Between the freeway
and the gray conning towers
of the ballpark, miles
of mostly vacant lots, once
a neighborhood of small
two-storey wooden houses—
dwellings for immigrants
from Ireland, Germany,
Poland, West Virginia,
Mexico, Dodge Main.
A little world with only
three seasons, or so we said—
one to get tired, one to get
old, one to die.
No one puts in irises,
and yet before March passes
the hard green blades push
their way through
where firm lawns once were.
The trunks of beech and locust
darken, the light new branches
take the air. You can
smell the sticky sap rising
in the maples, smell it
even over the wet stink
of burned houses.
On this block seven houses
are still here to be counted,
and if you count the shacks
housing illegal chickens,
the pens for dogs, the tiny
pig sty that is half cave...
and if you count them you can
count the crows’ nest
in the high beech tree
at the corner, and you can
regard the beech tree itself
bronzing in mid–morning light
as the mast of the great ship
sailing us all back
into the 16th century
or into the present age’s
final discovery. (Better
perhaps not to speak
of final anything, for
this place was finally retired
the books thrown away
when after the town exploded
in ‘67 these houses
were plundered for whatever
they had. Some burned
to the ground, some
hung open, doorless, wide-eyed
until hauled off
by the otherwise unemployable
citizens of the county
to make room for the triumphant
return of Mad Anthony Wayne
Pere Marquette, Cadillac,
the badger, the wolverine,
the meadow lark, the benign
long toothed bi-ped
with nothing on his mind.)
During baseball season
the neighborhood’s thriving
business for anyone
who can make change
and a cardboard sign
that reads “Parking $3.”
He can stand on the curb
directing traffic and pretend
the land is his.
On mid-August nights I come
out here after ten
and watch the light rise
from the great gray bowl
of the stadium, watch it catch
a scrap of candy wrapper
in the wind, a soiled napkin
or a peanut shell and turn
it into fire or the sound
of fire as the whole world
holds its breath. In the last
inning 50,000
pulling at the night
air for one last scream.
They can drain the stars
of light. No one
owns any of this.
It’s condemned,
but the money for the execution
ran out three years ago.
Money is a dream, part
of the lost past.
Joe Louis grew up a few miles
east of here and attended
Bishop Elementary.
No one recalls
a slender, dumbfounded
boy afraid of his fifth grade
home room teacher. Tom Jefferson
—“Same name as the other one”—
remembers Joe at seventeen
all one sweltering summer
unloading bales of rags
effortlessly from the trucks
that parked in the alley
behind Wolfe Sanitary Wiping Cloth.
“Joe was beautiful,”
is all he says, and we two
go dumb replaying Joe’s
glide across the ring
as he corners Schmeling
and prepares to win
World War II. Like Joe
Tom was up from Alabama,
like Joe he didn’t talk
much then, and even now
he passes a hand across
his mouth when speaking
of the $5 day that lured
his father from the cotton fields
and a one room shack the old folks
talked about until
they went home first
to visit and later to die.
Sharon Olds
The I is Made of Paper
The Pulitzer Prize–winning poet Sharon Olds discusses sex, religion, and writing poems that “women were definitely not supposed to write,” in an excerpt from her Art of Poetry interview with Jessica Laser. Olds also reads three of her poems: “Sisters of Sexual Treasure” (issue no. 74, Fall–Winter 1978), “True Love,” and “The Easel.”
This episode was produced and sound-designed by John DeLore. The audio recording of “Sisters of Sexual Treasure” is courtesy of the Woodberry Poetry Room, Harvard University.
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