24 April 2020


Simply lit
Often toward evening,
after another day, after
another year of days,
in the half dark on the way home
I stop at the food store
and waiting in line I begin
to wonder about people—I wonder
if they also wonder about how
strange it is that we
are here on the earth.
And how in order to live
we all must sleep.
And how we have beds for this
(unless we are without)
and entire rooms where we go
at the end of the day to collapse.
And I think how even the most
lively people are desolate
when they are alone
because they too must sleep
and sooner or later die.
We are always looking to acquire
more food for more great meals.
We have to have great meals.
Isn't it enough to be a person buying
a carton of milk? A simple
package of butter and a loaf
of whole wheat bread?
Isn't it enough to stand here
while the sweet middle-aged cashier
rings up the purchases?
I look outside,
but I can't see much out there
because now it is dark except
for a single vermilion neon sign
floating above the gas station
like a miniature temple simply lit
against the night.
Malena Mörling


One of the friends who so generously go shopping for us told me that her children are eating so much more, too much, she says, now that they are locked down. But what can I tell them, she asks, cut the sugar while there's a virus?

Another friend tells me how her two teenage daughters are trying so hard to be calm und understanding she wonders if they'll explode one day. I wish they would go back to arguing and banging the doors.

Yesterday just before sunset, I started to clean windows, splashing and wiping, whistling my confusion through my teeth. It was dark by the time I was done with it all.

My father asks that we stop calling him every day, as if there's an emergency, he complains. Just stop being so emotional about everything, he admonishes me before I can say a word and puts down the phone. I know all the things he is afraid of and hospitals are on the top of his list.

When R was a college student, his mother had a car accident as a result of which she had to spend six months in traction, that means six months on your back looking at the ceiling, not knowing whether she could walk again.
I first thought someone was telling me a very bad joke when I first found out, years later, during my first winter in Dublin. It had snowed and she was outside with a gang of kids and dogs throwing snowballs.

So, you see, I know we can do this. Nice and steady.




9 comments:

  1. So nice to be able to visit here again. I thought I'd erased my own blog but finally I stumbled on how to retrieve it. In spite of your own struggles, here you are, as always, encouraging the rest of us. Thank you.

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  2. A beautiful poem and such poignant music to listen to while reading it. Our lives revolve around food right now. I have fears, will there be enough? will the co-op run out? What if...? We are eating kale from the garden, soon there will be potatoes. This is life in the time of Covid-19. I love the story of your mother-in-law. Yes, we can do this. Nice and steady. I'm trying. Stay safe and well there.

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  3. We can certainly do this. I understand people's sense of frustration, but six months in traction does put it into perspective!

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  4. oh, we can certainly do this. it's just that over here at least, in the most entitled of entitled countries, people are selfish and just don't understand why they have to and when you explain it to them, they just don't care confusing inconvenience with their rights being trampled because they can't get a haircut when they want it.

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  5. O dear Sabine-thank you for Handel. And for another day to be alive in.

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  6. One tends to think of Handel as a quickie but he does slow just as well. Every so often I break off from Schubert/Schumann and get out the score for "He was despised" It's written for alto and - let's face it - a very special one at that, rich as Judy Barrett Humbugs. But for me it's the Messiah's greatest aria; the chords trawl despair so expertly.

    I'm always amazed by sarabandes: the word suggests lots of extravagant leg movement and the floating of chiffon scarves. Instead we have carefully controlled mourning, based on a dynamic range that goes all the way from one to two. Just some throw-away on his part, recycled half a dozen times, here in the concerti grossi, there in a chorus from Hercules. Separated and allowed to stand on its own. Thanks for that.

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  7. What stretches out in front of us and seems so long, often doesn't seem that long when we look back at it.

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  8. Such an interesting post -- and the Handel is amazing.

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  9. Perspective is everything. Thank you.

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