that message on my phone saturday morning was all I needed to finish this, thanks.

I don't usually post drafts this drafty. Literally, this is the first draft of this, written in the span of a Metro ride and culled from my moleskine. It's taken me a year (give or take a couple weeks) to get anything down on paper about all of this. Every time I would write about him it seemed too emotional still. This might still be that but it's down on paper and since I need to get more things down on paper, I will take it for the time being. I played with my form somewhat and it doesn't quite translate here. All of the lines preceded by an em dash should be indented. Please pretend that the are because I suck at coding . It also doesn't have a title yet. I've been toying with this title: Everything I Meant to Tell You Earlier, in a Series of Poorly Formed Haiku but I don't think it works here. I'll come up with something when I revise this. Let me know what you think of this:



The spaghetti’s still in the sink.
The noodles don’t give way
anymore to water or sauce—
but break when forked
from the collinder into the trash.

—not so much of a change from the night before.

“It’s undercooked,” you said not at me
but at the strands, spooled
uncomfortably around tines,
setting down the fork and carrying
everything back to the kitchen.

This is the call and response part of you and me.

—everything dries out eventually.
—it was dry all along.

Were I to write this scene—
you and me and the pasta,
half in the trash, half in the sink—
the clean lines of the room and us
would give way
to the palsied scrawl
of leaving well enough alone
and the argument we never had
because we never have.

—have we?

Were I to write you
it would be all dead letters and brown
paper-wrapped pornography.
The address isn’t right, the postman
can’t make it out and it sits in a room
with the others. Sits waiting for someone
to make out your concussive Rs and Ks—
to deliver you.

—for thine is the something and the something (I forgot the words to this part. forgive me.)

The Teutonic was always lost on you.
Too hard-edged for your hands
or the hair at the nape of your neck
that curled in on itself when you needed a haircut.
Then again, you never could get your legs that high.

—you make a terrible German. I guess it’s good I never wanted to call you Daddy.

Were I to write you it would be just this—
your back to me, scraping pasta into an empty
trash can and turning
to set the dish, unwashed, in the sink.

—leave the rest to me.


10/18/2009. meredith jones ©

Mistakes were made

I should be frantically putting together a presentation on Critical Theory and Literary Criticism but am clearly not. Really, the biggest challenge with an assignment like this is editing the thing down to the time limit. One time, I gave a presentation on Charles Stewart Parnell that was supposed to be 20 minutes and lasted for 55. There's a stopwatch this time.

Earlier today, on the way to the store I was listening to the end ofThis American Life. The show this week riffed off the phrase "mistakes were made" and focused on people who, after fucking up royally, made performative apologies without actually saying "I'm sorry." An e-mail I got from Walt early this year and subsequently deleted (but not before drafting a response I never got around to sending) comes to mind.

At the very end, Ira Glass talked about discussing the show's topic with a colleague at NPR (one of the writers for Market Place whose name escapes me) and the writer mentioned a poem by William Carlos Williams. When he read it on air, I mouthed along because I've had this poem quasi-memorized for a couple years now. He noted that when he first read it in grade school his teacher told him it was an actual note Williams left his wife one day. Lou taught us that Williams had affairs and the plums in the icebox aren't plums at all. But he isn't sorry either way...

THIS IS JUST TO SAY
I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

-William Carlos Williams

The writer, after all these years, is still infuriated by the line "you were probably/saving/for breakfast". He knew they were being saved. He knew her. And to him the "Forgive me" isn't so much mea culpa as it is a demand. I love this poem. I loved it when Lou first read it, the way he read every poem, slow and lingering. Lou, I think, had experience with plums. It's devious and beautiful in how it much it asks and how little is has to say. After the poem, a series of regular AL contributors read their own. Some were better than others. Some more in keeping with Williams winking simplicity. Others, well just one really, were too malicious to be really good.

Lately, this poem reminds me of Jason. That might not be fair because I do feel bad about how things ended. They again, look at that last sentence. How things ended? Mistakes were made. Maybe I didn't give him the benefit of the doubt. Lord knows I haven't given anyone much lately. I guess in watching other people wind up with someone just because they couldn't stand to be alone, I decided the opposite of that is probably better. I can't always stand to be alone either. When things start going inexplicably down the tube it's nice to able to just call someone whose job it is to help make it better. That's nice. But at what cost? I don't have time to really care about someone else. I don't even have time not to find unforgivable fault in them. I can't find fault in the plums though. The plums are always sweet. It's what comes after plums or the things you have to do to get to plums that seems to be most problematic lately. I don't know if I want the plums that badly. However sweet they taste.