Poem of the Day: Emperor of Ice Cream

The Emperor of Ice-Cream

 
by Wallace Stevens
 
Call the roller of big cigars,
The muscular one, and bid him whip
In kitchen cups concupiscent curds.
Let the wenches dawdle in such dress
As they are used to wear, and let the boys
Bring flowers in last month's newspapers.
Let be be finale of seem.
The only emperor is the emperor of ice-cream.

Take from the dresser of deal,
Lacking the three glass knobs, that sheet
On which she embroidered fantails once
And spread it so as to cover her face.
If her horny feet protrude, they come
To show how cold she is, and dumb.
Let the lamp affix its beam.
The only emperor is the emperor of ice-cream.

When I was a freshman at good ol’ Le Moyne College in Syracuse, I had an intro to poetry class that was nothing I wanted it to be–mostly because my professor insisted that we memorize and perform poems that we “visualized” on the wall in the back of the room. We were each assigned two poems for the first half of the class. My first, Sylvia Plath’s “Daddy,” still makes me irritated to this day; not that it is a bad poem or terribly written–but it was two pages of performance of heavy material when my other classmates had poems like “Dover Bitch” or “Red Wheelbarrow” (I seriously drew the proverbial short end that assignment). The second poem was this gem by Wallace Stevens, and it always makes me smile. What does it even mean to be an emperor of ice cream? To be in complete control over your life and its aspects? To have absolute certainty that you will have respect, power, or indulgences? I’m going to the say the complete opposite of these things. I empathize with the emperor of ice creams out there.

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Writing in Crimson: Short Story Part 2

2. Truth

Identity is a tricky thing. I’m sure you’ve heard similar statements time and time again, pardon the cliché. What you see is what you get. People are only as good as the company they keep. Clothes make the man. Take your pick. We, as a society, have been trying to solve the “problem” of identity since the concept of society was established. There is a strong, even primitive, need to be able to label everything and everyone. In grammar school, this is called cliques; children evaluate their self-worth by ranking their placement on the proverbial social ladder. Jocks, preps, goths, nerds–this archaic system teaches us to judge based on what we see–that our identities depend on how others perceive us. Telling ourselves that we outgrow this, that we turn into “better people” capable of seeing beyond initial appearances, is a lie. Do you see? We can’t even tell ourselves the truth, pitiful buffoons that we are. How can we expect others to know our identities when so few people even know who they are underneath their own pretenses?

My mother, for example, was a very skilled liar. Every morning she would smile and wave to our neighbor, Mrs. Mansfield, an elderly woman with three filthy cats and no decorum. She lived alone and was determined to know everything about the people in our community, lest one of us decided to steal one of her preciouses (a nickname I’m sure she unwittingly stole from Lord of the Rings). Eccentric, yes, but even in her old age, she, too, fostered the need to know mentality. Maybe it’s something that is bred from small-town life. Troy is technically a city, but no self-respecting Troylet would ever call it that. Too big to be considered hick, but small enough to keep gossip and slander at a dull roar. But, I digress.

Her smile is what irked me. Teeth sparkling and eyes bright, like she had, for once, successfully painted a portrait of the self she claimed to be. It was almost cartoonish. Mrs. Mansfield never saw it. She adored my mother, always offering pleasantries and compliments before skulking her yellowed, sagging skin inside to feed the cats. I, however, could see the truth. I could see The Red in that smile–the narcissistic troll obsessed with extracting pain from others to harvest her talent. Calling her a monster would be too dramatic, but I had something more concrete than the daily falsities my mother adorned. I had tasted the truth; and the truth tasted like salty fingers and acrylic paint.

With the establishment of identity often comes blame. She made me this way, or he made me do it. It’s not my fault I am this way. Deviating from the expectations of society will cast blame somewhere. Labeling creates the norm, but it also feeds the outcast. The Other, or in my case, The Red. The room painting outburst did not give birth to the crimson in me, nor do I blame my mother for the things that I have done–or will do. I have openly admitted the contrary; that incident merely helped me name the feeling that was already living inside of me. Am I a walking contradiction? Perhaps I used to be. I had to name it before I could embrace it, after all. It would be easy to blame her, but giving name implies ownership. Ask anyone who was forced to read The Crucible in high school, a name is everything; it is reputation, perception, and truth. I named The Red, and therefore I must take responsibility.

I was nine when I realized my own truth–when I tasted The Red. It started as an itching behind my eyes. No matter how hard I scratched or rubbed or washed, I couldn’t get rid of the insane tingling. My mother interpreted this ailment as an opportunity–a phrase they call a “teachable moment” in the realm of education today.

She walked into the bathroom one morning as I was unsuccessfully trying to get the bottle of eyedrops to cooperate with my blinking.

“Your eyes are red,” she said, pointing a finger at me in the mirror.

I didn’t reply; I just squeezed the bottle harder, sending a stream of salty liquid down my face. Fake tears.

“It’s a sign, you know,” she said, leaning against the door frame. Again, with her matter-of-fact tone. The Church of Motherly Knowledge was in full service, and she was ready to deliver her sermon.

“A sign?” I asked.

“Of your lies,” was her reply. ”Your own body is rebelling against your sheepish ways. It knows that you’re a liar. Just a lying thing incapable of originality.”

I put the bottle down on the edge of the sink and turned around. “I’m lying?”

She ignored my question. Her hand reached out to stroke my hair slowly. Then came the smile. The real smile. The Red one. ” The only way to cure yourself is to admit it. You’re a lying sheep, and you will never harvest your talent.”

I could feel The Red in my stomach. Stronger now, like a swarm of wasps stinging my insides trying to get back to their hive. I didn’t want to speak for fear of them getting out. I knew that if I opened my mouth, the wasps would attack.

“Nothing to say? Cat got your tongue?” She paused. Still smiling. “You want to see true harvested talent?”

Her fingers entangled in my hair, pulling me hard behind her. My real tears mingled with the remnants of the fake drops, and I pictured myself drowning in a huge crimson wave. The red water would overwhelm me, swallow me up and sink me to the bottom forever.

We stopped in front of my room. “This is the truth,” she sneered. She opened my door as if she was cutting the ribbon to her first gallery auction. I looked from left to right slowly, then back again. The walls that she had painted a sickeningly bright shade of pink (the antithesis to blue, she claimed) could not be seen. Every inch of the room was covered in her newest project. I saw hundreds of faces staring back at me–all mine. They were distorted and mangled, scribbled over and slashed, and each one was glued to a drawing of a red sheep.

“I knew you wouldn’t mind if I used your school pictures,” she said. ”I think I really captured your essence.”

I stood in silence, gazing at the me-sheep. She ruffled my hair again and closed the door quietly behind her.

 

I still carry one of those pictures in my wallet. It has creased over the years, but the red outline is still prominent, and the face of the boy I was before that morning is still gazing out at me. I know that I can’t sit here staring at the picture all night, however. I’ve spent too much time looking lately. At her. The jars. The words. It’s time to start acting, harvesting my talent.

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Why Do We Watch Scary Movies?

Tonight’s routine was nothing out of the ordinary. My husband and I made dinner, took our dog outside, then tried to decide what we wanted to watch from our ever-growing list of shows on DVR. His choices are always obvious: Vikings, Justified, Moonshiners–apparently if it has unshowered people enforcing some sort of illegal activity, he’s happy.

I, on the other hand, am far harder to please. Granted, I will indulge in some of these shows from time to time, but mostly I’m just left with question: why don’t these people seem to care that they smell bad? Why does everyone break the law without co sequence? How is it possible you’ve shot him three times and he’s not hit?

Either way, I started thinking about what I constitute as interesting, and I realized that most of my favorite shows–and movies, for that matter–revolve around the horror genre. Give me an axe-wielding killer or psychologically damaged antagonist, and I am a happy girl. However, the reasons why I gravitate towards these themes is the bigger issue. This is a question I’ve been asking myself since college, when a philosophy professor (who, oddly enough, looked and sounded like the Crypt Keeper) asked us to identify a “bigger picture issue” that could not easily be defined (i.e. What is love? What is hope?) I shunned the fluffy emotions and went right for the scare. Why do we watch scary movies?

Do we really enjoy seeing people be murdered? And not just murdered, anymore. Slaughtered. You’d be hard pressed to find a scary movie released in the past decade that doesn’t rely on needless gore and over-sexualized situations. I don’t know about you, but if I ever watched someone have his eyes gouged out in front of me, I’d be incredibly screwed up–but that’s never stopped me from popping in Se7en on a random Tuesday night.

So, am I saying that we actually find enjoyment in these “horrific” situations? Do we seriously watch shows like The Following (or Dexter or Walking Dead, etc.) because we take pleasure in watching the characters’ pain? It is an interesting argument; it’s not like gladiator competitions went out of practice because of lack of ticket sales. Is there something more primal in our need for blood and gore? That there is something of a primordial satisfaction in watching the murder of another person on screen?

Or, am I just strange? Not everyone enjoys this type of show. Some of my friends haven’t watched The Walking Dead because they are truly convinced of an inevitable zombie apocalypse, while others are too scared to turn off the lights for a Friday night showing of The Exorcist.

I don’t have an answer, but I certainly find the question worthy of thought.

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All that I Am…in Six Words

Writing six-word memoirs was, is, and will always be one of my favorite assignments to do with my students. Whether a quick ice breaker warm up, a practice in revision, or an opportunity to show off, six-word memoirs can be incredibly entertaining or surprisingly deep. For my last post of the night, I give you the six-word memoir:

The offbeat musings of chaotic wanderings.

Will I ever be good enough?

Anywhere can be the perfect classroom.

Strum my heartstrings; breathe my words.

Writing fixes what the world breaks.

What would your six-word memoir be?

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Writing in Crimson: Short Story 1

Writing can be incredibly difficult. It’s personal, time consuming, and frustrating. It requires the writer to allow the reader a sneak peak at her inner workings. For me, this process is anxiety producing, yet more exciting than Christmas morning. So, for my first piece, I went with some fiction, playing with the idea of my blog name.

1. Writing in Crimson

I don’t actually like the color red–angry, offensive color that it is. One of the first things they tell you in college education classes is to never correct papers in red pens; they cause anxiety and feelings of personal inadequacy in students. How could a color have that much control over a person? I know there are studies and facts and data to back up these claims, but I have never been one to rely on numbers or information from research groups funded by some fancy corporation looking to capitalize on the weakness of buffoons. No, I rely on The Red–the feeling I get when I just know something. It might start out as a mere tickle in the bottom of my stomach, the mixed feeling of excitement and dread one might experience just as a roller coaster reaches the top of that first arch. Most of the time, however, The Red cannot be ignored. It hits me violently, a wave of nausea that sweeps over my body, making me feel only…red. Deep red. Crimson, even.

All the statistical research in the world cannot overcome that feeling. When The Red hits, I am at its mercy. It is as much a part of me as my own tongue.

I was seven when I named it. My mother had decided to paint my bedroom. It was to be a special treat, an early birthday present for her growing boy. We didn’t have much money; my father, if you could call him that, didn’t have a college degree and worked as a cashier for one of the oldest gas stations on Hoosick Street. A nice man, but nice doesn’t measure up against intelligence, especially when you’re from a small town. My mother stayed home to “harvest her talent” as a painter. An artist is what she called herself, but very rarely did she do anything worthy of merit or recognition. Shoddy landscapes and random sketches of shapes reflecting her “abstract, tortured soul” were plastered to the fridge. There was never any room for the papers I brought home from school. Why waste her valuable space honoring the A I received from my teacher? She would ask me. I was only demonstrating how well I could copy what someone else told me was right. I wasn’t “embracing my spirit,” she said, and that wasn’t worthy of praise.

When she asked me what color I envisioned my walls, I hesitated. I’ll admit, this was my mistake. Hesitation implied uncertainty, and with her, art was always certain. A person either trusted his muse and went with his inner flow, or he waited to reproduce someone else’s ideas.

I stuttered, staring up into her face with my fists clenched against my stomach. Blue, I had said. I wanted my walls to be blue.

She said nothing, at first. She just stared at me with her head tilted, like she was trying to figure out what kind of an animal I was. I kneaded my fingers harder into my stomach, feeling the first wave of The Red in my stomach.

Blue, she spat. Blue? How utterly original. Tell me, boy, why blue?

Had I said blue? I couldn’t remember saying anything at all. My mind was red–a blank space of swirling crimson shadows. She took a step closer and asked again: why blue?

Blue is for boys, I said.

She took a deep breath and exhaled in my face; the smell of mint and stale cigarettes only darkened the red clouds forming in my mind.

Stick out your tongue, she said. I did nothing.

Stick out your tongue, boy, she repeated, and do not make me tell you again.

The nausea was enveloping my body. My breathing became short and heavy. I stuck out my tongue, following her words and trying to find a focus, anything to help fight The Red.

She grabbed my tongue between her forefinger and thumb, digging her nails into the tip. Her other hand wrapped around the back of my neck, drawing my face in close to hers. The smell of mint an cigarettes was overwhelming. I saw my reflection in her glasses, a crying boy with fear in his eyes; but behind the thin glass, I saw the joy in her eyes, and I realized she was in The Red, too.

She squeezed my tongue harder, clenching her teeth. Anyone looking at the situation would have thought she was grimacing, but I knew she was smiling.

You are not my child, she whispered. Drool was leaking from my mouth faster than the tears down my face. I wanted to wipe the snot from nose but didn’t dare move.

My child would never choose blue because “blue is for boys.” Her voice rose in mimicry, her head shaking to match the words. I should rip this filthy tongue right out of your head, do you understand? No son of mine would ever suggest such a thing–follow the expectations of society and become a mindless, soulless thing.

She released her grip, shoving me backwards to the floor as she stood. I wiped the spit from my face with the collar of my shirt, my tongue throbbing, little jabs of pain penetrating the thick red cover of my mind.

She crossed her arms and stared down. No, she said, your room will not be blue. It will not.

Simple. Calm. Almost a matter of fact, like she was reciting items she needed at the market. She left me like that on the floor, repeating it to herself as she walked down the hall. I could hear the shuffle of her dingy slippers pacing back and forth in my bedroom–the same way my slippers now shuffle on the floor of my apartment as I read the writing on the paper in my hand.

This will definitely do it. I can feel The Red trying to burrow out of my stomach. The words come together in harmony with the vibration coursing down my spine. The ink has bled through the paper, a crimson mirror of the message:

First comes smiles, then lies.

A sigh escapes from my lips. I put the paper in my pocket and stare at the jars on the shelf in front of me. Small, shiny, waiting to be filled.

She won’t be able to call me a thing now. Not after tonight.

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Rosary

I didn’t see the sun come up today.
Instead I watched the shadows on the door
slither down the wood and start to fray,
a pile of black snakes curled on the floor.

I cringed and tried to turn my face away,
a violent action forming in my mind–
a choice to save myself from what you say
I never really wanted you to find.

The darkness echoes thoughts of what’s to come;
it whispers harsh words softly in my ear.
But as it calls, I feel my legs go numb,
leaving me alone with what I fear.

I shake
and clutch
the dead beads
to my chest;
so much to do before I get to rest.

This was a poem I wrote for a grad school assignment in 2009. This seems like a perfect segue into my first “published” short story. Here goes nothing!

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Break

These walls are shaking, cracking the frame.
She watched the white fade brown to gray, then yellow.
A home turns house without a name.

She feels the glass crash, no two pieces the same.
Shattered shards, once clear, now dull where they lay.
These walls are shaking, cracking the frame.

Only splintered boards and holes remain
around the yard where she used to play.
A home turns house without a name.

Her mother’s face, blemished by blame,
scrunched and crinkled as she starts to say
these walls are shaking, cracking the frame.

She sits on weathered steps playing her game
of connect the dots with the stars, wanting night to stay.
Her home turns house without a name.

A rough hand smooths her hair, keeping her sane.
The doors shut tight at the end of the day.
These walls are shaking, cracking the frame.
A home turns house without a name.

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