by Sam Rasnake
Riverbed
— after the painting by F. Scott Hess
All I can tell you of trees is this: They grew in the riverbed — the scrub and bush and occasional tree — outside the city, though this was no real river — just a bed for runoff. But there was a flood. There must have been. And it washed me here — some little death, some fetal curl among the spindly limbs. Shoes, missing. My legs bent, my wrinkled nightgown, my eyes opened to a heavy sky, and away from the one who watches me. Or, does he sleep too? I couldn't say. But with such a quiet bending of the wrist, my left hand edges closer to him.
He has no idea how long he's been coming here, day after day, to this spot, curling beneath the dead woman in her tree. Just to look. Some days he's sure he sees her move, other times, no. She doesn't move, hasn't moved. He can't help himself. He doesn't know why he's not wearing any shoes or socks, doesn't know where he's left them. Sometimes he almost thinks of it, but never does. Not knowing is good. It makes him happy. Too afraid to laugh out loud, he chuckles to his mouth, grinds his teeth to silence. Show respect, he thinks. One day — though not today — I'll touch her hand. Near his feet, in a puddle of water, the butterfly rests on a stone.
- originally published in Wigleaf
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“The Sleep of Trees (Three Parables)” is an ekprhasitic flash/prose poem based on three paintings by F. Scott Hess.
Parts 1 and 2 of the suite are based on the paintings The Measure of Love and The Sleep of Trees. Part 3 connects with Riverbed.
Thanks to Scott Garson for giving the piece a home at Wigleaf.
http://wigleaf.com/
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Riverbed by F. Scott Hess
This story has no tags.
Without the picture, mysterious, macabre, strong. With the picture, wow!
"...the butterfly rests on a stone."
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Startling painting, Sam. The male's fetal curl, the woman's open womb edged by an almost shell-like treatment of the gown, the odd musculature around the clavicles of the woman, as though the head is emerging, turtle-like from the body. The implicit emotion this captures feels like a metaportrait of the human condition, and your words bring it back to earth. I especially like "Too afraid to laugh out loud, he chuckles to his mouth, grinds his teeth to silence." Well done.*
The kind of piece that stretches so very far, you must read it twice, but never mind, it's worth it.
fave sans hesitation
Beuatifully imagined and composed. Star.
The butterfly’s the reason I wrote the piece, Jack. Thanks for the read.
Hess is a wonderful artist, Joani, and I'm pleased the mix of words and art connect for you here.
Thanks, Scott and David. I’m glad you like.
It is a stretch, JLD. I agree. Appreciate your words.
Thanks for the good words James R. Glad the piece works for you.
Love this, Sam *
The first person part reminds me of a piece from Spoon River Anthology.
"But there was a flood. There must have been. And it washed me here"
I like the switch from 1st person in the first part to 3rd person in the second part.
Art is all about directing the reader's eye. You draw our eyes to the almost invisible butterfly. This is art.
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I'm not sure if the writing compliments the painting, or the other way around. Whichever, super good, Sam. *
Thanks for reading this, Marcelle. Glad you like it.
The pov switch felt essential to make the piece work - at least in my head. I agree with your view of art, Bill. Appreciate your comment.
Sometimes separating word & image just can't be done, Foster. I'm glad the connection works for you.
Sam, Your work is awe-inspiring. I think these two may be dead? Which for me gave a whole new meaning to the words. . . fave
best, best. best.
Maybe it's the words tugging at the painting, MaryAnne - or vice versa - that give you something new. Thanks for the read.
Glad, glad, glad, Meg. Appreciate the read.
just an outstanding piece of writing. damn!
Thanks for commenting on this the piece, James. Glad you liked it.
Gorgeous poem, Sam. Startling picture. They work together perfectly.
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The painting is startling, Susan. Yes. Glad the words connect with the art. Thanks for the read.
Top stuff, breathtakingly good, Sam! *
The dead are loveable. A feat, this one. And the painting has got a magical quality to it that begs to be resculpted in words. *
Thanks for the good words, Myra. Appreciate the read.
And Marcus, I agree - the dead are loveable. That's a great title. Yes? Glad you like the connections here.
Incredible.
I'm glad the piece works for you, Jen.
A huge pleasure to read this again, Sam. It's brilliant. *
Glad you enjoyed the work, Kathy. Thanks for the reread.
A stellar response to a fascinating picture, Sam. Fave.
Thanks, Christian, for the read and words.
must have been interesting, the process of imagining what was going on, it's so mysterious.
Appreciate your read the piece, Tantra.
The silent chuckling out of respect got me in the weirdest, most wonderful way. *
I can identify with that completely, Christopher. Glad you like the piece, and thanks for reading.
Wow. *
Thanks for reading, Beate. Appreciated.
I'm late, Sam, but wanted to join the chorus in cheering this piece.
Great story to illustrate the painting. The painting itself makes a strong impression, the story is even better.
The juxtaposition of the hand and the stone and the butterfly, is both subtle and strong.
Fave!
Always pleased when you read my work, James. Appreciated.
I think those counterpoints drew me to the painting, Berit - and hold me there. Glad the piece works for you. Thanks for the read.
An absorbing piece, sprung from an incredible image and rendered with terse, powerful prose. I'll watch for more of your work.
Thanks for the read & comment, Ricardo.