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Showing posts with label fleeing. Show all posts
Showing posts with label fleeing. Show all posts

Thursday, November 09, 2023

WHITE FLAGS, WALKING SOUTH

by Amy Wolf




I see* you, with your white flag raised on a stick, held high.
Child on your shoulder, two little legs dangling beneath your ears,
The hand not holding the white flag is grasping your son’s ankle.
A daughter walks beside you, a wife or mother follows behind, wailing.
Out of all of the Arabic I hear in the video*, I understand only Nakba,
But that is said often. Tragedy; expulsion; we won’t be going back, it says.
Your face is dirty, I think you have not had enough water to drink,  let alone to bathe
In, for a while. You look parched.
I look for your provisions; who is carrying the clothes you might change into,
The kitchen utensils, pots, pans, mattresses.
There is only you, and your youngers and elders, and one teenager
Carrying a bundle of clothes smaller than a suitcase.
He looks baffled.
I hear the words of the soldiers, hurrying you along.
They do not step into the picture to offer water, or comfort, or rest.
They are voices. I cannot impute any kindness to them,
Although you might convince me that a forced march from home
Is marginally better than having that home bombed and brought down on your head,
Doubling neatly as your tombstone and grave.
I see you, and I see my ancestors, in line to get on the trains.
With their small bundles, and cluster of relatives.
Yes, those trains.
Don’t look away.
Didn’t we say, never again?
Didn’t we say, when you pen a people in a ghetto, then make them abandon even that
For a long death march to an unknown place where there are too many bodies and not enough
Water and food
Let alone space to lay down
Didn’t we say that was genocide?
Didn’t we swear to speak up next time?
The Trail of Tears comes to mind.
Old people falling dead on the way, and children.
Women refusing to leave their young ones, and staying next to them to die in the cold.
This is not genocide porn.
I do not enjoy these pictures.
But I have met the ghosts of earlier marches.
On a cold spring morning in TN, a long-dead woman showed me
Where she killed herself with a knife to lay beside her child.
Willing to walk to Oklahoma, but not to leave her baby behind.
She said to me, “In the hall there, you are all dancing and singing and praying and setting out food for your ancestors.
Where is our food? We lived here. Feed us.”
I set out food for them, and prayer and song, and took the memory with me.
The humans walking from Gaza City to Khan Younis will be on that road for a long time,
Haunting all of those to come. Rebuking any who try to move into that space
With the same demand, dead or alive. “We live here; feed us.”
Centuries from now, should mankind survive on this planet,
You will still be able to see a line of white flags heading north to south,
Hear the sound of shuffling feet tired beyond reckoning of lifting up and setting down,
Listen to the cries of children and  the wailing of their mothers.
People like myself will be called in to do space clearings
And we will say, “I can’t tell them to leave. They live here. Just feed them.
Honor them.”
To my Jewish relatives I say this; you do not honor the memory of the victims of the Holocaust
By consenting to and cheering on and excusing
A forced march
To crowded conditions
With little food
And less water.
Don’t you remember?
This is how it starts.


*The videos referenced by the speaker in this poem can be viewed here and here.


Amy Wolf is an LMT and energy worker who resides in Seattle, WA, and is studying writing.

Wednesday, March 01, 2023

A YEAR AFTER THE CARPENTER AND AN NPR JOURNALIST HUDDLE BESIDE A WOOD-BURNING FIRE IN LVIV

by Ellen Sazzman



Bohdan Kulik served in the Soviet military in the early 1980s in Moscow. He's done a bunch of odd jobs over the years since, he says, but in essence, he's a carpenter. He loves to make staircases. Photo by Ryan Kellman. —NPR, March 17, 2022



1

“My true love is building staircases,” the carpenter explains.  

“You must understand the difficulties of crafting a staircase.   

First the wood must be stained. Next...” The journalist 

interrupts, asks if the carpenter is worried about the war.    

 

The carpenter mans a checkpoint. Without a gun but with a crate 

of Molotov cocktails. His job: to stop cars, look for saboteurs.  

He pulls out his phone and shows videos of Russian destruction 

farther east in Kharkiv and Mariupol.  

 

The journalist asks again if the carpenter is worried.  

The carpenter chops kindling, feeds the stove, puts a kettle on.  

He offers coffee, says he’s 62, a pensioner. The carpenter repeats 

the importance of what goes into making a staircase:  

 

collecting accurate measurements, calculating the slope, installing 

risers, treads, handrails. The carpenter pulls out his phone once more, 

shares photos of staircases he has built. The journalist compliments

the staircases:  “They’re beautiful, but about the war?”    

                                                                                                        

2

After one year, a long nightmare, try to 

imagine the beauty of staircases, 

the smell of coffee, the warmth of a stove.  

Not the blood of suffering. Not the bombing.  

Not the decision to stay put  

despite what staircases are made for—  

scaling, leaving, fleeing 

through fumes and smoke, through 

a fine ash that still invades Lviv from the East 

and shrouds all things with the salt 

of a terrible weeping before a mute god.  

Pray there is dust enough

to re-make wild birds and beasts, 

to re-form woman and man, to re-plant.



Ellen Sazzman is a Pushcart-nominated poet whose work has been recently published in Peregrine, Delmarva Review, Another Chicago Magazine, PANK, Connecticut River Review, Ekphrastic Review, Sow’s Ear, Lilith, Moment, Common Ground, and CALYX, among others. Her collection The Shomer was selected as a finalist for the 2020 Blue Lynx Prize and a semifinalist for the 2020 Elixir Antivenom Award and the 2019 Codhill Press Poetry Award.

Thursday, June 25, 2015

THEIR FLEEING

by Robert Farmer



“Nearly 60 million people have been driven from their homes by war and persecution, an unprecedented global exodus that has burdened fragile countries with waves of newcomers and littered deserts and seas with the bodies of those who died trying to reach safety.” —New York Times, June 18, 2015


Their fleeing

is from these times
mired in apocalyptic struggle
spread through and by power
coated with ancient enmities and beliefs
brought up to slaughter and stagnation.

Safely sequestered, we trace the ways to today,
tracking back through old empires
and all manner of community
to rest in those imaginary ages
ruled by honored sages who left us

with stories of Tang poet-governors gathered
round wine and evening composition,
calm in the certainty of their world
and accepted sureness
of suffering and death.

Yet even they flaunted rants
on injustice of their times,
satire buried in language
which led them to exile
in far provinces.


Robert Farmer is a retired forester who lives in Cleveland and occasionally publishes poems in small journals.