We were unemployed and without a place to go, but we got up in the morning and pressed things under the iron anyhow. Our parents turned us out of their houses, telling us to Go get some fresh air!, then locked the doors they refused to give us keys to. We piled up in the streets like garbage, a dozen of us on every block, sitting open-legged on the curb in department-store suits. There was me, Mike, Paul, and all the rest of the guys we’d grown up with. We were a decade and a half past high school graduation, loaded down and barely breathing under stubble and spare tires and thick letters from Sallie Mae, but there we all were, out at the bus stop again.
The plan was to take the bus to my father’s farm, to see him in person for a change. My mother said, Your father is too busy for you, and you don’t know his wife. But I went anyway. I wanted to be able to say that my father was unavailable, firsthand account.
I packed only one large duffel bag, and my mother drove me to the bus station.She told me, Call me if you need anything. I said I’d call her every day.
In the courtyard were more of these men and women who—how should I describe them?—who still were. They didn’t do anything except exist. They sat, alone or in silent clusters. None would say yes to an interview. I circled the courtyard, asking. Most did not even say no.
Now it is just a question of what to do with Guy Gever. For extra money he works in the evenings to frighten the birds that eat the crops in the fields around the kibbutz. At night, he hunts the porcupines, the dorban, and sometimes the tiny kipod, the hedgehogs, with his brothers. But now people think he has gone mad.
Without the backdrop of leaves and scat,
the possum playing possum, its mate
the same. Without the tip of the road,
its black pitch wound like a widow’s wail
through the wet trees. Consider the undergrowth
On Leaving the Mountains and Coming to the City I Thought I Left For Good
that they are not men,
that they have not settled into their beards and
remorse, their crow’s feet and givens.
There is not yet an investment in houses
settling onto their foundations, hair, or
yesterday. The boy senses his time is precarious,
Where do your shapes come from? This is a common question I encounter.
I dislodge shapes stored in my body through the act of drawing. These shapes originate from a vast matrix of experiences. There are typically three categories of overt reference: art and archeological objects I seek out through research and travel; landscape; and direct physical experiences (floating on a lake, running in the woods, dance, aging, sex).