I am a housekeeper at a private women's college in upstate New York. I live in a basement apartment with high, narrow windows. There's a small stove for me to cook my meals and I knit and write poetry in my spare time.
I grew up in Poland. We left Lodz before dawn on September 10, 1939. My father sent a car for us that rattled over narrow roads to a hill farm sixty miles away, a cheerful place, safe from the city terror.
Upon arrival I run here and there thrilled to find trees bending low with apples; purple and lavender flowers; butterflies more beautiful than stained glass. Animals peer at me from inside their barn.
The house is white and fat and square. Tiny pink roses bloom up the wall beside the door. In the kitchen pitchers and dishes with hooks or knobs hang across a window, flashing their yellows and blues like the last bright morning.
"Look!" I say and run to a basket of vegetables on a big wooden table, pale turnips and potatoes still damp from the ground. Brown sausages loop over pegs in a cupboard.
"This is all for us? All ours?" My father's in his state police uniform, plain blue now, the white eagle gone. All grey, my mother stands beside him. She is smiling, but not enough.
"Yes, all for you," my father says. When he reaches for me, his fingers outstretched, I see the red blood under his nails.
Bloodshed becoming nearly universal does it matter whose that is? Then the juxtapositions in this piece are very powerful, pastoral and holocaust, innocence and murder, naivete and despair. And then the implicit understanding of the narrator's retreat into solitude and anonymity. These intolerable contradictions always threatening a fragile peace...
Thank you David. Beautiful comment. I appreciate your kind attention.
*****!
It could have been lovely on the hill farm... Had it not been for the bloody nails. Beautiful text!
Thank you Chris and Erika. I appreciate your time and attention. And yes Erika, could have been...
Excellent.
The whole piece is frightening. It's because of the undercurrent you have so subtly painted. And the title too in all its colors.*
Thank you Gary and Tim for your kind attention and your constancy.
It is frightening. It's based on a true story told to me by a woman, the little girl here. She said it was terribly clear that people had woken up in the house and had started their day when they were taken. The tea kettle was still warm, etc. She didn't, couldn't really, go into the details. A hard memory to have, for sure.
Nice work. “The white eagle gone.” Yes.*
This piece delivers: the brief tense change to contextualize the narration, the vividness of "memories that continue to live in the present", the abruptness of the contextual limit and emotional "coloring". Quite well done.
A jolt. Well done!
Just wonderful, Dianne. You have power over time and space.
Thank you James, Edward, Darryl, and Todd for your generous comments. I appreciate your kindness and support more than I can say.
Sadly such forced removals are still all too real today.. A vivid and memorable piece Dianne.. xA
Thank you Amantine!