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Nigel Morgan Nov 2012
There’s a film by John Schlesinger called the Go-Between in which the main character, a boy on the cusp of adolescence staying with a school friend on his family’s Norfolk estate, discovers how passion and *** become intertwined with love and desire. As an elderly man he revisits the location of this discovery and the woman, who we learn changed his emotional world forever. At the start of the film we see him on a day of grey cloud and wild wind walking towards the estate cottage where this woman now lives. He glimpses her face at a window – and the film flashes back fifty years to a summer before the First War.
 
It’s a little like that for me. Only, I’m sitting at a desk early on a spring morning about to step back nearly forty years.*
 
It was a two-hour trip from Boston to Booth Bay. We’d flown from New York on the shuttle and met Larry’s dad at St Vincent’s. We waited in his office as he put away the week with his secretary. He’d been in theatre all afternoon. He kept up a two-sided conversation.
 
‘You boys have a good week? Did you get to hear Barenboim at the Tully? I heard him as 14-year old play in Paris. He played the Tempest -  Mary, let’s fit Mrs K in for Tuesday at 5.0 - I was learning that very Beethoven sonata right then. I couldn’t believe it - that one so young could sound –there’s that myocardial infarction to review early Wednesday. I want Jim and Susan there please -  and look so  . . . old, not just mature, but old. And now – Gloria and I went to his last Carnegie – he just looks so **** young.’
 
Down in the basement garage Larry took his dad’s keys and we roared out on to Storow drive heading for the Massachusetts Turnpike. I slept. Too many early mornings copying my teacher’s latest – a concerto for two pianos – all those notes to be placed under the fingers. There was even a third piano in the orchestra. Larry and his Dad talked incessantly. I woke as Dr Benson said ‘The sea at last’. And there we were, the sea a glazed blue shimmering in the July distance. It might be lobster on the beach tonight, Gloria’s clam chowder, the coldest apple juice I’d ever tasted (never tasted apple juice until I came to Maine), settling down to a pile of art books in my bedroom, listening to the bell buoy rocking too and fro in the bay, the beach just below the house, a house over 150 years old, very old they said, in the family all that time.
 
It was a house full that weekend,  4th of July weekend and there would be fireworks over Booth Bay and lots of what Gloria called necessary visiting. I was in love with Gloria from the moment she shook my hand after that first concert when my little cummings setting got a mention in the NYT. It was called forever is now and God knows where it is – scored for tenor and small ensemble (there was certainly a vibraphone and a double bass – I was in love from afar with a bassist at J.). Oh, this being in love at seventeen. It was so difficult not to be. No English reserve here. People talked to you, were interested in you and what you thought, had heard, had read. You only had to say you’d been looking at a book of Andrew Wyeth’s paintings and you’d be whisked off to some uptown gallery to see his early watercolours. And on the way you’d hear a life story or some intimate details of friend’s affair, or a great slice of family history. Lots of eye contact. Just keep the talk going. But Gloria, well, we would meet in the hallway and she’d grasp my hand and say – ‘You know, Larry says that you work too hard. I want you to do nothing this weekend except get some sun and swim. We can go to Johnson’s for tennis you know. I haven’t forgotten you beat me last time we played!’ I suppose she was mid-thirties, a shirt, shorts and sandals woman, not Larry’s mother but Dr Benson’s third. This was all very new to me.
 
Tim was Larry’s elder brother, an intern at Felix-Med in NYC. He had a new girl with him that weekend. Anne-Marie was tall, bespectacled, and supposed to be ferociously clever. Gloria said ‘She models herself on Susan Sontag’. I remember asking who Sontag was and was told she was a feminist writer into politics. I wondered if Anne-Marie was a feminist into politics. She certainly did not dress like anyone else I’d seen as part of the Benson circle. It was July yet she wore a long-sleeved shift buttoned up to the collar and a long linen skirt down to her ankles. She was pretty but shapeless, a long straight person with long straight hair, a clip on one side she fiddled with endlessly, purposefully sometimes. She ignored me but for an introductory ‘Good evening’, when everyone else said ‘Hi’.
 
The next day it was hot. I was about the house very early. The apple juice in the refrigerator came into its own at 6.0 am. The bay was in mist. It was so still the bell buoy stirred only occasionally. I sat on the step with this icy glass of fragrant apple watching the pearls of condensation form and dissolve. I walked the shore, discovering years later that Rachel Carson had walked these paths, combed these beaches. I remember being shocked then at the concern about the environment surfacing in the late sixties. This was a huge country: so much space. The Maine woods – when I first drove up to Quebec – seemed to go on forever.
 
It was later in the day, after tennis, after trying to lie on the beach, I sought my room and took out my latest score, or what little of it there currently was. It was a piano piece, a still piece, the kind of piece I haven’t written in years, but possibly should. Now it’s all movement and complication. Then, I used to write exactly what I heard, and I’d heard Feldman’s ‘still pieces’ in his Greenwich loft with the white Rauschenbergs on the wall. I had admired his writing desk and thought one day I’ll have a desk like that in an apartment like this with very large empty paintings on the wall. But, I went elsewhere . . .
 
I lay on the bed and listened to the buoy out in the bay. I thought of a book of my childhood, We Didn’t Mean to Go to Sea by Arthur Ransome. There’s a drawing of a Beach End Buoy in that book, and as the buoy I was listening to was too far out to see (sea?) I imagined it as the one Ransome drew from Lowestoft harbour. I dozed I suppose, to be woken suddenly by voices in the room next door. It was Tim and Anne-Marie. I had thought the house empty but for me. They were in Tim’s room next door. There was movement, whispering, almost speech, more movement.
 
I was curious suddenly. Anne-Marie was an enigma. Tim was a nice guy. Quiet, dedicated (Larry had said), worked hard, read a lot, came to Larry’s concerts, played the cello when he could, Bach was always on his record player. He and Anne-Marie seemed so close, just a wooden wall away. I stood by this wall to listen.
 
‘Why are we whispering’, said Anne-Marie firmly, ‘For goodness sake no one’s here. Look, you’re a doctor, you know what to do surely.’
 
‘Not yet.’
 
‘But people call you Doctor, I’ve heard them.’
 
‘Oh sure. But I’m not, I’m just a lousy intern.’
 
‘A lousy intern who doesn’t want to make love to me.’
 
Then, there was rustling, some heavy movement and Tim saying ‘Oh Anne, you mustn’t. You don’t need to do this.’
 
‘Yes I do. You’re hard and I’m wet between my legs. I want you all over me and inside me.  I wanted you last night so badly I lay on my bed quite naked and masturbated hoping you come to me. But you didn’t. I looked in on you and you were just fast asleep.’
 
‘You forget I did a 22-hour call on Thursday’.
 
“And the rest. Don’t you want me? Maybe your brother or that nice English boy next door?’
 
‘Is he next door? ‘
 
‘If he is, I don’t care. He looks at me you know. He can’t work me out. I’ve been ignoring him. But maybe I shouldn’t. He’s got beautiful eyes and lovely hands’.
 
There was almost silence for what seemed a long time. I could hear my own breathing and became very aware of my own body. I was shaking and suddenly cold. I could hear more breathing next door. There was a shaft of intense white sunlight burning across my bed. I imagined Anne-Marie sitting cross-legged on the floor next door, her hand cupping her right breast fingers touching the ******, waiting. There was a rustle of movement. And the door next door slammed.
 
Thirty seconds later Tim was striding across the garden and on to the beach and into the sea . . .
 
There was probably a naked young woman sitting on the floor next door I thought. Reading perhaps. I stayed quite still imagining she would get up, open her door and peek into my room. So I moved away from the wall and sat on the bed trying hard to look like a composer working on a score. And she did . . . but she had clothes on, though not her glasses or her hair clip, and she wore a bright smile – lovely teeth I recall.
 
‘Good afternoon’, she said. ‘You heard all that I suppose.’
 
I smiled my nicest English smile and said nothing.
 
‘Tell me about your girlfriend in England.’
 
She sat on the bed, cross-legged. I was suddenly overcome by her scent, something complex and earthy.
 
‘My girlfriend in England is called Anne’.
 
‘Really! Is she pretty? ‘
 
I didn’t answer, but looked at my hands, and her feet, her uncovered calves and knees. I could see the shape of her slight ******* beneath her shirt, now partly unbuttoned. I felt very uncomfortable.
 
‘Tell me. Have you been with this Anne in England?’
 
‘No.’ I said, ‘I ‘d like to, but she’s very shy.’
 
‘OK. I’m an Anne who’s not shy.’
 
‘I’ve yet to meet a shy American.’
 
‘They exist. I could find you a nice shy girl you could get to know.’
 
‘I’d quite like to know you, but you’re a good bit older than me.’
 
‘Oh that doesn’t matter. You’re quite a mature guy I think. I’d go out with you.’
 
‘Oh I doubt that.’
 
‘Would you go out with me?’
 
‘You’re interesting.  Gloria says you’re a bit like Susan Sontag. Yes, I would.’
 
‘Wow! did she really? Ok then, that’s a deal. You better read some Simone de Beauvoir pretty quick,’  and she bounced off the bed.
 
After supper  - lobster on the beach - Gloria cornered me and said. ‘I gather you heard all this afternoon.’
 
I remembered mumbling a ‘yes’.
 
‘It’s OK,’ she said, ‘Anne-Marie told me all. Girls do this you know – talk about what goes on in other people’s bedrooms. What could you do? I would have done the same. Tim’s not ready for an Anne-Marie just yet, and I’m not sure you are either. Not my business of course, but gentle advice from one who’s been there. ‘
 
‘Been where?’
 
‘Been with someone older and supposedly wiser. And remembering that wondering-what-to-do-about-those-feelings-around-*** and all that. There’s a right time and you’ll know it when it comes. ‘
 
She kissed me very lightly on my right ear, then got up and walked across the beach back to the house.
The Good Pussy Oct 2014
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spysgrandson Dec 2015
I began with verse about Wyeth's Christina
but I couldn't see her face, and I've never been to Maine
though her twisted body pains me

then I flew to the opposite coast
summoned by the memory of a ghost:
my best friend at Bodega Bay, one fine day
forty Augusts gone

he threw a Frisbee to his Airedale
and we ate sprout sandwiches, avoiding the foul
karma from the slaughter of beeves,
hogs, he said

I would like to relive that day,
with its blue dusk, but the clock can't be rewound
and he is not to be found on the great Pacific

kin who barely knew his face
chose his final space--a hot hole on Oklahoma
prairies, not far from his drunken father
and others who never saw him watch
the sun sink gold into the sea

in my head I'll exhume him,
maybe return him to the waves
that reclaim all things

or introduce him to Christina
a continent away--he could help me know her
though her eyes face another world
I read all the time, but the last week I haven't--I have to read in order to write. Last night I tried to write but had the old block. Today I wrote about what came to mind during that time when nothing would come out. One must be familiar with Andrew's Wyeth's "Christina's World" to get the allusion. The inspiration for his iconic 1948 painting was a Maine woman (with polio we assume). I hope this is a link to the haunting Wyeth image:
https://search.yahoo.com/yhs/search?p=andrew+wyeths+christina&ei;=UTF-8&hspart;=mozilla&hsimp;=yhs-001
Addison René Nov 2022
In 1948 I was twelve years old and I thought I wanted to be  
alone.

In 1948 I was sick.
At least that is what my mother told me.
She said I saw things that weren’t there.  
Like the sun in the bathroom  
at midnight. She said my little friends
in the feathered grass weren’t real.

In 1948, I think I was infected.
Sometimes I dreamed about things
I know I shouldn’t. I’m not allowed  
to talk about it. If I could, I would run away
out West. There are cornfields there. And nothing.
I think I want a whole lot of  
nothing. And corn.

In 1948 I spent the summer
In Maine with my mom
and stepfather.
I was alone most of the time
in the field. My house in the distance
spun in circles, and I dreamed  
about not being in Maine with my mom  
and stepfather.

In 1948 I was right.
Everything is real. I still have to keep my eyes open  
when I fall asleep because I know the bookshelf
Talks to me at night, the stairs  
always spiral in and out of view,  
and my friends in the grass were real.
They still speak to me  
inside my head.  

In 1948, I was twelve.  
All I wanted was to be alone.
Duane Kline Feb 2014
for Anne, after seeing Andrew Wyeth's portrait of his wife...


I looked at her face, painted
by hands that loved her,
made her come alive
like the wedding day
photo,
two smiling faces
next to one another
looking into the future.


The lines of her face,
painted, and frozen on celluloid,
a perfect mirror
one for the other,
evidence that two eyes can see
as clearly
as one.


Placed side by side
there's no mistaking
face for face--
lines and colors and shadows
showing more than
two dimensions of love.


But you love a lover of words,
not a purveyor of shades and
pigments.
How will the world
know that it's you,
with kind eyes and scented hair
(with its recent frosting),
the mind of a chemist
and faithful soul,
heart of a mother
and teacher,
love and lover
of my life...
How would they know
it's you?
Dr Peter Lim Mar 2021
She sits at the door

ev'ry moment seems lifetime

when will he arrive?
Tom Atkins Jan 2021
It is something out of a Wyeth painting,
the old life saving station at the end of the world,
a museum now, as if no one needed saving any longer.

Maybe they do not, at least not here.
Most who come here are tourists.
They walk the shoreline,
content to go no more than ankle deep,
content with the illusion of the sea
and being there, at the edges.

There are fewer fishermen in deep waters,
those who know the ocean intimately.
Today they have instruments that predate the old station;
instruments that warn them of coming weather,
and bring them in to shore before the worst of it.

And so the old station has become a museum,
a place to remember simpler, more dangerous times,
with oilskins hanging on the walls
and rubber boots on the floors below them.
Photos of rescues past line the wall
for tourists to “oooh” and “ahhhh” over
as if no one needed rescuing today,
a beautiful lie, history. ignored at our own peril.
About this poem

History, personal or political, is more important than we give it credit for.

We all need saving now and then.

The picture I used on my blog for this was taken at the end of the world in Cape Cod. It really is an old life saving station, and today, a museum.

Tom
Jamie F Nugent Jul 2020
What name can I give you?
Surely there are none
and it is pointless to try,
like giving names to
celestial bodies,
or quantum particles.  

I thought I could capture it,
that the gaps would be filled in,
like space between
crocodile teeth
clasped on a zookeeper's hand.
I thought
If I could paint like Wyeth,
I'd have my Helga.

What name do I give you?

Maybe Odessa,
laughing on the crest of a wave,
dragged by purple currents,
among gulls on Earth,
and storms in the sea?

Perhaps Athena,
with gleaming eyes
and an owl in your hand?

Or Queen Maeve,
raw with beauty,
buried upright
facing your enemies?

Infeasible,
but it must be something,
for the shake of necessity,
So as to call out when
loitering on lake's edge,
or from across a room
when I see you there,
uncanny as my reflection
in a convex mirror.

I'll call it out.

It's not that I want to,
but that I do;
Just as frogs jump,
just as the tongue
pushes on the aching tooth,
I see Venice in
cheekbone crevices,
smell Vienna in a tangle of hair.

This tropism is
an elephant stomping
the marrow out of me,
and it's alright,
it feels good,
and Wisdom is her name.
Donall Dempsey Dec 2020
****** OF CROWS


Scarecrow stood
perfectly still.

His face hidden
under a battered hat.

Hard to tell
what he was

looking at
hope it was

not
me.

He a black crucifix
as the day died.

Three crows hanging
upside down

from a thin right arm
from a thin left arm

three crows hanging
upside down.

Life had left them
to rot.

Present only by
a terrible absence.

A series of crows
nailed to a barn door.

The wood weathered beyond age.
Paint peeling off like skin.

Wings outstretched
like a deadly blessing.

Like heraldic emblems
on Medieval  shields.

Was as if one had
stepped into

an Andrew Wyeth
painting

and the painting
had refused to let you go.

As if scarecrow
had gotten a shot gun.

Shot them down.
One by one by one by one.

The bark of the gun proclaiming
"My name is Death!"

Or that scarecrow
had pulled them from the sky

with his bare hands
tore out their eyes.

Carcasses.
A maggot's feast.

Crows fleeing beyond
a far horizon.

The light darkening.
Scarecrow raising his head.

Old turnip skull.
Dead and not dead.

His straw hair
ruffled by the wind.

He grins.

— The End —