plantings

by Mark Fischweicher

I walk to the market
two blocks away
for some salad, a spring mix
from Salinas,
in southern California
chock full of Oak Leaf Chard,
Baby Butter Kale,
Green Leaf Mizuna, Red Leaf Arugula
and Rosa Radicchio

crabapple blossoms
litter the road where I walk
making the
pavement pink

the sidewalk’s pushed up
by the roots of the tree
spreading beneath them
with splotches of weeds
coming up in the cracks
and in no time at all
the pink paved road
returns
to its constant,
its black, brown and gray

I say, perhaps
the Street Sweeper
swept by spinning its brooms
sweeping away the blossoms
with all the other urban rubbish
and debris,

blossoms not withstanding
we move on
under the rootless
scaffolding, our city’s official tree
the fruitless
sidewalk sheds
we walk under, more than
three hundred miles of them
stretched above us
one which still stands
after it was first apparently planted
twenty-eight years ago

while the “actual” blossoms
herald their buds and
no late frost has of yet
decimated the chance
of apples or even peaches
and berries upstate,
in the summer,
already in bud
as is our Tulip tree
the one we bought 35 years ago
just six inches high, having grown to around
60 feet tall by now,
the same as New York’s oldest,
the Alley Pond Giant, a sapling when
the Dutch arrived, thought to be
as much as 450 years old,
likely the oldest living thing in New York,
it sits in a sunken grove
within earshot of
the Cross Island Parkway and the L.I.E,
the top of the tree
visible to cars and trucks
travelling west

a green planet here,
where I rest

 

Mark Fischweicher has been involved with poetry all his life. As an elementary, junior high school, high school and adult educator he has published poems at all those levels and has taught courses on the Beats, the Black Mountain Poets, Ezra Pound, and The New York School of Poets.

Marshland

by Mark Fischweicher

Years ago the ground floor of our building flooded
May have been Sandy or Irene
Up from Florida
Just another unpredictable
torrential tourist.
Mathew never made it
Past the Carolinas.

Now I walk along the East River,
the walk closed below
The Brooklyn Bridge.
They’re raising it, they say,
widening it.
What with the river widening itself
and Manhattan sinking,
under the weight of its skyscrapers,

meanwhile, the Bikers and joggers breeze by
Soccer and softball
filling the fields
along the drive
while the water laps
at the sea wall.

Ferries running up and down the river.
Tugboats, tour boats,
sight see-ers, and sloops.
And here along the walk,
They, almost all of them Chinese,
with rods tied to the railing,
Fishing for bass and porgy
And selling it, they say, on the street
In Chinatown.

Marshland,
the Lenape landed their canoes here
Good fishing still
I suppose
The ancient ones gone
Having lasted hundreds of years
Street names remind us of their land;
Spruce Street, Pine Street, Cedar, Beech.

Once you could have walked up Maiden Lane
or its previous incarnation, Maagde Paatje
to get here, the footpath
used by lovers to walk along the “pebbly brook”
that ran from Nassau Street
to the East River,
where wives and daughters washed their linen.

Or think back to 1712,
The New York , that’s right, The New York
Slave Revolt, which happened here as well.
A group of more than twenty black slaves,
gathered on the night of April 6th,
and set fire to abuilding on Maiden Lane
near Broadway,
according to city historians,
killing nine, injuring a half-dozen more.
Colonials arrested seventy. Six committed suicide,
21 were sentenced to death
including one woman with child.
Twenty were burned to death.
One was executed on a breaking wheel.

Or think further back
to the massacre
at Corlear’s Hook
named after the Van Corlear family,
17ty century Dutch landowners,
and the geographic bend in the shoreline
that had the shape of a hook
where forty Wecquaesgeek Indians
of all ages and genders were slaughtered
as they slept, by the Dutch,
at the end of February in 1643

Just a short walk up from “De Smit’s Vly,”
“The Smith’s Valley”
where Cornelis Clopper
had a blacksmith shop’
a central stopping point for country people
to stop and shod their horses and socialize

And so I walk along the shore
Thru time, thru our collective history
Waiting for tornadoes once again.

Mark Fischweicher has been involved with poetry all his life. As an elementary, junior high school, high school and adult educator he has published poems at all those levels and has taught courses on the Beats, the Black Mountain Poets, Ezra Pound, and The New York School of Poets.

 

Boundaries

by Mark Fischweicher

upstate
in the woods,
In a wilderness
of brambles
at one particular location
there is an old stone wall,
now homeless
but still in place,
that rises just where it stood,
one or two feet above the ground,
a corner, left in place
from someone’s former life
and periodically there are remnants,
one or sometimes
two boulders high,
of some old stone boundary,
stretching for yards
all matted and covered with bright
green moss
separating someone’s former world,
from their old forgotten neighbor’s
within this murky sea of stones
a border, a margin
a man-made fringe,
like water circling an island
an inlet.

as it was over a century ago,
in 1896
in the city
when the Harlem Ship Canal was built
allowing ships to move
between the Hudson and the Harlem Rivers,
when Marble Hill, now part of the Bronx,
became an island
still afloat despite its tons of
Tuckahoe Marble
nearly pure white in color
quarried and carried down
the Harlem Railroad,
to Saint Patrick’s, where
the clustered columns of the nave,
the choir, and the transept are all
of white marble.
those of the nave, of extraordinary dimensions,
striking the sight with a sense of colossal grandeur
which words will not convey
but I am bound to it.
these are my woods
my trails, my paths,
my streets through nature’s rude
forgetfulness.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mark Fischweicher has been involved with poetry all his life. As an elementary, junior high school, high school and adult educator he has published poems at all those levels and has taught courses on the Beats, the Black Mountain Poets, Ezra Pound, and The New York School of Poets.

Used To

by Stewart Alter

Where I used to wonder
How the stream in the woods
Fed the roots of the trees
Twenty feet away,
I am now unable
Even to imagine
How an unknown
Someone
From somewhere
Unknown
Could have found me
To ask for my support
In an email.
And where I used to sit
Quietly and watch
How the birds
Connected
With the branches,
And how the leaves
On the ground
Formed into piles,
Guided by the wind
Invisibly,
I am now unable
To sit anymore
Quietly
And believe
That anything
Could be naturally
Linked.

Stewart Alter, who joined LP2 in the Fall of 2020, has been writing poetry and painting intermittently before, during and now after a long career in business journalism and corporate communications.

Sometimes

by Stewart Alter

Sometimes things in life
Really do work out.
I can see that now,
The way the cars ahead,
Almost crashing,
Are squeezing
Into an array
Of acute angles,
Like a desperately
Fleeing herd
Of prey
Converging
Into a vanishing point.
Their horns shredding
The air with their honking,
The cars then inch further
Toward each other,
Compacting
Into a single
Purposeful
Jumble of shapes
In order to sprout
A new space, a thin stripe,
At the remotest boundary,
Narrowly available
For an emergency
Vehicle,
Its siren splitting the air.

Stewart Alter, who joined LP2 in the Fall of 2020, has been writing poetry and painting intermittently before, during and now after a long career in business journalism and corporate communications.

Going Beyond

by Stewart Alter

Earphones on, playing contemporary,
The exercise walker was sure he knew
His way around the cemetery.
He had been often on its boundary

Where, as a passer-by, he had observed
Those crests and valleys of capsulized lives,
Their skeletonized facts in stone preserved
Amid that web of walkways, quiet and curved.

He longed to reach the far side avenue,
Impatient to explore what lay beyond.
So a shortcut across this scenic view
Was what his rhythmic vigor could rally to.

Right here in the city sat this country relief,
A landscape as much as it was sacred ground
Where he was free to bound over branch and leaf,
Bypassing the mourners clustered in grief.

Assured of his stance, now marching with pride,
He refused to be ruled by an unseen world.
With his music to guide his clocklike stride,
He would forge his own path to the other side.

Stewart Alter, who joined LP2 in the Fall of 2020, has been writing poetry and painting intermittently before, during and now after a long career in business journalism and corporate communications.

Running for President

by Stewart Alter

Unsure of himself, he decided to run
For president and command thousands
Of journalists, zealous and massed,
To invade the shores of his private past.

Muster, marshal, scatter and batter his walls,
Interview everyone he’s ever known.
Hunt down each hint, every shadow and shape.
Investigate, interrogate, get it all on tape.

For there must be a theme behind this tale,
Some furtive facts that can explain the plot,
Crucial episodes that changed his course,
Obscure to him but witnessed by a source.

He has tried to unearth these secrets himself
But his defensive vines were too thick to hack,
Jungle-tangled, with no sense of bearing,
He could spot no sight of a sunlit clearing.

So set loose the scoop-attacking troops
That they might draft an obit-befitting script,
Not the surface bullets of triumph and strife
But the buried motives that define a life.

Stewart Alter, who joined LP2 in the Fall of 2020, has been writing poetry and painting intermittently before, during and now after a long career in business journalism and corporate communications.

A Dieter’s Sonnet: (A Shape Poem)

xxxxxxxxxxxxxxxxxxxxxxxxxxxStudy the fat
xxxxxxxxxxxxxxxxxxxxxxxx man in his native
xxxxxxxxxxxxxxxxxxxxxxxxxxclime. Explore
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxhim
xxxxxxxxxxxxxxxxxxwith anthropological verve. He is
xxxxxxxxxxxxxxno savage, but man in his prime, a system
as Levi-Strauss might observe. Disdain men’s meanings when they paint
xxxxxxxxxxxxxand rhyme, there are deeper ones when they
xxxxxxxxxxxxcook and serve. For the real taste of the rare
xxxxxxxxxxxand sublime can be found around each daily curve.
xxxxxxxxxxxYes, the fat man can be thin at any time, but the
xxxxxxxxxxtaboo of thinness leaves him unnerved. To make it
xxxxxxxxxxxxreal would be his sacred crime. It is an ideal
xxxxxxxxxxxxxxxxxresisted to be preserved. So, get out
xxxxxxxxxxxxxxxxxxxxxxxxxyour notebooks
xxxxxxxxxxxxxxxxxxxxand startxxxxxxx to describe
xxxxxxxxxxxxxxxxxxxxbefore hexxxxxxxxx becomes
xxxxxxxxxxxxxxxxxa vanishing xxxxxxxxxxxxxxxxtribe.

 

Stewart Alter, who joined LP2 in the Fall of 2020, has been writing poetry and painting intermittently before, during and now after a long career in business journalism and corporate communications.

MacArthur Park

by Denise Waxman

A photo in the newspaper of MacArthur Park in downtown Los Angeles caught my eye. The familiar lake, the tall palm trees, the classic 1920s streetlamps. I can tell the sun is shining because the lake is reflecting the trees, the buildings, and the puffy clouds in the blue sky. There are a few low buildings on the far side of the lake, but I can’t tell which one is the boathouse, and I can’t see any boats.

On sunny days like that in the 1950s and 60s, my dad would take me to MacArthur Park on our kick-around Saturdays. Kick-around Saturdays were a tradition and the best part of the week. My mom would get a day to herself, and my dad and I would get each other. We might do anything on those days; go to the amusement park on Beverly Boulevard, with its miniature ferris wheel, bumper cars, and scary mad house; go shoe shopping in Beverly Hills, where dad would get a manicure and then we would eat out at Hamburger Hamlet. We could do anything, and it wouldn’t really matter much what it was, because it was so glorious just to be with him.

One of the very best things we did on those long Saturdays was to visit MacArthur Park. Each time it would be the same. We went to the boat house, which was dingy and dark with dirty floors dotted with blackened wads of chewing gum. There we found the man who took care of the rental boats. My dad gave me the money to pay, and I would have to make sure that I got the right change. We bought a large brown paper bag filled with bird seed and sealed at the top with staples and took it with us to the dock. Then we climbed inside a small motor boat with its two seats, my dad’s long legs cramped a bit so his knees stuck up, and my own sunburned ones stretched out underneath. Then we headed out onto the lake and tooled around watching the people in the other boats doing the same thing and feeling the strong cool breeze on our cheeks as the hot sun warmed them.

Meanwhile we had to avoid crashing into the other boats. It was a bit like the bumper cars in the amusement park. There were no rules and no lanes—just delicious chaos. No one wanted an accident, and we probably weren’t going that fast, but it was terribly exciting, nonetheless, especially when I got my turn at the controls. We only had a half hour to be on the water, though, and so after not too long, we got the main event going. We poured the whole bag of bird seed on the large triangular prow of the boat until it was totally covered. Then the show would begin, for one by one, and then faster and faster as the word spread, every pigeon in that park would come to our boat to eat our seed. They would land on the front of the boat and start pecking away. Before long you couldn’t see anything but the pigeons scrambling on the slick surface and flapping their wings to keep their spots. Meanwhile other pigeons would be trying to land or even to eat from the edge of the boat while flying. It was a crazy scene, and everyone else on the lake would look over to watch the spectacle we had created. We were the big attraction. The birds liked us best! We would throw more seed into the fray to keep things going, and we would laugh and laugh.

Of course, it didn’t take long before the seed was eaten up. Then the birds, a little drunk with their good fortune, would hesitate a moment before realizing it was all over and then fly off en masse into the sky above. We’d be left behind like the hosts of a great party. While it lasted it was fantastic.

The wonder of a day like that is that it is both perfectly ordinary and, as preserved in memory, a precious pearl, smoothed and enlarged by time.

Denise Waxman wrote many decisions, some regulations, and a few policy papers while employed at the NYS Department of Public Service. Also the occasional poem, letter or memory. 

The Continental Baths, 1971

by Charles Troob

         “Bliss was it in that dawn to be alive…”  William Wordsworth

In 1970, I returned to New York from grad school, a twenty-four-year-old gay man attempting to emerge from the closet.   The next year I moved into a shared apartment on Christopher Street in the West Village, where my new life included street cruising and late-night bar pickups.   In the Village Voice I read about the Continental Baths, a gay bathhouse that was also an entertainment venue.   Cabaret and anonymous sex?  How did that work?

It didn’t take long to answer the question.   A college roommate and his wife had me over to dinner at their Lincoln Towers apartment, and my hosts went to bed early.  At 10pm I was free, only a few blocks from the Ansonia Hotel—the baths were in the hotel basement.  I wasn’t out to Greg and Emily, or to any of my college friends, and as I made my way to Broadway and 74th, I felt a little like Dr. Jekyll switching to Mr. Hyde.

I paid the admission fee and descended, excited but edgy:  what if someone saw and recognized me?   I knew this was silly—everyone here was after the same thing I was—but paranoid secrecy is a hard habit to shake.

I stored my clothing in the assigned locker, then wrapped my towel around my waist and went off to explore.   I found myself in a large room, with rows of chairs, a small stage—and, to my surprise and amusement, a tacky pool party.  Men in towels were chowing down on Chinese food from a buffet table, while a few others were swimming naked in the next room.  So much for erotic adventure.  This wasn’t the whole story, of course:  beyond the pool, men were entering and exiting an unlit area filled with bunk beds and mattresses.

But it was showtime!  The munchers put down their plates and took seats.   I joined them.

A door opened.  In came an attractive Latina with her band, followed by a half-dozen male-female couples, dressed for a night on the town.  The new attendees sat calmly in the front row, as though it was the most natural thing in the world to take in a show among bare-chested men—a stone’s throw from a gay orgy.

There was a fanfare from the band, and then the singer took over.  (I think it was Liz Torres, mentioned in the Wikipedia article about the Baths—along with Bette Midler, Barry Manilow and others.)  Her patter and songs were directed knowingly at a gay audience—and as innocent as anything you could see in midtown.

The set came to an end.  There was enthusiastic applause.  The performers and straights departed.  And it was now time for me to enter the dark room.  There I found welcoming bodies and sexual release.

Only two years after Stonewall, the gay community was setting the pace in New York nightlife.  The relaxed air—the festive music—the unfazed straight couples—the easy friendly sex—all these suggested that the promised free love of the Sixties was now a done deal, at least for a few of us.   But over the decade, the freedom was to go in an unexpected direction.   The city became more dangerous, the mood darkened, and the gay scene turned to disco and drugs, gym bodies and leather.   The place to be seen was the notorious Mineshaft, with kinky sex under bright light.   The few straights who visited there were jaded sophisticates, not cabaret fans.

The Continental Baths lost its audience and closed in 1974.   The openhearted campiness of Bette Midler et al. remained a part of New York gay life, but as a grace note—not the leading edge of the culture.

Charles Troob: This piece was written for the LP² Writing Workshop, which I’ve co-coordinated for over a decade.  I’m still learning to write!