INVISIBLE INK

I sometimes lower my head
to the level of the page
to watch the pen inch forward,
dragging a small shadow
through mostly white silence.

Outside, the world argues to no end:
The headlines clatter down the street,
pursued by politicians
and preachers,
carrying torches,
foaming at the mouth,
red eyes wide.

My pen finds its place.
I do not care much
for the noise that surrounds it;

All I want is to be inside
the pen
within the safety of
the motion of ink,
to feel the line bend around the corner
like a train returning to itself,
each letter making a word,
each word forming an idea,
each sentence forging a way through the dark —

to stay there
on the narrow track of thought,
letting language tunnel through me
the way heat tunnels glass —

until there is nothing left
but a faint, familiar whistle;

a song I’ve heard before
that reassures me
that because it is me
holding the pen,
something —
somewhere —
someone —

(is it me?)

has begun to heal.

Copyright © 2025 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

HAIL TO THE CHIEF

My father taught me
the names of the Presidents
on a deck of playing cards
of Presidential Portraits:

at five,
I knew
Washington to Bush,
each name a silver coin
polished by paper repetition.
I memorized them obediently,
their order, their wars,
their imperfections,
their drunkenness,
their solitude,
their solemnity,
their marble faces
staring forward,
unwavering monuments.

Can a man be a monument?

Even as a boy
I sensed how power
turns to stone in the mouth.
Jefferson wrote of liberty
while counting lives in his ledger;
Jackson smiled
through the smoke of villages.
Reagan watched the flames
of gay men
extinguish from an epidemic.

I use to carry their names
like stones in my pocket,
heavy, impossible to skip.

Now,
I take them
at the edge of a river
and step into the current barefoot,
letting the water rewrite history
without title or transfer.

Off goes Lincoln,
then Truman,
then Kennedy…
I choose to live by smaller laws:
the bend of light through a leaf,
the sound of my own heart
when I refuse to pledge Allegiance.

Off goes Coolidge,
Off goes FDR,
Off goes Ike…

(I had forgotten about Hayes
but off he goes, too,
into bubbling rivers of time
and obscurity.)

Lighter now,
I think of my father
with his index cards,
my pockets empty
yet full of an invisibility,
a hope:

I am grateful
I learned from that deck —
from an unrelenting father —
that freedom is not in the order of names
but in the blessed disorder.

Copyright © 2025 John Grimmett. All rights reserved.

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RUE SAINT-RUSTIQUE

Once, I walked through
the streets of Paris
with a body I did not yet understand:

I carried no map,
only the wild confidence of someone
who believes summer
never ends.

Not long after,
I learned to linger beside rivers,
how to touch flowers
with the tip of my nose.

Now, I think of that self
as a traveler might recall a village
where the fruit was too sweet,
and the air
was almost unbearable in its abundance.

It was a sharp inhale,
and I inhale sharply now:
youth was a country I passed through
with no thought of departure.
I bought nothing,
took no pictures.

Still, I remember:
the wind,
the taste of salt,
the way the sky bent down
to meet me.

And isn’t that what we do,
all of us—
wander in our own beginnings
like tourists,
pockets empty,
hearts astonished,
before we learn the cost
of leaving?

Copyright © 2025 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

A LOOSE THREAD

I gather the frayed edges
of my mornings,
folding them into
the corners of a soft-green towel.

Why not taste again that first cup of coffee,
late enough that the rising sun
was once a promise
and now a guarantee?

I will not trap grief in glass jars,
but I will name it:
the lilt of laughter,
gone slack in my throat,
the weight of twilight
pressing on my chest,
the phantom slippered steps
I can no longer take.

I remember dew on the grass,
how the spider-web held
droplets like fragile jewels at dawn.
I remember running,
child-like and barefoot
across cracked concrete:

The swing in the yard,
spray of water from a sprinkler,
shingles red-rust
on the roof.

Because though I have aged,
lost the fleetness of limbs,
folded into fewer motions,
I carry inside me
a bloom of kindness I didn’t plant:
a generosity of memory.

Tonight I’ll open the window to crows,
to moonlight on maple leaves,
to the scraping pulse
of cucumber vines
climbing fencewire;

I’ll let the dark come
and not be afraid
that I taught my heart
to hold night.
I will dance—maybe once—
on green shag carpet,
or in dreams,
shuffle my feet
where the floor meets light,
singing in the silence,
holding the broken pieces
of the earth in a hand
that still knows how to clasp.

I accept that sorrow
leaves fingerprints:
on the mirror, the skin, the tongue.

But also that joy
travels light,
a loose thread through the ordinary—
each breath
embroidered with possibility,
each day
an elegy.

Copyright © 2025 John Grimmett. All rights reserved.

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REJECTION LETTER

You say,

with lips pursed,
armed with degrees
from the highest prestige:

“This is the way art is made.”

But what you hold in your hand
is not light or color or sound
but a stand-in for what you think
that thing should be

because you’re too afraid to hold
what doesn’t belong to you,
what was never yours,
the thing you claim for yourself
because you’re not sure
why you’re here
without a need to tell me
why you should be
and how it should be made.

This, you call, your work in the world,
a work you’ve never owned
in a world you’ve never lived in
because — if you had —
you’d know you cannot capture light
(ask Flavin)
or color
(ask Frankenthaler;
see: other Fauvists)
or sound
(ask Samson Young
or Mahler
or Amy Beach)

You are not an artist at all.
You cannot tell me what I can be.

I know the difference;
so do the trees,
the subjects,
the major scale,
and — if you listen quietly —
the inner voice that terrorizes you
in solemn midnights
with cups of loneliness
and aspiration.

Copyright © 2025 John Grimmett. All rights reserved.

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WORDS OF ENCOURAGEMENT I WROTE FOR A FRIEND BUT IN A LANGUAGE I CANNOT READ MYSELF

Enough with second-guessin’.
Listen up:
here’s the lesson —

Modify the expectation.
Build skill and expertise
and emotional regulation.
Forego the need to please.

Focus on your passion
and the things that make you strong.
When impatience is in fashion,
being right is being wrong.

A storybook ascendance
makes a too-convenient climb,
betraying our dependence
on loss and love and time.

For there is only learning
in the losing, not the win.
So why focus on the yearning?

Begin again.
Again…

Copyright © 2022 John Grimmett. All rights reserved.

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WHO CARES

Who cares should Lizzo play Madison’s flute?
Who cares if Velma thinks girls are cute?
The matter’s becoming increasingly moot:
Who cares? Who cares? Who cares?

Who cares what happened in fashion today?
Who cares what the talking heads might say?
What’s hip in one moment, in another’s passé:
Who cares? Who cares? Who cares?

Who cares for the President’s upcoming speech?
Who cares for a flower on a polluted beach?
(My mother was right: I’m simply a peach.)
Who cares? Who cares? Who cares?

You’ve probably discovered
this is no love letter.
I’m simply asking
that we improve and do better
by caring for things
that should mean a lot
instead of caring for things
that we feel that we ought —
things that rob our attention and time,
our music and art and lyrics that rhyme.

Who considers a world nihilistic at best?
Who considers a world extremely distressed?
I pose the question, inexorably pressed:
Who cares? Who cares? Who cares?

Who cares about moments you’ll never get back?
Who cares about caring for things that you lack?
Who cares for the want and the try and the fail?
Who cares to let go when your dreams have set sail?
Who cares about glances and voices and touch?
Who cares for the feelings coming in clutch
once you have learned you love living too much?

Who cares?
I care.
I care.

Copyright © 2022 John Grimmett. All rights reserved.

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THE AVOCADO TREE ON THE NORTHWEST CORNER OF MY HOME

I.
I keep waiting for you to bear fruit.
It has been several years,
and nothing.

When will you grow up?
When will I stop having to wonder?
When can I rest?

It is an injustice to be a parent.
It is an injustice to be the child.
It is an injustice to watch
and wait
for roots to inch their way downward
into nothingness.

II.
Patience:
when the only precipitation
to nourish your roots
is acknowledging what you cannot know.

III.
The guy who mows our lawn
thought you were a weed.

He mowed over you without a second thought.

And that’s how you exit this world:
a thing I loved
(past tense)
and an investment
I will never get back.

Not one avocado grew.
How will I ever prove that you existed?

Copyright © 2022 John Grimmett. All rights reserved.

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AN EVALUATION

When you’ve come to an end,
there are so many things you remember:

Rooftop meals.
Hot dinner rolls.
Cool water on a summer day.
Your first apartment.
A taste of champagne.
His kiss.
Her smile.
Chocolate.
A hug to make you feel less alone.
Rain on a tin roof.
The breeze through wind chimes.
Light on a ceiling from three to five.
Watching the buildings pass in a taxi at night.
Laying in snow.
New car smell.
How you tried to keep warm.
How you tried to make changes.
How everyone tried their best.
How everyone kept trying.

It could have been happier.
Maybe it was.

Maybe you missed it.
Maybe you saw all you needed to see.

Copyright © 2021 John Grimmett. All rights reserved.

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ART APPRECIATION

The difference
between a curse and its cures —
like the letters of the words themselves —
lies in the rearrangement
of its parts,
a shift in seeing,
a glance outward
and staring within.
How lovely the world might be
in which we might see differently
a new perspective,
the glass — a vase, perhaps —
not half empty
nor half full
but, possessing breath,
a potential for velocity
and for cradling several sunflowers,
severed in their beauty
for us to admire
for a few days, at least.

Copyright © 2020 John Grimmett. All rights reserved.

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CURES FOR SADNESS

Light through the window
in early morning.
The sounds of Pete Seeger
or Mahalia Jackson
or other yesterdays while
you make pancakes.
Moving your feet,
clumsily,
to the rhythm,
pouring a third cup of coffee.
Time in the garden,
smelling the sage
and nursing the begonias
and anticipating rhododendron.
Taking just a few moments to listen
to the Adagietto
from Mahler’s 5th Symphony.
Wandering through the pages of
Cannery Row
or East of Eden
or some other Steinbeck
you used to cloak around your shoulders
in the days of your boyhood.
Cleaning a coin
that belonged to your grandfather,
and searching for a letter
someone wrote you in high school.
Tasting a strawberry,
perhaps for the only time,
as the sun melts into the horizon.
Later, a glass of the champagne
you kept in the fridge for months
and a joke,
laughing and groaning.
Later still,
a going-through of things:
photo albums, old birthday cards,
a pack of old remembrances and yearbooks,
touching the names of friends
no longer able to enjoy the day
you just had,
remembering them,
trying to remember their voices,
wiping tears from your cheeks,
touching their permanence
in 35mm.
Then, an admission:
the knowing of your own time,
the measure of your heart’s travel.
A cup of tea before bed.
The slowing of the mind,
putting off, for now,
calendars and days
and life ahead
for dreams of fields of wheat
and endless clouds
and drifting off into a wholeness,
of which, you shall always pursue.

Copyright © 2020 John Grimmett. All rights reserved.

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A POEM AMIDST 125 DAYS OF SILENCE

I distract myself,
hour upon hours,
day upon days,
— most times,

I am brought back to a summer night
when my head laid in your lap
and I looked up
and saw nothing but stars.

The entire world was before me,
and it was ending (even then)
all in the same cadential chord.

You hummed a little tune
I shall remember
until my last of days:

it ushers me to sleep,
these years later,
as I sit — side-saddle —
upon the throne of knowing and not knowing.

I look back and see I am the poet.
I look back and recognize the duty to report
the things I’ve seen.

And yet I let them go —
the tunes, the worlds —
(one by one)
words like shells into the ocean,

washing in and out,
inconstant as mornings and days and hours
and lives
and stars
and sleep


Copyright © 2020 John Grimmett. All rights reserved.

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STARING AT THE CEILING AT MIDNIGHT

I’m getting much too old
to count the rotations of the fan
or all the sheep
or the attempts
to listen to the soft, droll hum of the fridge
which I rely on nightly
to carry me across a sleepy river:

I realize I am a jigsaw puzzle
with a few pieces short of the full deal.
I am glued together like a favorite mug
once dropped on the back patio deck

(my fingers are too large
to reach between the wooden slats
to collect all my brokenness)

I close my eyes and wait for sleep to rescue me —
or to rescue sleep from waiting.
Semantics.

One point:
I achingly love to be awake;

And secondly:
a good poem is hard to come by these days.

God knows I’ve tried.


Copyright © 2020 John Grimmett. All rights reserved.

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JUSTICE, MVT. II

In long hallways,
there is little conversation
and a western facing light
that creeps from doorway to doorway.

The people cannot bring themselves to speak.
There is only longing
in their silent stares,
music in wanting.

This weariness
happens in hospitals
and courthouses
and schools
and other places
(past, present, and future)

and it spares no one life
because somebody has to learn:
somebody has to carry the non-words
upon their shoulders
through long nights of thinking
and into tomorrow.

Copyright © 2019 John Grimmett. All rights reserved.

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FOR MY FRIEND WHO DIED TOO SOON (HIS NAME WAS MARCOS)

Deep sorrow
is a slow walk down a long road,

and morning always comes
before you become aware
of your newfound, perpetual loneliness.

Copyright © 2019 John Grimmett. All rights reserved.

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THIRTY EXERCISES IN PRECISION AND FUTILITY

  1. Give an object a name. Nurture it. Worship it. Then, destroy it.

  2. Visit a place that you've always dreamed of. Look around a long time, and never return.

  3. Associate a fruit -- i.e. an apple -- with a certain traumatic experience. Holding the fruit in your hands, stare at it before forcing yourself to eat it as quickly as possible. Eat the core of the apple. Eat the stem. Eat the seeds. Leave no trace of what was once there. Take note of how your body reacts.

  4. For one entire year, say "yes" of everything that is asked of you. Your safety is irrelevant.

  5. Make a drawing of what you are most ashamed of. Using three thumbtacks, hang it in the back of your closet in front of your favorite sweater. Show nobody, but be sure you visit the drawing everyday. You may not wear the sweater.

  6. In a meeting, take note of who makes eye contact with each other and when.

  7. Tell everyone what actually happened in a clinical, unfeeling way. Make a record of who believes you.

  8. Type "identity" into a Google search, and see if you can find yourself.

  9. Present an oversized novelty check in the amount of your choice to someone who has lost a loved one to violence and ask them if the amount will suffice.

  10. Pull someone's hair who is longer than yours, if only because you can. They will not be able to do the same to you.

  11. Drive to work wearing a blindfold, using only prayer to get you there safely. Try not to harm others, but ultimately, it is out of your control.

  12. Visibly put in ear plugs in the middle of a conversation with a friend. After a moment, walk away completely.

  13. Take a pair of scissors and individually cut each blade of grass in your front yard. If you do not have a front yard, you may tweeze individual hairs from hands and knuckles, from your own or others.

  14. Answer the phone and listen. Hang up immediately when the other person says, "Hello?" Contemplate the interaction, but not too long.

  15. Every time you enter a new room, quickly locate the exits in case of a fire or the nearest makeshift weapon in case of an active shooter event.

  16. Verbally assault a broken appliance in your kitchen or other location of your household.

  17. Find someone who is guilty. Convince them they are, even if they are not.

  18. Using a can of black spray paint, cover the peephole on your neighbor's front door. Knock. If they ask who is there, remain silent. Use hope to convey that they will know it's you.

  19. Make no distinction between moral obligations and fiscal responsibility.

  20. Always believe the man with light hair and white skin and glowing teeth for all evidence points to that this man is Christ.

  21. Memorize all traffic laws and never violate any of them. Wonder if this matters.

  22. Volunteer for something you believe in and then complain because of the amount of work it takes to do it well.

  23. Walk down the hallways of Columbine, and then go to a local diner and ask folks what they think about school shootings. Then go to Sandy Hook, Marjory Stoneman Douglas, Santa Fe, and ask them what they think about school shootings.

  24. Take a sheet of computer paper and, using a #2 Ticonderoga, blacken the entire surface. Using a pair of scissors, make a mask by cutting out eyeholes and a mouth. Stick your face through it and say: "But I have _______ friends." The blank should be a skin color different from your own. Breathe through your mouth because there will not be a place for your nose.

  25. When someone tells you why they are having a bad day, do not listen. Instead, think of your experience and the multiple ways you can relate. Make sure they know, too.

  26. In your limited experience, confirm only what you know to be true.

  27. Count the number of times your heart beats. Determine that number in a ratio to silence.

  28. When reading a book, tear out the pages you've completed reading so that you are aware that you've participated in an experience and the experience is now over.

  29. Deface a family heirloom.

  30. Do not try to draw correlations between what you've done in one area of your life and what you will do tomorrow. It's probably best not to think about it at all.

Copyright © 2019 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

MEDITATION

On Mondays,
I must remember that grief
is not unlike the making of a cup of coffee.

Process over consumption,
I sit and watch the steam
escape the silence
while a slow, steady tick
of a ceiling fan
cuts through the summer heat
and seconds
and minutes
and hours
and days
and days
and days.

Life undulates:
I look down at my cup,
still and full.

I, too, am cold.

Copyright © 2019 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

THE UNTIMELY DEMISE OF MRS. DUBOSE

A short story inspired by a true-ish story and for Mrs. Donna Cozart Pauley

One thing was for sure: little Ruby Mitchell was strange. No doubt, she was a smart girl with a pleasant demeanor. She was a model citizen who made good grades and greeted everyone in the church after worship. She read books as naturally as a fish might swim. She even played clarinet in the marching band despite being the only twelve-year-old at the high school. No one thing about her could be called unsettling nor were any of her quirks -- outside of her fondness for and the ability to recollect completely useless facts at a moment’s notice -- necessarily extraordinary.

Maybe that wasn’t true.

But it was true that the mere glance at the heavy glasses that slowly slid down the bridge of her nose and warranted her constant pushing towards her forehead could make those around her tire, and though she was very polite in conversation, we knew that, because she was the only twelve-year-old who had read most of Thucydides’ History of the Peloponnesian War, she could only be strange. And since most of us thought Thucydides was a venereal disease, why wouldn’t we think she was strange?

Sure: with her vocabulary and her knowledge and her skill at conversation and her virtuosity at the clarinet (she was playing Mozart while Lizzy Burns down the street tortured her mother with “Hot Cross Buns,” her clumsy fingers struggling to cover the tone holes on her flute), some people may find those things extraordinary, but I always said that the most extraordinary thing about her was how ordinary she was: outside of her intelligence and her occasional wit, she was just another twelve-year-old girl who wanted what other twelve year old girls wanted. And what girls want at that age can only be typified as strange.

If my memory serves me right, Ruby didn’t have very many friends at school. I mean, she was at the high school while kids her age were at a completely different school across town, some twenty-two minutes away and that’s if you had a car. It didn’t help that she wasn’t just at the high school, but she was a graduating senior. Oh, yes! Ruby was taking advanced high school courses: she was reading Tolstoy and Shakespeare and, at night when no one was watching her, Gertrude Stein (!!). She was taking advanced Calculus and studies in macroeconomics. She taught herself how to speak German and French, and she figured in the next few years, she would pick up Portuguese because, based on the recent changes in the world population, it was becoming a viable language. And for the rest of us? You guessed it. Thucydides was not Portuguese either.

I understand why she had no friends, and in her own way, she did, too. Her classmates were graduating seniors who would either go on to college or join the military or start working as people tend to do from our town. She didn’t hang around the kids who smoked cigarettes or drank their daddy’s whiskey or made bad choices on Prom night and, nine months later, finally understood the meaning of “cause and effect.” She hardly knew what sex was, despite her intellectual advancements, and though she seemed interested in boys, she was not quite interested the young men who were her peers (although history informs us that the terms can be interchangeable). There would be time for that later, she would imagine, but at her age, tomorrow had not yet found its speed. She was perfectly happy with her books and her music and her big glasses. And who cares if she had any friends or not?

Sometimes, children can be cruel. She heard what they'd say about her when she'd make a higher grade than one of her classmates or when she was walking down the hallway. They were both puzzled and frightened by her. Besides, she had her mind with limitless possibilities, and for now -- she told herself this -- that would be enough.

As Ruby’s mother would say, “That’s that,” and for a woman who spoke English as well as her third grade education allowed her and whose favorite reading material was a bunch of baking recipes, Ruby would, too, live by these words. All things considered, that is that and nothing more. Things are only as fair as what we are given, she was told. Ruby, once a small glimmer in the mind of God and, perhaps, more of a glimmer in her father’s interest in her mother, did not ask to come into this world at all, but she certainly didn’t mind a world that had books and music and vision correction in it. And not just books but many books! I mean, for each new story, that is not just that but it can be there and then and everywhere, upside down and in between, all because of the simple notion that can become it , and it is a better, more powerful demonstrative pronoun. It is a thing, a world in which she longed live, and just because she wanted it, does that make her so strange? What was it, other than a desire to be understood or valued and appreciated despite her sometimes seeming to think a socialist economic policy would provide palpable solutions for those living in extreme poverty? So it went: because “that is that,” further diminished by a contraction notating an ease of regional dialect, twelve-year-old Ruby Mitchell learned that that is rarely ever it. This was true in baking, her mother told her. It didn’t matter how much flour the cake needed, if you didn’t have that much flour—your cake wasn’t going to bake. And that’s that.

Semantics stood in the way of Ruby cultivating meaningful friendships.

One morning, as the sun rose with a promise of a hot day, Ruby heard something crying. It was not a human sound, but humans, being animals, sound like a mama cat who lost just one of her kittens in a litter of six or so when they cry so I guess it isn’t fair to make any sort of delineation. Ruby, still with sleep in her eyes, stuck her head out her window and saw a screeching baby mockingbird. Upon further investigation, Ruby noticed that the poor bird’s nest had fallen out of the oak tree in their front yard just a few feet from where the bird now lay hollering.

Well, it didn’t have a broken wing, but it was scared something sure. Ruby felt sorry for it, but she stopped herself before picking it up. She remembered reading that it was a myth that a mama mockingbird would not take back a baby if touched by human hands because mockingbirds had a poor, if non-existent, sense of smell. But that’s not what worried her: where was her mother? And her siblings? They were definitely not around, and this poor creature was all alone in the world with no company, without so much more than the knowledge to fly.

Ruby couldn’t shut the window on the little thing now: for practical reasons, she could already hear Jenny Pritchett’s no-good tomcat licking his lips and meowing coyly across the street. Though she loved animals, she did not love cats because she couldn’t quite accept them for their nature. After all, cats are the only animals pretentious enough to relieve themselves in a box and bury it with their noses up in the air as if it were some well-kept secret treasure. According to Ruby, cats were no better than her obnoxious Uncle Roy, the world traveler because he went to Canada once. Cats, according to Ruby, might as well vote for a Republican.

But thankfully this prejudice of Ruby’s did not extend to birds, and more specifically, it did not extend to orphaned mockingbirds.

Ruby took the little mockingbird and, using a small shoebox, a few of her father's worn socks, and some twine that her mother kept in a drawer full of useless things in the kitchen, made a makeshift nest. That seemed to make sense. As long as the bird was comfortable, at this point.

"Chirp," said the bird. "Chirp, chirp."

"Are you hungry?" Ruby asked.

"Chirp."

She had never fed a bird before. What was she to do? Thoughts flashed once again to this poor bird's mother, and Ruby felt a heavy pull in her chest. She knew what it was like to be scared and alone and lost. She felt those things in her room at night with her flashlight and blanket pulled over her head reading Beat poetry.

Ruby knew that mama birds would eat food and regurgitate it for their babies. Ruby shuttered at the thought. She was no mama bird, but how would she help this poor hungry soul in front of her?

Ruby ran out the back of the house, leaving the bird chirping upstairs. She picked grass and dug through the red dirt with her bare hands, hoping to find a nice fat juicy worm. She looked up and saw Jenny Pritchett's no-good tomcat in the window across the street.

"Oh, twist your own tail!" Ruby said, under her breath.

Ruby went inside and washed up, the bird still chirping upstairs, when suddenly she remembered that her mom had just sliced up some apple pie for the church social day after next. Ruby took a small slice, knowing full well she could blame it on her father who enjoyed apple pies at nights without his wife's consent.

She tiptoed upstairs and was pleasantly surprised to see the bird hippity hopping around the room.

"Well, someone is feeling better!" Ruby said.

"Chirp," said the bird.

"Would you like some pie?" Ruby offered.

"Chirp, chirp," said the bird, enthusiastically.

Ruby had an idea: this seemed like a ripe opportunity for tea, the kind the Brits had and the ones she would dream about with friends who shared her love for Proust. So, Ruby set out a tablecloth, two cups (truly, one cup and a thimble for the bird), made some tea that her mother kept on the high shelf in the cupboard, and she had her very first tea party with her very first friend.

For the afternoon at least, all seemed right with the spinning, swirling world.

Needless to say, Ruby discovered that tea and apple pie were not staples of a bird's diet. Over time, Ruby learned to improvise because she and the bird went everywhere together. Ruby started carrying the bird in the shoebox, but it wasn't long before the bird would perch itself upon her shoulder like a parrot. Ruby learned that the best place to take the bird for worms was down by the oak tree at the library. Underneath the shade, the dirt was cold and soft, and earthworms could be plucked from the topsoil for a true feast.

The other children found Ruby even stranger than before now that she had a mockingbird as a pet. Some called her a witch. Some were afraid of her.

Per usual, Ruby did not mind. She and the bird received stares in their daily walk to the library. They stared right back.

One day, Ruby and the bird were together in the front yard discussing the political ramifications of democracy within governments having previously been run by dictatorships when Jenny Pritchett's tomcat appeared in the shrubs. Ruby didn't realize the cat was there, and it didn't take long for the cat to sneak up behind the bird and pounce.

The bird, however, showed a fight that Ruby was not expecting. It plunged and dived and pecked the cat on its ears and bit the cat on its tail and so furiously pestered that cat that he took off running down the street. The bird's face -- like any mockingbird -- had high arching eyebrows and looked almost angry, if not disapproving in the least.

Today was no day to kill a mockingbird! Ruby began to laugh in her startled amazement. This bird reminded her of an old woman in one of her favorite books, TO KILL A MOCKINGBIRD. Mrs. Dubose! The irony of it all was too rich.

"Let's hope she's not a racist," thought Ruby, "but if she is racist, at least it's towards tomcats, so I suppose that's not so bad."

And with that, the bird had a name.

As days turned to weeks, Ruby realized that she had forgotten what her life was like before Mrs. Dubose. How refreshing it was for someone to listen, for someone to understand without staring at her big heavy glasses or wondering why she was more interested in books than boys! Who else would listen to her ramble about her preference of Degas to Rembrandt, of Satie to Beethoven? Ruby was a Francophile, after all.

In her new normal, Ruby found herself, one evening, staring in the mirror and examining two different colored dresses to wear to yet another church social.

"The colors are plain, and the design is drab," Ruby said.

"Chirp," Mrs. Dubose agreed.

"Still, I think the black dress with the chevrons is what everyone is wearing in Paris these days," Ruby replied.

Mrs. Dubose preened her feathers.

"Oh, you disagree?" Ruby said. She sighed heavily. "Fine, Mother will like the pink one anyway."

Mrs. Dubose hopped along the vanity approvingly.

Ruby put on the pink dress and her image caught her eye in the glass. She had not put back on her glasses, but for the first time in her entirely too short and well-informed existence, she thought herself beautiful, if only because she had become caught in a time and place where she had allowed it. She was a young woman at the crossroad so many girls face, a time where the voices inside of her could sometimes drown out the things she said out loud. Perhaps this is why she chose to listen more than to speak. Could a girl be both pretty and smart? Not in her world. Not in her mother's world. Girls are either pretty or girls are smart, but they couldn't be both. And that was that.

But Ruby knew that, like most other things in life, certainty could not always be true. She looked down at the vanity and saw Mrs. Dubose looking up at her. It was a queer feeling, but Ruby could have sworn that the bird's features were softer -- that Mrs. Dubose was even, perhaps, smiling.

Ruby was startled by a noise in the middle of the night. She thought she heard a stirring in the kitchen downstairs. She kept her eyes open sleepily and listened for a long time before deciding that her imagination was making up sounds as it does most midnights.

She sat up in bed and rubbed her eyes. She reached for her glasses and saw a most interesting thing: Mrs. Dubose was sitting on the edge of her window peering out into the moonlight. The bird's chest rose and fell gently, calm and measured.

Ruby wondered if Mrs. Dubose was thinking of her family, of the life she used to know. Ruby wondered if Mrs. Dubose knew love.

Ruby went towards the windowsill and gently placed Mrs. Dubose back into her shoebox. Mrs. Dubose looked up at her with sad eyes.

"Please don't be cross with me, Mrs. Dubose," Ruby said, "for I know you are not one for feelings. But if I have not said it before, I want to thank you for being my friend."

Mrs. Dubose cooed, and that was the closest Ruby ever felt to knowing the inside of her own chest, to feeling her beating heart pump love through her veins.

After she wished Mrs. Dubose goodnight, Ruby climbed back into bed, took off her glasses, closed her eyes and slowly drifted into a great beyond, unaware that she had forgotten to shut her bedroom door.

In the morning, as the sun rose and hid behind the clouds of a cool Autumn (or, at least, as cool as such a morning can get in this part of Texas), Ruby awoke to an empty shoebox and an open door. Mrs. Dubose was gone. This was odd as Mrs. Dubose was not one for taking a stroll without Ruby early in the morning.

She put on her heavy glasses and descended the stairs down into the kitchen where her mother and father standing vigil, not knowing how to break the news of tragedy to their daughter who was certainly smart enough to understand it.

Mere hours before, an animal -- most likely a bobcat -- had clawed its way through the screen door on the back porch and, after what looked like a brief struggle, gobbled Mrs. Dubose up, leaving nothing but a small pile of feathers for her survivors.

Or could it be Jenny Pritchett's sour old tomcat back for revenge? Tears in her eyes, Ruby swore she'd never forgive him. It would be easier for her to believe the crime was perpetrated by the bobcat assassin, but it made no matter now. Ruby's mother would pray for her before the church social, which definitely put a somber tone on an otherwise celebratory event.

For all of her intelligence, Ruby could not understand this. She could not wrap her mind or her heart around the heaviness she felt in her chest. Was it shock or disappointment, sorrow or relief?

If she could not understand it, at least she was now confident in knowing that cruelty is a necessary part of life as an animal in this world, and, though fairness often has little to do with it, that, as her mother would say, is that.

Copyright © 2019 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

AN EXPLANATION

Maybe
I did what I did
to prove
(in the most fleeting way)
that I was here
when it happened,
that my beating heart
cared for something
or someone in that moment
when I celebrated both a confident solitude
and an immeasurable loneliness.

Copyright © 2019 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

A CUP OF KINDNESS YET

To disappear quietly,
To dematerialize.

To gradually cease to exist,
To come to an end.

To be no more,
To blur, dim, disperse.

After an arduous journey,
especially on a winter night
when all that surrounds you
are memories of summer,
of adventure looming,
of the entire world
and the empty heavens before you —
what could be more for wanting?

Only silence.

Now, what is surely nothing
is the sound of your mother’s voice
calling you home for dinner
and the knowledge
that you can’t become a part of the night
if only because it’s always been a part of you,
two small atoms of your tiny significance
fondly remembered
as you make your way
among the sound of heavy footsteps
and a nightingale calling somewhere —
lost, vanished —
in the vast beyond of nothingness,
of wanting,
of silence.

Copyright © 2018 John Grimmett. All rights reserved.

Unless otherwise indicated, all materials on these pages are copyrighted by the author. All rights reserved. No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

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