I the only one that thinks we should finish one bike before we bring another one into the living room?”

“Yes, you have to wait to use your power-up in co-op—we’re on the same team!”

“All I could see when I first logged in to your virtual office hours was the back of your head and the kitchen—what’s for dinner?”

“I already finished my math and social studies homework and I didn’t get out of bed once!”

 “Dad, I really don’t want to do virtual piano lessons! Can’t you and I just work on a larger piece together and then start lessons when school reopens? . . . . That lesson was awesome—do we have to do regular lessons once school starts back?”

 “You can ride around the block with your friends, as long as you stay on opposite sides of the street at all times.”

 “Now that school is online, I can just be a virtual vegetarian for my project. All I have to avoid is cyber-meat, so pass the bacon.”

“Hi! It’s your favorite hairstylist! You might have some crazy hair by the end of the month, but that is hopefully when we will get to reopen. Do you want to schedule a day for the end of May? I hope you and your family are healthy and safe!”

 

Paul Reid teaches writing at Chippewa Valley Technical College and has now added his own children to his class roster.

Hope Is The Thing I Deliver

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Amanda Zieba

In the first few days of the coronavirus quarantine efforts my family and I have relied on words to keep our social hearts happy. To show you what I mean, I’ll start by borrowing some words my husband shared on his Facebook feed.

“Maybe social distancing isn’t the right term? My family has been pretty social… through pen pal letters, email, texts, Facetime, Twitter, phone calls, Snapchat, Facebook messages, Instagram, and yelling across the cul-du-sac. A student even wrote me a letter. Make physical proximity distancing would be a better term?”

He’s right. Despite staying home, we’ve had more solid conversations with family and friends in the last week than in the past few months. I’m not exactly thrilled that my entire spring calendar has been wiped clean of paying-author-gigs, but this extra time at home, spent connecting with people I love a lot, hasn’t been awful. I’ve especially loved the letter writing. I always have. Each morning since this quarantine started, I walk out to the mailbox and place in a handful of hope and then put up the little red flag, signaling I have some to send, to share, some hope to spread.

This quarantine hasn’t been awful. It’s given me time to send a little hope in the mail, and to write this poem about the process.

 

Hope is the Thing I Deliver

 

Hope is the thing I deliver

one envelope at a time.

It arrives at your door unexpected

and hopefully brings a small smile.

 

Yes, I thought of you.

I hope that you are well.

This small token is filled

with stories I have no one else to tell.

 

Ink and paper,

well wishes and care,

all placed with love in this envelope,

and dutifully sent off somewhere.

 

If its arrival

brightened your day,

maybe return the favor

and send some hope my way.

 

Amanda Zieba is a firm believer in the power of real, snail mail. She is a writing instructor at Western Technical College and the author of ten books for readers of all ages.

Hope is an embrace

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Katy Hackworthy

Hope is an embrace which I’m learning takes many forms:

the elderly couple eating sandwiches over a kitchen sink, their love

encyclopedically etched into sagging faces, or the teens

tangled under a sizable spruce across the street, their tenderness

so delicate I have to look away, or the child forcing his face

into the cat’s fur, inviting the rough ritual of a tongue

traveling across his forehead, their bond becoming a promise.

 

We are all learning new methods of enveloping each other

without the tools of touch- we share poems in place

of firm squeezes, palm in palm, across the dinner table.

Instead of arms slung swiftly across shoulders, we share songs

to remedy all the ways we don’t know how to say “I love you”.

Our eyes entangle and instead of cradling a cheek in cupped hands,

or brushing loose locks behind an ear, we honor this new way

of holding each other the best we can, refusing to look away.

 

 Katy Hackworthy is an organizer, caregiver, and writer. Her work has been featured in Barstow and Grand, twig, Volume One, NOTA, and Literally, Darling. She resides in Minneapolis with her cat, Long Walt, and a mountain of books. 

 

Hope Is The Thing We Need To Go On

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Jaimie Vogelsong

His short little legs propel his big blue truck down the pebble covered asphalt, barely balancing his weight over the tailgate. I watch and wait. Will he make it down the driveway? Or will he lose control and take a tumble? Either way, the freedom of the outdoors and the thrill of the run are worth the risk.

As the one we affectionately call Monster Baby tempts the fate of skinned knees, his older brother Wild Boy rides his green bike.

He coasts down the hill, risking the same crash and burn as his younger brother. He rolls through the grass, unaware that standard bike protocol recommends pavement. He rides back to the fence to check on the dogs. He whoops and howls to hear the sound of his echoes as they vibrate around the neighborhood.

Wild Boy is old enough to notice we are spending a lot more time at home, but he is also young enough not to mind most of the time. About once a day he asks to leave for preschool or dinner or to visit the store. So far, we’ve gotten away with simple things like, “not today” or “sorry, it’s closed.” Monster Baby doesn’t notice or care at all.

Monster Baby and Wild Boy know that we’ve started making a few more phone calls to family. They’ve learned what video calls are and love the chance to talk to Grandma. They spend their days dashing through the halls in a shared super hero cape and driving toy cars through the house. They even got to claim a couple of boxes for all their important playtime needs.

They seem blissfully unaware of how scary the world is right now. They don’t know that Mom has worried about everything. Constantly. For days. They haven’t seen her tear up out of nowhere when she is suddenly anxious and fighting off panic or overwhelmed by the kindness of strangers.

The boys know that every day we will have lunch and then take naps. They know Mom has chores and Dad goes to work sometimes. They know that we will go outside in the afternoon if the weather allows, and probably watch a movie after dinner.

The boys know that something is different, but nothing is wrong. They know we are at home and that home is safe. Monster Baby and Wild Boy know that Mom and Dad will do anything for them. For today that means finding a new normal that actually feels normal by leaning in to the love and hope and kindness that makes things a little less scary.

Jaimie Vogelsong is many things, but most of her time is spent being a stay at home mother to Jack and Owen. She holds a Bachelor’s Degree in Environmental Science and worked professionally in both outdoor recreation and environmental regulations. She spends her days keeping the peace, evenings crocheting, and any spare minutes in the pursuit of knowledge.

Hope Is The Voice Shared Between Us

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Alexander Zitzner

“How can I even know what I’m doing in a poem without that other voice there?” -Matthew Rohrer Frank

Frank O’Hara would’ve been terrible at social distancing, but like us, he would’ve adapted. He’d befriended many bohemians comprising New York City’s “avant-garde” art scene in the 50s and mid-60s until his untimely death in 1966. Paging through a book of O’Hara’s will introduce a handful of these friends—John Ashbery, Amiri Baraka, Kenneth Koch, Ron Padgett, even Allen Ginsberg. It’s no surprise then that he loved parties—Picayunes, hor d'oeuvres, negronis, conversing & flirting over pop culture (O! it’s all so sexy!)—he just generally enjoyed company. From Bill Berkson’s A Frank O’Hara Notebook we know Koch described that O’Hara would, “become something of a germ in your life,” after befriending him (how endearing!), and that, “Frank worked every weekday at MoMA, and his friends used to drop in to visit him…”. This level of sociability would’ve run a high phone bill if he couldn’t leave his apartment.

*

As I write this sentence, it’s Friday, March 27th, 4:27PM (almost happy hour!), and I am recovering from Monday’s nervous breakdown, and am about to partake in a new Wisconsin tradition: the take-home fish fry. More importantly, it would’ve been O’Hara’s 94th birthday today and I imagine how hard it would’ve been (and still is!) to celebrate such an occasion alone—especially in New York City. In two poems that come to mind he explored this loneliness —in one of his many poems entitled “Poem” [light clarity avocado salad in the morning], he addresses an “unknown” lover with, “though a block away you feel distant”, then in “Poem En Forme De Saw” he tells us that, “I wanted to be alone / which is why I went to the mill in the first place / now I am alone and I hate it.” In self-isolation I find myself experiencing these lines as if they happened to me, though luckily, O’Hara has a solution: PERSONISM: A MANIFESTO.

*

Currently we can’t see our friends. Personism is then useful as a way to bridge the gap by writing poems to your friends. The last section of the manifesto is where this idea is revealed—the placing of a poem between the writer and another person—like a phone call—where the writer’s voice is conversing with that of another on paper. O’Hara did this to preserve romantic love, but to expand this idea, as my friend Katy Hackworthy has helped me understand, platonic love doesn’t hurt a poem. “What can we expect from Personism?”, he then wrote, “Everything, but we won’t get it,” and he’s correct. I subscribe to art critic John Berger’s idea that, “Poetry can repair no loss but it defies the space which separates. And it does this by its continual labor of reassembling what has been scattered.” So to say we’ve been scattered. Emotionally, physically, financially, you name it—except Paul Celan once wrote, “here the distances decline,”—and my “here” is each poem written this way. The day by day, conversation to conversation attempt at reassembling hope. The strengthening of friendships through the voices of them inside my head

Hope Is Spring Garlic Tops

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Derick Black

Last October a co-worker and I were discussing gardening when I had mentioned I wanted to grow garlic. His response was, “Now’s the time!  Get some bulbs in the ground before the first hard frost.” So, with limited knowledge but a head full of “You bet you can,” I headed to the garden and prepared an area for the garlic bulbs, planted them a few inches deep, then covered the bed with a healthy amount of mulch.  With mud beneath my nails and hope in my heart, I walked away from the garden. By 8:00 that night I had forgotten all about the garlic because there were pumpkins to carve. 

February of 2020 turned out to be one filled with personal and international headlines.  Personally, I was home recovering from shoulder surgery and transitioning to life in a recliner. Internationally, the world was transitioning to life with a new, deadly virus. Like most in the insulated midwest I watched the headlines with a drop of growing concern but was more focused on the snowmelt, the deadfall sticks in my yard, and the prospect of raking with only one arm.  After the evil joke that was the winter of 2019, I found my spirits rising with the mercury in the thermometer and the waters in the rivers. A deadly virus is serious stuff, but so is a pair of mating robins and a snow-free yard before the first of March. 

Then things got real. 

COVID in Wisconsin.  COVID in Eau Claire. Seed catalogues in the mail. 

I tend to read seed catalogues like science fiction.  There is a significant amount of suspension of disbelief as I read vegetable names and assign protagonist or antagonist roles to each one.  The good guys: Imperial Star Artichoke, Jersey Giant Asparagus, Baby Wrinkles Pumpkin. The bad guys: Annihilator Bush Bean, Redhawk Cabbage, Delta Yellow Crookneck Squash.  I buy them all with hope of bountiful fall harvest. I’ll plant this spring with a hope for the unknown. May the best vegetable win. 

Last week I took advantage of unseasonably warm weather and walked to the garden to survey the land, take stock of the work to be done, and dream.  Standing like soldiers were greyed stalks of corn overlooking bent tomato cages and a colorless cucumber left in the weeds. I knelt in the dirt and with my good arm reached in and let the soil break apart in my fingers.  Cold and loamy, I held the material that would soon cradle the seeds. But something to my left caught my eye and broke my reverie. There, poking through the mulch were the pale green tops of garlic. Anemic and fragile, somehow, through the cold and harsh winter, they found a way to slowly reach skyward - into the oncoming spring and beyond. 

Derick Black is a Middle School Language Arts teacher in Eau Claire.  

Hope Is The Thing with Four Leaves

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Scout Roux

When lady luck weeps

with her many heads

in the day, taut red stems bent

below the windowpane, I know

to take her to the kitchen sink, watch

until the water comes out the other end

brown, salt soaked, and washes down

the drain.

And an hour later, how I am stopped

by her response: sparse wave

of buds

of green growth rising to the east

folded like hands in a prayer

for peace.

I got my luck some place local.

When the cashier asked

if I found everything alright

I let her know

with a smile I had

more than I need.

Hope is a Conversation in a Bar

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Anna Loritz

This morning I received a disappointing but not unexpected email. Back in February I accepted a job offer working for a non-profit in New York. My start date was pushed back in light of the pandemic, but I remained hopeful.

The gist of this morning’s email: It is highly unlikely the organization will run programs for the rest of the year, and in an attempt to preserve itself, the organization is laying off a majority of its employees, including me and my boss. My boss, his wife, and their two children have all tested positive for COVID-19.

I’m disappointed in my lost opportunity and anxious for my “would be” boss and his family, but I am heartbroken by the prospect of the organization closing. The Hudson River Sloop Clearwater is a 19th century replica sailing vessel with an environmental activism mission. Since the late ’60s, this 100-foot historic wooden sailboat has worked to educate the public -- particularly young people -- about environmental protection and restoring and preserving the ecosystem of the Hudson River. 

In an alternate version of the next six months, I would be sailing with school groups, casting nets for critter population samples, teaching the physics of sailing, performing science experiments right on deck, singing sea shanties...sun on our faces, wind in our hair…

About a year ago, I decided to leave a stable job as a classroom teacher to lead the unpredictable life of a tall ship sailor. The tall ship's world is full of organizations like Clearwater. They seek to educate about history or science while preserving the art of sailing historic wooden ships. Some are right in our backyard, Denis Sullivan in Milwaukee and Inland Seas in Suttons Bay, Michigan.

Many worthy nonprofits are having to shutter their doors these days, but it is unlikely that many ships will recover from this pandemic. They rely on their summer sailing season to fund their maintenance costs, slip fees, and crew wages. One summer without sails could easily result in hauling out their vessel for it to sit in a shipyard. When a wooden boat dries out, the wood shrinks, and costly leaks are formed. They need to sail to survive.  With daily news of closures from sailing friends and former crewmates, I’m witnessing the slow death of one of my greatest passions. 

As I stared at my laptop, letting the reality of the email sink in, my mind kept wandering back to a conversation I had in a bar one rainy October night, when I was a deckhand on the Lady Washington

The Captain and I each had a few empty glasses and a brandy in front of us.  We were chatting about the organization's financial troubles, and he said, "Quite honestly a lot of tall ship organizations are not in a good spot. I think if there is another recession or another big....whatever, only a few will weather it." 

“Which ones?” I asked solemnly. 

Clearwater,” he nodded, sipping his brandy. “They’ll survive.” 

Part teacher, part sailor, Anna Loritz is spending this time of “social distancing” reading, writing, catching up with friends on the phone, and making masks for the Children’s Hospital of Wisconsin.

Hope Is The John Prine Song You're Thinking Of

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Ben Theyerl

I was standing in a farm field in Eau Claire a few years back when John Prine wandered back into my life. He'd first been there during childhood, when my Grandfather'd search the dial in the airwaves north of Milwaukee, and I'd listen closely as a man sang "Hello in there, hello" through the radio fuzz. And then he was standing there on stage, singing that song again and well, that was it.

Since then I've been processing life via John Prine. Heck, I've been processing this pandemic via John Prine, and if there's anything good to come out of his departure, it’s that it may make it so others have the comfort of his music as well. You could tap Prine as a master at every little thing he did with folk music—his storytelling, his wit—but you'd be better off to not delineate it. Prine's music has a way of registering with you about life on the terms that life is registered in real time. His brief thoughts were endless. He took the massive complex problems of the world, boiled them down, and showed them to be unabashedly human. And so, Prine's music sticks with you in intimate moments. His words are poetry not in the sense that they're so good they're poetry (though they are), but in that they cast shadows, and ultimately can be heard and misheard. His songs are stories of lives lead that you find yourself leading, even if you don't work with a guy named Rudy at the factory, or all your smiles are legal.

Every few weeks, there’s another Prine song ready for whatever moment arises. My school shut down and suddenly college was over a few weeks back. In the last few days, it was “Bruised Orange (Chain of Sorrow)”, off the album of the same name. The end was near, and my heart did feel "in the icehouse, come hill or come valley." It was the second verse that I kept on repeating in my head though: "I've been brought down to zero, pulled out and put back there," and not least of which because in this particular instance I had "sat on the park bench, kissed the girl with the black hair," and my head "had shouted down to my heart, better look out below."

Looking back on Prine's life, it’s beautiful that he slipped into old age like he'd meant to be there his whole life. He was a caricature of the wisecracking relative you always had in your sepia vision of American life, though his jokes made you slap your soul instead of your knee. They reached deeper, were more generous, proved that if you mixed humor with life it equaled empathy. As a testament, "Hello, in there," "Sam Stone," and "Angel from Montgomery," all are celebrated for cueing into the nub of human existence, despite Prine himself never fully embodying that existence. On writing his songs through these characters Prine once said, "no one told me I couldn't," and so he did. And perhaps, that's his lasting lesson for us stuck down here. No one's told us we can't be there for each other, can't be kind, can't be human, so we may as well be. And God Bless John Prine, that lesson comes with forty-five years of mesmerizing, honest-to-goodness, soul-saving music for us to enjoy. Smoke that nine mile cigarette John, and take in the show.

Ben Theyerl is a student and writer from Altoona who currently resides in Maine.

The Comfort Of A Poem: Reflections on Mary Oliver’s “Mysteries, Yes”

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Angela Hugunin

 

I write near the window, in the stillness that only accompanies early mornings. Today, it’s so dark it could be dusk. Fog clings stubbornly to the pine trees in the yard, and my eye settles on our youngest maple. It’s nothing like its predecessors: two towering ashes who stood, stoic and strong, until a sickness stripped them of strength. The baby maple’s trunk is wrapped in some sort of plastic casing, a plaster cast. The tree isn’t beautiful yet; in fact, it looks rather battered. But it’s growing.

A band of tulips is beginning to poke through a patch of mulch. Just last week, it snowed. The tulips didn’t seem to notice or care.

Sometime in the three weeks since I unexpectedly returned to my family home, the grass darkened its hue. It’s no longer a burnt shade of beige, but a deepening lime. By summer it will be the color of emeralds.

When did I last look at these things? I’ve missed so many of these simple miracles by trying to figure other things out. I’ve buried my head in questions that don’t yet have answers, only to emerge stumbling and unsatisfied. Perhaps now isn’t the time for certainty. Perhaps that’s OK.

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My favorite poet, Mary Oliver, explores this paradox of living in her poem, “Mysteries, Yes.” I first discovered it after my aunt gave me a massive collection of Oliver’s work. I was drawn to this poem in particular from the get-go. In it, Oliver explores the enigmatic beauty of the world around us. She celebrates the fact that life is difficult to pin down. When I first read the poem a few years ago, I was already far from a fan of uncertainty. Yet I could sense that Oliver was onto something.

How often do I move too quickly to take in the countless “mysteries too marvelous to be understood” in my own life? I’ve gotten comfortable taking the steady growth of my houseplants for granted. I never look at a full plate of food and contemplate the wonder it is that someone had to plant the original seeds, harvest the crop, ship it, and prepare it, and that the result of all that labor can bring me energy. Rarely do I grasp how remarkable it is that art offers consolation through all sorts of human emotion or, as Oliver puts it, “How people come, from delight or the scars of damage, to the comfort of a poem.”

I’ve lost count of how many times poems have settled my internal storms. They’ve let me sit with my sadness, ponder it, and almost befriend it. They’ve humbled me by giving me a window into the pain of others. They’ve restrained me from assuming I can grasp things with utmost certainty; they’ve reminded me that this world is far from static.

From where I write, the world is a storm of scars and grief, and somehow, of unexpected delight. This mélange isn’t logical. It’s a mystery. But perhaps now is the perfect time for such a thing.

From where I write, the world is a storm of scars and grief, and somehow, of unexpected delight. This mélange isn’t logical. It’s a mystery. But perhaps now is the perfect time for such a thing.

Perhaps this is the time to take an extra slow sip from a piping mug of coffee, to let the steam melt into the waiting face and to savor the way that dark substance can invigorate the body. Perhaps this is the time to gaze at squirrels in the yard, those lucky rodents who don’t seem to realize—or care—that we’ve changed, those chipper squirrels whose routines continue with full gusto despite everything else. Perhaps this is the time to sit with someone you’ve grown accustomed to seeing each day, to stare at their familiar face under familiar light and look for the unfamiliar things that made you love them in the first place.

This is a time when one of the few things we’re certain about is how little certainty there is. We can scramble to find answers and do what we can to act in the midst of these swirling questions and trials, but this can also be a time to pause. Somehow, in the middle of all these current messes, there are still pleasant—even delightful—mysteries to be found. There are friends to check in on (from a distance), there’s astonishment to be shared. There are poems to be read. There is hope to be found, embraced, passed along.

The heavy blanket of fog in the yard has lightened so that it’s no more than a sheet. The baby maple, still alone, stretches up from its cast. Next year, it may be crowned with leaves, and someday, it will give us shade, like the ones who came before it. Somehow, in the midst of everything, it grows stronger each day.

 

Angela Hugunin is a writer in Eau Claire, Wisconsin and an intern for the Chippewa Valley Writers Guild.

Hope is a Magic Pillow

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Sarah Jayne Johnson

When I was around 10, I got the stomach flu and it changed me. For whatever reason, this singular night of porcelain companionship triggered a lifetime of hypochondria and illness-related anxiety that made me feel hopeless, lonely, and stressed. I started changing the way I did things to reflect a little voice in my head telling me if I didn’t do things a certain way, I’d get sick. A voice that would circle and spiral until I was crying nearly every night when I went to bed. I wanted so badly to have control over the thing that I feared most, and I started to lose my mind when I couldn’t have it.

One night, while wiping big red tears from my eyes, my dad came and sat at the foot of my bed. He had brought me his coveted “magic pillow” that made any big, terrible thing melt away from the moment your ear touched the pillowcase. 

“Okay, so what’s wrong?” he asked.

“I don’t know I just, I don’t want to get sick,” I said, between shallow, uneven gulps of air.

“Well,” my dad said, “that’s not always up to you. Sometimes we have to realize that a lot of things in life are out of our control, and that’s okay. You can only do all you can do.” He then wrapped the covers around me, fluffed my pillow, and my fear subsided a bit.

The world is a giant, beautiful, and scary sphere spinning around whether we like it or not. Now more than ever, it’s important to lean on each other (figuratively, of course) to hold this big blue ball in place. Comfort yourself by comforting others. Grieve openly and in unison with those you love.  Be vulnerable from afar, and recognize that hopelessness only wins if you let it. Talk to the people you love because, chances are, they’re going to love you right back. And when all of this is over, and we start to settle back into normalcy, that love will still linger.

So grab your magic pillow, and maybe call your dad if you can, because you can only do all you can do.

Sarah Jayne Johnson is a writer and community advocate living in Eau Claire, Wisconsin.

Hope is the Thing Whose Paws Twitch When She Dreams

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Deb Peterson

The good girl walks easy,

sure-footed on a path she knows by heart.

Her nose, a tuning fork, vibrates

at cracker crumbs on a sidewalk,

stains on a fluttering wrapper,

a soggy tidbit half-buried in slush.

Some days when she pulls hard,

the leash follows her lead.

Some days, a squirrel dashes up a tree;

in her heart, she chases it into the sky.

Nobody hopes like a dog, and nobody who has a dog for a friend can be without hope. Under the name Delaney Green, Debra Peterson writes long and short works of speculative fiction. Her short fiction has appeared online and has been published in Black Dandy; Barstow & Grand; Bouchercon 2014: Murder at the Beach; and Passages: Best of NewMyths. She has worked as a reporter, a copy editor, a professional actress, a Broadway theater concessions manager, a high school English teacher, an adjunct professor, a farm laborer, and, lately, a coronavirus mask-sewer. She writes sporadic blog posts at delaneygreenwriter.com.

Hope Is The Thing We Hear

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Jessi Peterson

Hope is the thing

we hear, or in this case don’t

when the traffic noise from Hwy 29

no longer follows the curvature of the hills,

singing down slopes, channeling

down ravines to reach us.

 

Hope is what we are listening for now,

the rippling trill of the crane’s return,

often flying too far up to be seen.

 

The soft sough of wind through the feathers

of swans as they aim for pooled snowmelt

in the fields west of town, a spot
to rest, to glean like Ruth

what’s left of last year’s harvest.

 

The late night yodel and yip of coyotes

from the prairie floodplain along the river,

already such consummate artists

at social distancing they hear me crack

our patio door a quarter mile away

and clam up.

 

The rumble of a neighbor’s truck, dropping off

a widow’s mite of wood

for my mother’s woodstove

but not dropping in.

 

The almost silent rasp of my pet snail eating,

just out of estivation while we go in,

his retractable teeth contending with spinach and waiting

for the grass I planted in his cage today to sprout.

Waiting like the rest of us, taking things at the pace he knows

that we don’t know yet.

Jessi Peterson is the children’s librarian in Chippewa Falls and her favorite days of the week are storytime days. She misses reading and singing and acting silly with kids at the library while we are all doing our best to tamp down COVID-19.   She is a poetry reader for local literary journal Barstow and Grand (submission period open now!) and her work has appeared there as well as in Wisconsin People and Ideas, Sky Island Journal,  Crab Orchard Review and the Local Lit column of Volume One. Her chapbook Century Farm is forthcoming from Finishing Line Press.

Hope Is The Thing That Glints

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Jennifer Eddy

From the wet slicked-back grass of spring

Flattened by these many months of winter

Which even now have not completely left us

Hope gleams forth

From what once was snow,

Before sublimation

And passing traffic turned it coarse and dark.

 

Hope is the thing that splints

Our spirits from exhaustion—

Wildfires, contagion

Locusts:

The plagues

Of choking over-population—

Murmuring, Rest.

Your Prince will come.

 

Hope is just the thing,

The unrecognized yearning

A glimpse

Unexpected

Of the precious ring

You thought you’d lost forever

Last December

Glinting now in the dull grey grass.

 

Jennifer Eddy is a grateful member of The Poets of the Oak Lair and the Chippewa Valley Writers Guild.

Hope is the Thing In The Corner

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Alex Tronson

At the supermarket, two men claw each other over a six-pack of toilet paper rolls. They’re fighting over the good stuff, though. The off-brand rolls stay stocked, undesired, the last kids picked in gym class. The men are loud. I can hear the fight from my small balcony—the only fresh air I get these days. I retreat inside. Each time the world ends I try not to think about it.

I wrestle with the remote and bypass the news for something more my speed. A Robert Mitchum film, an episode of Ghost Adventures, whatever’s popular on HBO. I watch television until my eyes dry up. My partner, Cheryl, is doing taxes in the bedroom. She says to herself, “it all feels kind of futile, now, doesn’t it?”

“What does?” I say. “Taxes?”

But she’s not talking to me. She’s plugged in, crunching numbers and despairing over the sum.

“I should be more productive,” I say. Write a song. Write a poem. Do my homework. But after a minute, I say, “No, I should do whatever I want.”

I hope that someone, somewhere, is working harder than I am. That someone, somewhere, is intelligent and qualified and making great leaps of progress. That someone, somewhere, isn’t feeling as defeated as I am. But Hope cowers behind the armchair in the corner. Hope peeks out the window by the television.

Later, Cheryl rummages through the kitchen cupboards. She says, “We should go to the store soon, probably, don’t you think?”

“Is that a good idea?” I say from the couch. “Right now?”

“Okay,” she says. “Fine. How much peanut butter do you want on your toast?”

I’m not a scientist. I’m not in the profession of health care or sanitation. I’m not a parent. I’m not swabbing the nostrils of the sick or developing vaccines. I’m a grad student. I’m watching old movies and chatting with my classmates over the internet. I’m reading thousands of tweets and hardly writing them.

“Do you think we should be doing more?” I say. “Sewing masks and whatnot?”

Cheryl brings over two plates of toast. She sits next to me on the couch. Her leg rests over my leg. We’re alone together, I think. But even that’s a luxury.

She takes a bite and chews it slowly. “You don’t know how to sew,” she finally says. “Plus, we’re inside. We’re distant. We’re doing what they told us to do.”

“Is that enough?” I say.

Cheryl shrugs as if to say: what’s enough?

Hope is still ducked in the corner. Hope stares with shiny, pleading eyes. Hope is looking for a spot on the cushion between us, waiting for me to give the signal.

Alex Tronson is a writer from Minneapolis, currently an MFA candidate at the University of New Orleans. His fiction and essays have been published in Barstow & Grand, Red Cedar Review, and The Summerset Review. You can find him online at @alex_tronson

Hope is Toni Morrison

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Jonathan Rylander

I’ve been trying to wake up earlier these days, and I take certain strides to make it happen.

“Alexa, set alarm for 6 a.m.”

My partner, Chris, hates me for doing this. He also hates the phone alarms that go off in the middle of the night, that I forgot to delete because I honestly can’t remember how many I actually set.

“Jonathan!” he’ll say. “For God’s sake, why do you need to be up that early on a Saturday?”

And I’ll say something along the lines of, “I want to get a jump on some work” or “I need to  write.”

But what I haven’t exactly admitted to Chris is what I’m really trying to do. What I’m really trying to do is re-see my craft as a writer, and to do so I’m trying on new methods or strategies of authors I admire. Take, for instance, Toni Morrison. I once read that her early morning routine involved making coffee and writing while—keyword while—it was still dark outside. The beauty in the moment, for her, must have rested in the sort of inspiration that could only emerge as the first speck of dawn broke through the crack of her eye, or how the first warmth of morning sun settled into her skin. 

In waking earlier, I’m trying to follow Morrison’s lead. Surely, she did something right.

In my composition course this spring, I’ve turned to Morrison again in assigning her 1993 Nobel Prize Lecture as one possible text that students can rhetorically analyze for their first paper. If you haven’t read or listened to the speech online, it’s moral lesson essentially boils down to this: language is fragile and what we do with it is ultimately in our hands.

Of course, the speech is much more complex in the way it engages issues of oppression and violence, and of how it employs such beautiful imagery to do so—such as this fragile bird, one that symbolizes language and that sits in the hands of young children standing before a blind woman.

Indeed, Toni Morrison gives me hope. Other writers give me hope, and listening to their craft, to how they do it, matters. Such listening enables me to re-see my own work, to re-shape words as they rest within the pen I hold or the keys I type.

My partner and I argue a lot. When it comes to political matters and philosophical debates, we often clash and fail to meet eye-to-eye. Without doubt, we will continue to argue. But when Chris tells me to stop worrying about setting all these alarms, maybe I need to stop arguing and listen more carefully to what he might really be saying. What he might really be saying is this: when it comes to your writing, when it comes to your words, what you do with them is ultimately in your hands. 

Jonathan Rylander is a Guild member and Assistant Professor of English at UW-Eau Claire. He also directs the Center for Writing Excellence on campus. When he’s not writing or teaching, he enjoys exploring the north shore of Minnesota and seeking out the newest, hippest dog park with his partner and Beauregard Lee—their Bernese Mountain Dog.