INSIDE THIS ISSUE:
Shutta Crum
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A THEORY OF MEMORY My son, now thirteen, is fascinated with physics. If gravity can bend Time will memory someday hunger? I wonder too, in choosing my work, have I released my father's hunger so it does not return to control you, my son? Someday you may theorize Time has a shadow, and question, is it cast on the future or the past? Or, from the center of some unimaginable paradox, where fathers and sons are one, you'll postulate, the shadow falls on both. Perhaps you'll finally prove which weighs more-- what we owe to our parents, or to our children. And perhaps, if Time, in its curving, permits, we'll take long walks as we do now--always starting from home and always returning-- and you'll simplify your theories to explain them to me, and perhaps, as I hold my grandchild's hand, (is that a hunger?) I'll understand. And then, as now, I'll thank my father for his hunger, for the voice his voraciousness gave to me, this voice which I give to you, my son, this voice with which we both can choose what we sing. And memory's craving will be satisfied with our song. FOUR FACTS ABOUT FLUTES 1. Breathing near a flute won't get her to sing. You can huff and puff all you want-- a flute doesn't know you're alive unless your breath makes love to her. 2. A flute has no way to save your breath for her old age, or for yours. 3. Flutes may seem to have no ears to hear your song, nor eyes to see your beauty, no hands to hold you, no feet to leave you, no womb to carry your child-- but the flute I sing with says, I remember the whorls of your fingertips the wetness of your licked lips, the heat of your breath. I give birth to countless children in the mirror of your listening heart. 4. There are three things a flute treasures and teaches: her hollowness and yours, and the piercingly brief life flowing through you both. Laszlo Slomovits, Ann Arbor |
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