Showing posts with label Donal Mahoney. Show all posts
Showing posts with label Donal Mahoney. Show all posts

Wednesday, May 1, 2013

Donal Mahoney

Mike Fitzgibbons and His Morning Paper

For 35 years, Mike Fitzgibbons had never missed a day driving off at 4 a.m. to buy the newspaper at his local convenience store. Snow, sleet, hail or rain couldn't stop him. There was only one paper being published in St. Louis at the time but Mike was addicted to newspapers. He had spent his early years reading four papers a day in Chicago--two in the morning and two in the evening. He worked for one of them and enjoyed every minute of it. However, an opportunity to earn more money as an editor for a defense contractor required his large family's relocation to St. Louis. Mike needed more money to feed a wife and seven children.

"Words are words," Mike said at the time. "Being paid more money to arrange words for someone else seems like the right thing to do."

Writing and editing were the two things in life Mike could do well enough to draw a salary. It broke his heart to retire many years later at the age of 68 but it seemed like the best thing to do. His doctor had told him he might have early Alzheimer's disease and that he should prepare for the future since the disease would only grow worse. Mike never told his wife or any of the children about the problem. His wife was the excitable type, and all of the children had grown up and moved away, many of them back to Chicago where all of them had been born. Each of them had acquired a college degree or two and had found a good job. Most of them were married. Mike and his wife now had 12 grandchildren and were looking forward to more.

"You can never have too many heirs," he told his wife one time. "Whatever we leave, it will give them something to argue about after we're gone. They won't forget us."

After the doctor had mentioned the strong possibility that he had Alzheimer's disease, Mike decided to have the daily paper delivered to the house instead of driving to the store every morning to buy one. And on most days that seemed like a good decision. But not on the infrequent days when the deliveryman soared by Mike's house without tossing a paper on the lawn.

The first time it happened Mike called the circulation department and received a credit on his bill. He did the same thing the second time, managing to keep his temper under control. But the third time occurred on the morning after the Super Bowl. For Mike this was the last straw. Three times he told the kind old lady in the circulation department to tell the driver Mike was from Chicago originally and in that fine city errors of this magnitude did not go unanswered. A credit on Mike's bill, while necessary, would not suffice.

When his wife Dolly got up, he asked her, "How the hell can I check the stats on the game without my newspaper?" She was only half awake. Mike was a very early riser and Dolly, according to Mike, was a "sack hound."

A kind woman, Dolly had always tried to be helpful throughout the many years of their marriage, so Mike understood why she eventually suggested he drive to the QuikTrip and buy a paper. Then he could read about the game and check the stats, she said.

"That's not the point, Dolly," Mike said. "I have a verbal contract with that paper for delivery and they are not keeping their side of the bargain. A credit on my bill is not adequate recompense." Mike loved the sound of that last sentence as it rolled off his tongue. He always loved the sound of words whether they were floating in the air alone or jailed in a sentence or paragraph.

What made matters worse, Mike told Dolly, is that without his newspaper he would have no way to check on the obituaries of the day. The obituaries were Mike's favorite part of the paper. Back in his old ethnic neighborhood in Chicago, the obituaries were known as the Irishman's Racing Form.

Back then, many retired Irish immigrants would spend the day reviewing the obituaries in the city's four different newspapers. Finding a good obituary primed them for conversation at the local tap after supper. The tap was run by the legendary Rosie McCarthy, a humongous widow who did not suffer any nonsense in her establishment. But she did offer free hard-boiled eggs to customers who ordered at least three foaming steins of Guinness. Eggs were cheap in those days. It was rumored that Rosie had to buy 10 dozen eggs a week just to keep her customers happy.

"Rosie knows how to hard boil an egg, Dolly," Mike had told his wife many times over the years. And his wife always wondered what secret Rosie could possibly have when it came to boiling eggs.

One reason the obituaries were of such great interest in Mike's old neighborhood involved the retirees wanting to see if any of their old bosses had finally died. Some of those bosses had been nasty men, so petulant and abrasive they'd have given even a good worker a rash. There was also the possibility that over in Ireland, the Irish Republican Army might finally blow up a bridge with the Queen of England on it. The IRA had been trying to do that for years. Many bridges had been blown to smithereens but not one of them had "Herself" on it.

"The IRA keeps blowing up bridges, Dolly," Mike would remind his wife. "You would think one of these times they'd get it right. They know what she looks like."

In addition to reading four newspapers a day as a young man, Mike had had other hobbies during his long and tumultuous life. He had bred rare Australian finches for decades and had won prizes with them at bird shows. However, after his last son had graduated from college and moved away, Mike sold more than 200 finches and 40 cages because he no longer had a son available to clean the cages. Five sons had earned allowances over the years cleaning the cages at least once a week. All of them ended up hating anything with wings. One son had even bought a BB gun and would sit out in the yard all day while Mike was at work. That boy was a pretty good shot. No one knows how many woodpeckers and chickadees he managed to pick off.

After Mike sold his birds, he took the considerable proceeds and plowed all of the money into rare coins. For the next ten years he collected many rare coins but when he retired he figured he may as well sell them because none of his children had any numismatic interest. Not only that, none of them would have known the value of the coins if Mike died. Some of them were very valuable--the 1943 Irish Florin, for example, in Extra Fine condition would have brought more than $15,000 at the right auction. Mike loved that coin and kept it, along with all the others, in a large safe in the basement. Guarding the safe was a large if somewhat addled and ancient bloodhound. Mike had bought the dog from a fellow bird breeder when it was a pup. The bloodhound wasn't toothless but he may as well have been. He wouldn't bite anyone no matter how menacing a robber might be.

"I love that dog, Dolly," Mike would tell his wife every time she suggested that euthanasia might be the best thing. "That dog, Dolly, is as Catholic as we are and Catholics don't abort or euthanize anything," Mike said.

When Mike finally sold all of his coins, he had a great deal of money that he viewed as disposable income. Dolly, however, viewed it as an insurance policy in case Mike died first. Mike had a couple of pensions but he had never made Dolly a co-beneficiary. In fact he convinced her to sign waivers so the payout to him would be larger. Dolly didn't want to do it but signing was easier than reasoning with Mike. His temper seldom surfaced but when it did, things weren't good for weeks around the house.

"I get mad once in awhile, Dolly, but I always apologize," Mike would remind her.

Mike finally decided to put the coin money into guns--big guns--although he had never shot a gun in his life. He refused to go hunting because he saw no sense in killing animals when meat was available at the butcher store. The kids used to joke that maybe deer and pheasant were Catholic, too.

Some of the guns Mike bought were the kind you would see in action movies. Mike always liked action movies. The more the gore, the happier Mike was. But he had to go to action movies alone because his wife hated gore but she liked musicals. No musicals for Mike, although he would always dig into his pocket to give her the money for admission, complaining occasionally that the cost of seeing musicals kept going up.

"I don't want to spend good money to see a bunch of people in costumes and wigs singing songs together when Frank Sinatra, all by himself, sings better than any of them." Sinatra had a good voice, the kids thought, and it probably didn't hurt that he was Catholic. One of them once suggested to Mike that it might be nice if they played a recording of Sinatra's "Moonlight in Vermont" at church. Mike didn't agree or disagree because he thought some sacrilege might be involved.

Mike remembered his gun collection on the day the deliveryman had failed to throw his newspaper on the lawn. He decided that the next morning he would sit out on his front porch at 3 a.m. with a big mug of coffee and the biggest rifle he owned. When the delivery van drove down his street, he planned to walk out to the curb, rifle in hand, to make sure he got his paper and to advise the driver of the inconvenience his mistake of the previous day had caused.

"There's no way this guy's a Catholic," Mike said to himself. "Three times now he has skipped my house with my paper."

The next morning things went exactly as planned--at the start. Mike was out on his porch with his rifle and coffee at 3 a.m. when the van came rolling down the street. Mike got up and strolled down the walk toward the van, his rifle resting like a child in his arms. Mike couldn't have known, however, that the van driver had been robbed several times over the years and that he carried a pistol in case someone decide to rob him again. When he saw Mike coming toward him down the middle of the street carrying a rifle, the driver decided to take no chances. He rolled down the window and put a bullet in Mike's forehead.

One shot, dead center, was all it took, and Mike, still a big strapping man, fell like a tree.

The next day the story about the death of Mike Fitzgibbons made the front page of his beloved paper and Mike himself was listed in the obituary section. The obit advised that friends of the family could come to the wake at Eagan's Funeral Home on Friday. It also pointed out that a Solemn High Funeral Mass would be said for Mike on Saturday at St. Aloysius Church, where Mike had been a faithful member and stalwart usher for decades.

Two days after the funeral, a neighbor was shoveling snow for Mike's widow. He happened to look up and saw the missing newspaper stuck in the branch of one of Mike's Weeping Willow trees. Mike had an interest in Weeping Willows and had planted a number of them over the years, too many some of the neighbors thought for the size of his property. This was the first time a newspaper had gotten stuck in one of the trees, his wife said. And it would be the last time because she had canceled the subscription to the paper the day Mike died. Like her husband, Dolly was a woman of principle and she thought canceling the paper was the least she could do in his memory. She had never read the damn thing anyway.


© Donal Mahoney 2013

Nominated for Best of the Net and Pushcart prizes, Donal Mahoney has had work published in MudJob and various publications in North America, Europe, Asia and Africa. Some of his work can be found at http://eyeonlifemag.com/the-poetry-locksmith/donal-mahoney-poet.html

Thursday, January 17, 2013

Donal Mahoney

Father Spoke in Code

Father spoke in code
Mother understood.
She would cry
once he went to bed.
I never understood the code.
My sister didn't either.
As we got older, we quit
asking Mother what he said.

A feral cat claimed our yard.
It would leap the fence
when anyone appeared.
Except, of course, Father.
When he came out to walk
around the garden after supper,
the cat would sit straight up,
then rub against his leg
and look at him as if it understood
what others never could.

My sister used to say
the two of us were proof
Father and Mother
got together twice.
I told her I wasn't so certain.
I looked a lot like Mr. Brompton,
the next-door neighbor.
He used to buy us sugar cones
from the ice cream truck.

My sister, by the way, didn't look
like anyone in the family either,
but that was 40 years ago
when I last saw her.
I went away to college
and she got married.
We were never close after that.
Not even Christmas cards.

Forty years is a long time.
Now, we plan to get together
for a weekend this summer
before one of us dies.
I suggested we wait
till one of us is terminal.
What's the rush, I said.
But my wife told her
I was only kidding,
that we'll be coming
and not to make a fuss.
Burgers and hot dogs
will do just fine.

I know what Sis and I
will talk about that weekend,
the two people we'll always
have in common, no matter
how many years and miles
may lie between us.
Father and Mother have been
dead for decades now
but they're still alive in us.
I talk in code, my wife says,
and my sister cries a lot,
now that her husband's dead.
The one thing I want to know
is if my sister knows
what happened to the cat.
It knew the code,
may have had some answers.


© Donal Mahoney 2013

Nominated for Best of the Net and Pushcart prizes, Donal Mahoney has had work published in a variety of print and electronic publications in North America, Europe, Asia and Africa.

Thursday, December 20, 2012

Donal Mahoney

Raspberry Hives

The ancient man
with raspberry hives
on his cheeks
since childhood
will live alone
no longer.
He’ll marry, he says,
the first woman who’ll have him.
Till now
he has wanted
to die
as he’s lived,
alone in his room
with the radio playing,
the water in the bathtub
dripping.
The drone of hours,
however, has become
the drone of years
and the ancient man
with raspberry hives
on his cheeks
since childhood
fears death will convert
his hives into pocks,
take his body
but reject his soul.
For reasons
he can’t articulate,
he believes
if he weds
the first woman
who’ll have him,
death will have reason,
for the first time,
to do the job right.


© Donal Mahoney 2012

Donal Mahoney has had work published in MuDJob and other print and electronic publications in North America, Europe, Asia and Africa.
Some of his earliest work can be found at The Gravedigger's Son See also: Christmastime in America and In Memoriam

Thursday, November 8, 2012

Donal Mahoney

PADDY MURPHY'S WAKE

THE PRIEST had been there earlier and the rosary was said and relatives and friends in single file were offering condolences. "Sorry for your troubles," they said one by one, bending over Maggie Murphy, the widow silent in her rocker, a foot or so from Paddy, resplendent in his casket, the two of them much closer now than they had ever been.
A silent guest of honor, Paddy now had nothing more to say, waked in aspic, if you will, in front of his gothic fireplace.
The moon was full this starless night and the hour was getting late and still the widow hadn't wept. Her eyes were swept Saharas and the mourners wanted tears. They had fields to plow come morning and they needed sleep, but the custom in County Kerry was that no one leaves a wake until the widow weeps.
Fair Maggie could have married any man in Kerry, according to her mother, who almost every day reminded her of that.
"Maggie," she would say, "You should have married Mickey. His limp was not that bad," but Maggie wouldn't listen. Instead, she married Paddy, "that pestilence out walking," as her mother often called him even on a Sunday but only after Mass.
Maggie married Paddy the day he scored the only goal the year that Kerry took the trophy back from Galway. That goal was no small thing for Ireland, Paddy would remind us all in pubs, night after night, year after year, until one of us would gag and buy him another drink.
That goal, he'd shout, was something historians in Ireland would one day note, even if they hadn't yet, and every time he'd mention it, which was almost daily, Maggie's mother would remind her daughter once again that she should have married Mickey and had a better life.
The final time her mother praised poor Mickey, a screaming match ensued, so loud it woke the rooster the very day her mother, feverish in bed, gurgled like a frog and died.
This evening, though, as the wake wore on, the mourners grew more weary waiting for the tears the widow hadn't shed. Restless in his folding chair, Mickey put his bottle down and rose to give the eulogy he had needed days to memorize.
"Folks," he said, "if all of us would holler down to Paddy now, I'm sure he'd holler back. Despite the flames and all that smoke, he'd tell us all once more that Kerry winning over Galway is all that ever mattered. We'll always have cold Paddy over there to thank for that. Ireland never had a better man. St. Patrick himself, I know, would vouch for that."
The Widow Murphy hadn't moved all evening, but after hearing Mickey speak, she began to rock with fury as she raised a purple fist, shook it to the heavens and then began to hum her favorite dirge. The mourners all joined in and hummed along until midnight struck on the mantel clock and then, as if released by God Himself, the mourners rose, one by one, from folding chairs and paraded out beneath the moon, freed by a deluge of the Widow Murphy's tears.

© Donal Mahoney 2012

Donal Mahoney has had work published in MuDJoB and various print and electronic publications in North America, Europe, Asia and Africa.

Friday, September 14, 2012

Donal Mahoney

BACK THEN AND WRITE NOW

When I began writing in 1960, there were no website "magazines." Print journals were the only place to have poems published. Writers used typewriters, carbon paper, a white potion to cover up mistakes and “snail mail” to prepare and submit poems for publication. Monday through Friday I'd work at my day job. Weekends I'd spend writing and revising poems. Revising poems took more time than writing them and that is still the case today, decades later.

On Monday morning on the way to work, I'd sometimes mail as many as 14 envelopes to university journals and "little magazines," as the latter were then called. Some university journals are still with us. Some are published in print only and others have begun the inevitable transformation by appearing in print and simultaneously on the web.

"Little magazines," especially those published in print without a presence on the web, are rare in 2012. One might say, however, that their format has been reincarnated in hundreds of website publications that vary in design, content and frequency of publication. Depending on the site, new poems can appear daily, weekly, monthly, quarterly, semi-annually or annually. For many writers, these websites are a godsend. Some "serious" writers, however, still feel that a poem has not been "published" until it has appeared on paper.

I can't remember what postage cost in the Sixties but it was very cheap. Nevertheless, it would often take six months or more to hear back from many editors of university journals and little magazines. Sometimes I would get no response despite my enclosing the mandatory stamped self-addressed envelope (SASE).

Submission etiquette at that time required that a writer send nothing other than the poems, usually a maximum of three, and the SASE. What's more, simultaneous submissions were universally forbidden. I don't remember any editor wanting a biographical note until the piece was accepted and sometimes not even then. All that mattered was the poem and how much the editor liked it.

Today, in contrast, some web editors want a letter from the author up front "introducing" the poems and/or some aspect of the author's life. I've never been comfortable providing that kind of information in front of poems I'm submitting. I can't imagine lobbying for poems that I hope speak for themselves.

In the Sixties, my average acceptance rate was roughly one poem out of 14 submissions of three poems each. Two or three poems accepted rarely happened but my hopes were always high.

The rejected poems I'd revise if I thought they needed it; then I'd send all of them out again to different publications. Often the poems would have to be retyped because the postal process or some editor's fondness for catsup or mustard would result in messy returned manuscripts. I followed this pattern of writing, revising and submitting for seven years. I loved it because I didn't know any other way. I had no idea that in 30 years there would be an easier way to submit poems, thanks to the personal computer. What a difference. No more carbon paper. No more catsup or mustard.

In 1971 I quit writing after having had a hundred or so poems accepted by some 80 print publications ranging from university journals to hand-assembled little magazines. I even made it into a few commercial magazines and received checks for as much as $25.00. I was on a roll or so I told myself.

The reason I quit writing poems is because I had accepted a much more difficult day job as an editor with a newspaper. Previous editorial jobs had not been that taxing. I still had enough energy to work on poems at night as well as on weekends. But the new job wore me out. The money was good and helped me deal with expenses that had increased as my responsibilities had increased. Other demanding jobs would follow in subsequent decades. As a result, I didn't return to writing poems until 2008 after I had retired.

I hadn't really thought about working on poems in retirement but my wife bought me a computer and showed me where I had stored--37 years earlier--several cardboard boxes full of unfinished poems. It took a month or more to enter drafts of the 200 to 300 poems in my new computer. It took longer to revise and polish them. Finally, I sent out the “finished” versions by email to both online and print publications.

It took a few weeks at the start but eventually lines for new poems began to pop into my noggin. Alleluia! I was ever so thankful to "hear" them because it answered an important question--namely, could I still write new poems after such a long hiatus?

I found submitting by email a joy. For a while I sent an occasional poem by snail mail to journals that did not take email submissions. But in six months I stopped doing that. I did not want to lick envelopes any longer. Looking back over the last four years, I'm thankful for the response my work has received from various editors in the Americas, Europe, Asia and Africa.

Since I am an old-timer writing and submitting poems, I'm sometimes asked if I notice any difference in the "market" for poetry in 2012 compared with the Sixties. I'm also asked if I would I do anything differently if I were starting out today.

Yes, I notice a difference in the "market" today, and, yes, I would do some things differently if I were starting out now.

If I were starting out now, I would revise poems even more than I did when I was young. I revised a lot back then and I revise a lot today. I believe strongly in something Dylan Thomas once said—namely, that no poem is ever finished; it is simply abandoned.

It's taken four years for me to gain some sense of how the "market" for poetry has changed over the last 40 years. In preparing my own submissions, I have had a chance to read a lot poetry by young writers, some already established and many unknown. Sometimes I compare their work in my mind with the work of poets I remember from the Sixties.

Although Anne Sexton, Sylvia Plath, Allen Ginsberg and Gregory Corso, among others, had their followers back in the Sixties, and still do today, I find that in 2012 "confessional" poetry has become even more prominent. Some of it strikes me as good, both in content and technique, but that is a subjective assessment. Much of it, however, strikes me as "raw," for want of a better word. In some cases I also find it difficult to distinguish certain poems from prose disguised in broken lines. I don't remember "prose poems" as a category unto itself when I started out. Today prose poems seem to be very well accepted in some circles but I suspect they would have been a hard sell in the Sixties.

I suppose as a stripling and now as a codger I have written what some might call "confessional" poetry, both good and bad. Nevertheless, I think a young writer does well to write about someone or something other than one's self. Observing other people carefully and writing about their mannerisms and aspects of their behavior can help to develop one's craft. This is important because as most writers know, writing poetry or fiction is as much a craft as it is an art and without craft, writing may never reach the level of art.

Perhaps it is my imagination but it seems that over the last couple of years there has been an increase in poems written about broken relationships or other distressful matters of the heart. The writers of these poems seem to be primarily women who sound very angry and no doubt with good cause.

Apparently male poets find it easier to move on from a break-up and seek love or companionship in all the right or wrong places. I don't think that's a new development, men being who they are. I hope it's not chauvinist of me to suggest that the power to motivate a man to behave better usually lies with the woman. I feel that a woman has a gift she should not unwrap too quickly no matter how eager a man may be to undo the ribbons. Not many ribbons were undone in the Fifties prior to vows. In that era, of course, women were old-fashioned by current standards. The ones who were not "old-fashioned" were called a lot of things but not "liberated."

There are other types of subject matter common in poetry today that didn't appear too frequently in the Sixties. Graphic sex, science fiction and horror seem to appeal to many male writers, although some females also like to write about these subjects today.

I've never been interested in horror and I doubt that I would have the imagination to handle it well. I never fantasize about anything that even borders on science fiction. Sex, on the other hand, is a different matter. But sex has always struck me as the easiest subject to write about. I could write about sex well, I believe, but why should I? Why should I make my wife angry? Even if I were single, I suspect I'd be restrained by a line from Emily Dickinson that I first read it in college. Ms. Dickinson wrote, "how public like a frog."

In contrast with my early years in writing, I am never satisfied today with a poem even when it has been published. If I go back and re-read a published poem a year later, I am certain to find something "wrong" with it and I feel obligated to fix it. Sometimes I can't fix it but in the process of trying, I occasionally find that I am suddenly in the middle of writing a different poem, an offshoot of the original piece or something entirely different. I've found benefits and problems in that.

Rodin's "The Thinker" is set in bronze and marble and not subject to revision but few if any of my poems acquire that status in my mind. And if one of them does, I eventually come to feel the poem could be improved, even if at that moment I might not know how to make it better. Maybe in six months I'll read it again and hear something errant in the lines that I will suddenly know how to fix. It doesn't hurt, I believe, for a writer to listen to a poem the way a mechanic listens to a motor. Both want to get everything right.

My purpose in writing this piece has been to record "for the ages" what it's been like writing and submitting poems in two distinct eras. I certainly like the ease with which technology today has enabled me to compose a poem. The "delete" key is wonderful. But there is something to be said for the anticipation caused by finding an envelope in the mailbox from an editor, the way a contributor might have done back in the Sixties. One knew immediately by the thickness of the envelope whether all three poems had been rejected or one or two of them had been accepted. That was a wonderful time for a young writer to cut his or her teeth.


© Donal Mahoney 2012

Note: MuDJoB Has not previously posted much in the way of non-fiction articles, but could not resist putting up this piece by Mr. Mahoney, and we think his insight into the "industry" may prove inspiring and perhaps helpful to other writers looking to get their stuff out there. Good writing will almost always find an appropriate venue. Thank you, Donal.

Donal Mahoney has had work published in MuDJob and various print and electronic publications in North America, Europe, Asia and Africa.

Thursday, July 12, 2012

Donal Mahoney

BEHIND THE BARN WITH CAROL ANN

Back in 1957, kissing Carol Ann behind the barn in the middle of a windswept field of Goldenrod with a sudden deer watching was something special, let me tell you. Back then, bobby sox and big barrettes and ponytails were everywhere.

Like many farmers, Carol Ann’s father had a console radio in the living room, and every Saturday night the family would gather ‘round with bowls of ice cream and listen to The Grand Ole Opry. It was beamed “all the way” from Nashville I was told more than once since I was from Chicago and sometimes wore a tie so how could I know.

On my first visit, I asked Carol Ann if the Grand Ole Opry was the Mormon Tabernacle Choir of country music and she said not to say that to her father. She suggested I just tap my foot to the music and let him watch me. Otherwise, I’d best be quiet and say “Yup,” “Nope” or “Maybe” if asked any questions which she didn’t think would happen. No need to say much more, she said, and after a few visits, I understood why.

Over time, I learned to tap my foot pretty good to the music because when I’d come to visit, her father would insist I have a bowl of ice cream with the family. I liked the ice cream but not so much the Grand Ole Opry. I’d been weaned on Sinatra in the city. Big difference, let me tell you.

But back in 1957 kissing Carol Ann behind the barn was something special since we couldn’t do much more until I found employment. Only then, her father said, could we get married. I found no jobs in town, however, for a bespectacled man with degrees in English.

Still, I always found the weekend drives from Chicago worth the gas my Rambler drank because kissing Carol Ann brought a bit of heaven down behind that barn, especially on summer nights when fireflies were the only stars we saw when our eyes popped open. It was like the Fourth of July with tiny sparklers twinkling everywhere.

Now, 55 years later, Carol Ann sometimes mentions fireflies at dusk as we dance behind the cows to coax them into the barn for the night. I’m still not too good with cows despite my John Deere cap, plaid shirt and overalls which proves, she says, that all that kissing behind the barn in 1957 took the boy out of the city but not the city out of the boy.

“Hee Haw” is all I ever say in response because I know why I’m there. It’s to keep tapping the cows on the rump till we get them back in the barn so we can go back in the house and start with a kiss and later on come back downstairs for two big bowls of ice cream.


© Donal Mahoney 2012

Donal Mahoney, a native of Chicago, lives in St. Louis, Missouri. His poetry and fiction have appeared in print and online publications in the United States, Europe, Asia and Africa. Some of his earliest work can be found here: http://booksonblog12.blogspot.com/

Sunday, February 6, 2011

Guest Poet: Donal Mahoney

Crackling Again

   Rogers Park, Chicago

This brilliant winter morning finds
waves of snow on every lawn
and red graffiti dripping
from the walls
of Temple Mizpah
once again
as down the street
stroll ancient men
who every morning
shuffle here for prayer.

As usual, they're lost
inside old overcoats,
their collars up,
their scarves too long,
their yarmulkes,
as always,
in diffidence
askew.

This morning, though,
they don't go in.
They shuffle near the curb
like quail.
They can't believe
the goose-step scrawl
on every wall.
They know their world's
awry again, an encore
of the chaos left behind
when they were young.

The good thing is,
Chicago's better now
than was Berlin back then
even though the temple walls
make clear this morning that
someone's struck another match
and the ovens of Auschwitz
are crackling again.


In Memphis On Business

this belle like a feather
floats table to table
bearing menus and water,

stunning this Yankee
in Memphis on business
whose host swears the South

has many more like her.
Up North, the Yank says,
young ladies like her bump tables,

slop coffee in saucers.
No wonder this Yankee
in Memphis on business

smiles when again
this belle like a feather
floats table to table

bearing menus and water
as if she were certain
the earth isn’t there

and the sky and the air
are highway enough for a belle
bearing menus and water.


© Donal Mahoney 2011

Donal Mahoney has had poems appear in variety of print and online publications, including The Wisconsin Review, The Kansas Quarterly, The South Carolina Review, The Beloit Poetry Journal, Commonweal, Public Republic (Bulgaria), The Beatnik (U.K.), Revival (Ireland), The Istanbul Literary Review (Turkey), Calliope Nerve and other publications.