Everything slows, when, to the kinder, the daughters Israelien all twelve of them Rubina through Batya, their guests, The guests as ours, are even only a few, fifteen minutes late, it’s forever. Rubbed wasted time, what to do. Sing a song, say a story. Tell me about your day, I’ll care as long as they’re coming. Upstairs. Our late wander on on intentions, always, please, and so it’s enough that they want to keep no one waiting, should be. Have patience, and enough with that shuffling. I’ll be up to tuck you in in an hour at 360º. Though this sound can’t be exorcised in that way, as it’s made in no image, has no source in the body that might seek to cool down or drown it: that of blood flowing’s too soft, a heartbeat too familiar, perhaps, makes you think of death’s love and not life, as it’s mechanically measured, pursed out by a Schedule, the pinch of a hand; it’s the tick, the timer’s tock, each tooth as its ancestor was, at the discretion of eternity, to the second, the minute; the sound, it comes from the oven, the oven at the end of the arch, the arch into the oven, then out the other side.
Here is their passing, from the world of the father to that of the mother, her power, again a reparenting: the menschs reduced, exampled less in their shrinking, their squeeze, while the womenfolk only gain, increase, go from strength to strength and further — over the ocean, perhaps the flow, the wetness, made it maternal. Over there, it’d been the Father, the overbearing idol, the loved one hated who’d reigned upon his high clerkdom chair, invested deeply in his dark office raiment, his threepiece, worsted wool suits, tie and hat, his habits of chess, coffee, tobacco, his ledgers kept in scrupulous scripture: sons mulling idle thoughts of patricide, while daughters were ignored, then the mother, too, she was kept marginal if not flipped past forgotten. Here and now, though, it’s the Mother, chesty in her coming, asserted — demonstratively disapproving, her questions as to how late they are proceeding without an apology, in mounting degrees of scrutiny with each tongued flick of the timer, which is the soul of her face tipped with the wag of a finger, accusative, the settling of blame on all but herself — and as for the father, he’s fallen, demoted, let go as the weaker, submissive, stripped bare of his birthright, mortified as made mortal; less meat and more soup: watery broth with its lentils cut up so that Aba won’t gag, it’s too sad. Admit how it’s sexualized, psychology, that science we’ve made to explain our suffering as an internal affair, if only to forgive those truly responsible and so, we hope, to avoid future wrath; the redoubled vengeance of those who do us the one, true, and inexplicable harm, as if nothing’s more natural save how well they keep themselves free from guilt…as if the sons surviving, they’ve agreed to dispense with the middle, the mediating paternal — and to head instead straight for the issue; to dive down headfirst, back into the black from whence they’d issued in warnings better kept private for centuries, generations of gross sublimation, deniaclass="underline" the Mother, the womb…them going into the oven, then out the other side — as another, reborn: not matricide, but an erotic fight — against death.
Her, she’s the head of the household now, around here wears the skirts.
And her tick, it sets even the kinder salivating — Josephine’s hiding under the covers, suckling knees that’re maybe her own. Her mother, our hostess, her timer’s swept through its circle, has timed the rich round of her face in a licking of crumbs from her chins…and yet still — despite the overwhelmingly regular, even attractive, features, the sweet eyes and mouth and the long lashes and small ears behind which the short hair hides as if it fears her, too, her snap judgments, her nosy impatience — and yet still, despite everything made in the mirror, it’s a roundness lamentably random, without relative order, not as much a mistake that can be rectified as it is an object that must be reckoned with in its every imperfection, you have my apologies: her moles and wrinkles, the marks of such an expressioned though meaningless spanse…her flesh morning moisturized and madeup in a false cycle imposed on the raw, is what rankles, puts off, the excess blotchy and loose without cream—ding, ding, Ding. And into all this, with its own history, its own pledges and perils if lesser than any they’d left then no less dire within their own context: counters, a dishwasher, a sink like a pit without bottom, its wastes drained entire counties away — into this, our guests emerge: they come through the arch, the homehearth, the stove he says oven she says and how she’s always right, it’s her kitchen — they enter it, into a world tiled and stainless an ocean away, across, on the wind, on the smoke; with the round white detector making a noise, frightening, an alarm misinterpreted and so, for a moment, until a window’s opened to air, everyone’s frozen, stilled with a bad heart ticked between times…this process not so much a transubstantiation as a forgetting; an experience maybe better controlled with medication, prescription: two pills — one for the heart and one for the head — and they’re Out, then In again…in this kitchen, where their hostess has been cooking away since forever: rushing to the sidedoor in heels matching her mitts, to wave their smoke out into night.
Tonight’s guests, they’ve endured the oppression of that most cultivated, civilizing of structures: an arch, which humbles, makes modest, weathering the threat of its stones to fall, the rocktumbled warning, the tomb’s guard, the sepulcher’s sentry, that that’s served from night immemorial as a gateway through the electrified fence to their keeping, ensuring a bow through the barbs, giving mouth to the fire that would destroy their design even as it feeds its own flames — O the deepthroated, humiliate way, this passage of exile that’s wordless yet punctuated with stark vowels of grief: the songlessness of the conquered, stooped under the arching shade of the willows by the banks of the Babylon rivers; the Roman shuffle as shy as a caretaker, pressed through the cracks between the stones of the Temple, to be remade into either oil or Europe: how they’ve survived if with head hung the terror underlying the form — the arch’s essential destruction, debasement: in its greatest manifestations forcing submission, almost negating of presence; in its least variations standing so tiny and tight that the quills along with the parchment are flayed from any soul processed through — how through this, again, they’ve survived, and miraculously with their appetite still intact…only to emerge from an oven, across the ocean and its lip they’re stepping high and slowly as if poultry themselves, so as not to break or catch anything over the door, opened for their hostess to check on the baking, theirs or that of a surrogate sacrifice — the chicken they’re coming out like, about to be served; still, singeing what hair they have left, snagging their limp, raggedy dresses, worn and torn skirts, their loose, thousandmark suits on wire racks whose grilling appears to mark stripes across their ripped uniforms, too, shreds them into ties, strips into bands to bind tight their hats in their hands. Their glasses go fogged, and so they remove them; they’re all wearing glasses: one schmuck in a pincenez, regular specs the rest; remove them by their bridges, by their noses, their ears, then go groping for the hems of their garments, to wipe. Upon emergence, their stars lose their luster and fall from their breasts, cool to the ground as if cookies or cakes of six pointed flavors, which are as treats for the kinder: holdovers, of sorts, to tide them for bed if they’re asleep come the dawn of dessert. Singer helps his wife out; the Rosenkrantzs, even the wife of them winnowed to bones by now and so dry they’re not even fit for the pot that clouds up above, its soup stirred around with a pinch too much pity — both try to cram through at the same time, but orderly, in step, holding hands. They’ve been conditioned so thoroughly by now, trained, made to follow orders as if a recipe for themselves: a perfect selfpoison, its only and secret ingredient, fear (they all bow their heads save the last of them, Feigenbaum, who hits his); some of them young, some old, some healthy, some sick, some, relatively — they might be related. As a homemaker, a homemacher, as her husband would kid, who she prides herself on knowing her way around every substitute, how to deal with each lack of ingredient, keeps herself knifesharp, spoon-willing, tines tastes herself to ensure: makes piles, takes lists, sneaks groupings and tests; and with no attempt to make separate, between who’s been expected, already counted into the sum of the chairs, assigned placesetting and portion, and who’s been lucky enough to have managed her charity with a spontaneous tip, or on an invitation palmed off secondhand — there won’t be a problem, I’m sure…as she comes back from her guard at the door, how she’s cold to the nose as she greets them whether by name or with respect for their ruses: some meriting hugs with the mittens all thumbs, and with kisses for others, one cheek each or one for each cheek, it depends.