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week of April 19 - 25, 2004

Our sixth annual Yom Hashoah (Holocaust Remembrance Day) issue.

Eliyahu Abramson
Cara Alson
Helen Bar-Lev
Jim Bennett
Tom Berman
Joop Bersee
Bodo
Margaret Boles
Gerald Bosacker
Len Bourret
Alex Braverman
Tony Bush
John Davis
Daniel A. Elijah
Thomas Fortenberry
David Fraser
Maryann Hazen Stearns
Kristin Johnson
Philip Johnson
Tammy Kaiser
Rachel Kann
Ward Kelley
Miriam N. Kotzin
Donna Kuhn
Meredith Karen Laskow
Josie Lawson

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Eliyahu Abramson
eliabramson@yahoo.com

Bio (auto)

I am going to be published in the upcoming issue of Poetic Diversity as well as Santa Monica Anthology of the Really big show. On the basis of those publications, I am invited to apply to the number of other publications which I will, in the near future.

The following work is Copyright © 2004, and owned by Eliyahu Abramson and may not be distributed or reprinted in any form whatsoever without written permission from the author.

untitled

The world likes to hate the Jews
Is it because we constantly make the news?
Or is it because we never fit the shoes
You gain some and some you loose

I wonder if we Jews were any different
Would the world look at us in brighter light
If say if we were poor and ignorant
Would world not turn against us its might

Well we tried
And we cried
We lived in the Pale of Settlement
That is namely when Pogroms
Killed us and raped our women

We cannot win

Cara Alson
csalson@earthlink.net

Bio (auto)

Cara's poems, essays, short stories and humor have appeared in print, on CDRom and online, including the following sites: Motherbird, Art Villa, Clever Magazine, Autumn Leaves, Pulse, Hazel Street and Poetry Life & Times. She has won Honorable Mentions for her poetry in The Writers' Ink Guild & Arts Council Poetry Contest (2002) and the Writer's Digest Writing Competition (2003). She's getting ready to publish her first chapbook, Heartache and Whimsy; she's also putting together her website, http://www.PoetryPachwork.com/, which she hopes to have up by mid-May. Come visit!

The following work is Copyright © 2004, and owned by Cara Alson and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Double Exposure

Metal fingers claw at the sky,
choking smoke replaces the air.
Dust and ashes blinding eyes,
mixing thickly with acrid tears.
Crushed under shredded steel spines,
mangled bodies are everywhere.

Chalky statues, covered with fear,
stagger from the thundering abyss.
Haunted eyes and unseeing stares,
they shuffle on through the chaos.
Angels whispering in their ears,
they emerge from the deadly mist.

Strangers cling to one another,
as concrete and glass fall like rain.
Shaken and bruised, wailing for mother,
needing her healing touch again.
All become like sister and brother,
refuge against despair and pain.

Man raging on man with gas and fire,
I've seen this in books and film.
Trains of misery, camps of wire,
not in my time but deep in my being.
Something is wrong, this is no film,
I can't believe what I am seeing.

A silent woman stands to the side,
watching the chaos, unable to move.
She sees her people run and hide,
looking to her for the strength to live.
And as I look, I see a tear slide
down her cheek in an arching wave.

Brave lady, please don't fear,
we'll recover with you at hand.
Lift your light for those who are near,
and those all across the land.
And round the world let them hear,
we're still Sweet Liberty's land!

previously published:
01/02 - Millennium Dawn Anthology on CD/Kedco

Helen Bar-Lev
hbarlev@netvision.net.il

Bio (auto)

I was born in NYC but have lived in Israel for 33 years. I live now in Jerusalem. I am a watercolour artist who normally paints landscapes, though now have an exhibition at the Jerusalem Zoo of animals living there. Poetry is a more recent endeavour.

Visit Helen on the web here: www.helenbarlev.com

The following work is Copyright © 2004, and owned by Helen Bar-Lev and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Childhood Memories of the Holocaust

I was born in New York in 1942
Of my age that day I am not sure
When my mother sent me to fetch a newspaper
From the nearby candy store
How old could I have been?
Four? Five?
Not more

My mother took the paper to the kitchen window
Where the sun shone through
In a peaceful way
She was probably thirty-five
The age my daughter is today

And when she saw the paper, she cried
And I’m certain I remember the moment
Because I’d never before seen her cry

My child’s eye
Had seen the picture in the newspaper
As I skipped up the street full of pride
Because I was old enough to be sent
On an errand so important

But that child’s eye could not comprehend it
Yet till this day remembers it
And can now interpret it:
A mass grave of men and women
Who had died already skeletons
A site so horrific
That I still cannot deal with it

And then
When I was ten
I saw a photograph of an oven –
A crematorium –
A door in a stone wall
And had a vision
Of being put in
Too weak to call
I too a skeleton
The door shuts
The fires beckon
The flames searing
I wake up screaming
Barely breathing

And from then until I was forty
This dream returned to me
Much too frequently
I the American child
Consumed by a guilt nearly intolerable
How was it possible
That I was here, alive
When all those other children, there, had died?

Jim Bennett
jimbennett11@btopenworld.com

Bio (auto)

Jim Bennett's latest book of poetry is "The Man Who Tried to Hug Clouds" for more details see - http://www.bluechrome.co.uk/ Jim is the Managing editor of Poetry Kit and teaches creative writing at the university of Liverpool in the UK.

The following work is Copyright © 2004, and owned by Jim Bennett and may not be distributed or reprinted in any form whatsoever without written permission from the author.

A Visit

"this is the museum" the guide said
there was little more to say
even text by each picture
in three languages
wasn't really needed
the pictures were enough

stones hoard the memories
hide lost lives
in a carapace of clay
present
a living museum of death

"and this is the shower block"
he went on to explain
what had happened here
showed the empty
canisters that poisoned the air

as brass sprinkler heads
reflect the upturned face
dust eats into skin

years later I still cannot
............wipe myself clean of the place
............even if I could
it sits like a worm
eating through the fabric
of memory and mind
waiting
emerging
when I least expect it

"this is where the selection took place"

............and like everyone
who ever stood here
I found myself naked
stripped of any pretence
any hope of understanding


"And these graves prepared but never used"

for all the numbered bodies, beaten, shot, gassed, burned
operated on or sacrificed in the name of science
or who died worked to death or starved
for the Fatherland

for all of them
I say a single prayer
the words
fall like tears
into a river

Tom Berman
berman@amiad.org.il

Bio (auto)

Tom Berman has been a member of Kibbutz Amiad in the Upper Galilee, Israel for 50 years, on and off. He is a scientist, specializing in aquatic microbiology. Much of his research has been focused on Lake Kinneret (also known as the Sea of Galilee) but occasionally he has also worked on various real seas and oceans.

He grew up and attended school in Glasgow, Scotland having arrived there aged 5 from Czechoslovakia with the Kindertransport in 1939.

Further education was in the U.S.A, at Rutgers University and M.I.T. He is married with one wife, three daughters, five granddaughters and a grandson. Most of his publications to date have been scientific but now and again he has had some poems appear in press. His first collection, Shards a Handful of Verse, is available from the vaults of Amazon, etc.

He is currently Editor in Chief of the "Voices Israel" Anthology (http://www.poetry-voices.8m.com/)

The following work is Copyright © 2004, and owned by Tom Berman and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Kindertransport Memory, June 1939

Night…

from the ship

a gangplank to England

sea smells rising……yellow lights swaying

line of labelled children

disembarking 

from a darkening Continent


* From the end of 1938 until the outbreak of War in Sept. 1939, about 10,000, mostly Jewish children (unaccompanied by parents or adults) were brought from Nazi-controlled Germany, Austria and Czechoslovakia to Great Britain under the Kindertransport scheme. But for the Kindertransport, few, if any, of these would have survived the War.

Joop Bersee
joopbersee@yahoo.com

Bio (auto)

Joop Bersee was born in Holland in 1958. He started writing poetry in Dutch in 1982 (some of which was published). In 1989 he settled in South Africa. He began writing in English in 1991. His poems have been published in South Africa, the U.K., Canada and the U.S.A. He has a poetry site called ëJoop Bersee Poetry', featuring poetry by himself and other things like links, and he is the editor of "Southern Rain Poetry" - a compilation of contemporary South African poetry (www.southernrainpoetry.com). It contains previously published and new poetry and is by invitation only. He likes reading poetry.

The following work is Copyright © 2004, and owned by Joop Bersee and may not be distributed or reprinted in any form whatsoever without written permission from the author.

The Documentary
(about the Holocaust)

The black and white barbed wired
faces fill my screen, my eyes. There's
that tremor again that hits me
when I watch pictures like these, live from Mars.
No words, no language as I withdraw
into the copper creek of my skull.
The fires are white flames
and the chimney, the chimney
billows an endless cloud of remains.
Backbone chimney,
brain chimney,
wagon loads full of food
for the crying furnace chimney,
crying for more,
hungry, hungry like a baby,
sucking the skin and bone corpses,
as if they were tits and wholesome.
Hungry hungry as the big holes
where people dump people,
the sticks and bones
never to find their way back home,
although trains come and go.

Bodo
Havanataxi@aol.com

Bio (auto)

I live in Miami Beach, Florida, I am a POET which to me the term encompasses a passaport to all the genres of ART, for I am a musician and a painter as well. I am currently exhibiting my art in North America, (Miami, Sarasota, Bradenton), in Europe, (Fuendetodos, Aragon, Spain), and in Asia, (Istanbul, Turkey)...I participated in the Great Poetry Exchange of PSH, and I have had my plays done Off off Broadway, ("Gisella Taboo", 2001)...my newest CD, (music), is "CONVERSATIONS" which is Abstract Jazz...I live in a virtual house located at www.bododesigns.com

The following work is Copyright © 2004, and owned by Bodo and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Yom

I hear the winds
and the voices
and the children
asking for bread...
for toys...
for redemption...
(though they do not understand
the concept, in their
hearts they are pleading
for their cause)
but no one else can hear...

I hear the well chosen
notes...
The flats and sharps
crescendos and arpeggios,
that will resonate only
in my ears today
For the fingers that
played them
with such virtuosity
are forever gone
to this world...
And there is too much
noise here for
anyone else
to hear...

I hear the challenge
of the gods,
the Nordic gods
so strange,
so foreign...
And i refuse to
bow my head...

I will never bow my
head,
For all the
voices of the dead
I still can hear...

Margaret Boles
margros7744@yahoo.com

Bio (auto)

I have been writing poetry sinse 1966, and have had quite a few published in poetry magazines, newspapers, etc worldwide. I am married, with 5 children 24-12 i work part time as a Pharmaceutical Assistant, in my husband's shop, part time as a nurse, but mostly I am home based.

I wrote this poem in 1997, as my husband and I were going on a weekend break to Frankfurt. I visited Israel in 1996.

The following work is Copyright © 2004, and owned by Margaret Boles and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Travelling on the Nuremburg Train

We sit in our empty carriage,
Looking out of the window,
See the train pass through the forests,
Of the Old Romantic Road,
Think of others travelling eastwards,
Fifty years ago,
Windowless carriages, no seats, no space,
No sightseeing at journey's end.

Gerald Bosacker
Bosacker@aol.com

Bio (auto)

Gerald Bosacker is a prolific poet and tale teller who is minimally known to the paying public but lavishly displayed, pro-bono on the internet. Bosacker exists by charging ‘‘tasting fees'' for his food, and a ‘‘comfort-rating fee'' for his housing. This survival technique was borrowed from the editors, contests and publications who charge him ‘‘reading fees'' to view his work. Survival technique acquired as a poverty-plagued writer subjected to ‘‘reading-fees'' for his literary contributions, long ago while night student at the University of Minnesota. Bosacker was sidetracked from his study of journalism by hunger and other economic needs, forcing him to seek full-time work.

Gerald became a printer, then a salesman, who successfully migrated upward, propelled by serendipity coupled with his love and application of fiction, to become V.P. of Sales for a moderately successful international company. Promoted beyond his ambition and capability, Bosacker jumped at the chance for early retirement. Now living among his aging peers in a Florida retirement community, he has resumed his first love, weaving words into prize winning poetry and surprising tales that borrow heavily from the fascinating people dealt with in his travels.

The following work is Copyright © 2004, and owned by Gerald Bosacker and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Dandelions Grow at Dachau

Peeking out
from slatted stoops and hidden crevices
where bleeding saffron stars shed seed
to grow sure proof of sin.

Bright yellow tufts spring forth,
persisting in their proof of shame
while penitent Aryan grounds-keepers
daily sweep away the past.

No detritus
of the subjugated horde remains,
and wasted cigarette butts and gum wrappers
are routinely sent to
politically correct incinerators
to waft a tame trace of penitent visitors.

Impudent
yellow bloomed weeds
wrap their golden blooms in buds,
shrinking away from the grandchildren
of the first garbage burners,
to escape a little longer and defiantly bloom
as tributes to the fallen and trampled flowers
that came before.

Living memorials
profane the sunny blue skies,
where Millions of jews were brutalized.

Dandelions still grow at Dachau,
flourishing proof that man
cannot eliminate what God has chosen
to reflect and echo his glory.

Len Bourret
len6789@juno.com

Bio (auto)

'Trace' (defined): "A course or path that one follows. A writer's indelible mark on the present and the future."

To trace my beginnings, one need only right-click on a mouse to paste my words on the heart, and left-click to copy my thoughts and feelings on the memory.

A postwar baby boomer, I was Born In A Trunk...

http://www.talkingpix.co.uk/ArticleBornInATrunk.html,

...at the State Theater in the suburbs of Manchester, Connecticut (often referred to as "the City of Village Charm"), on July 15th, 1947, fully realizing (quoting Ethel Merman) that "there's no business like show business," displaying a great deal of potential and 'Shooting (for) the Moon'...

http://www.issues-mag.com/sept2/shootmoon.phtml,

ever-filled with the emotionally-charged music of George Gershwin's 'Rhapsody in Blue', a classic recitation of epic poetry and literary splendor, a magnificent composition with irregular form and musical improvisation...

http://www.mipoesias.com/Summer2003/billboard7.htm (Click on 'Circle Magazine').

I have become a Modern-Day 'Blackbeard', a 'pirate' and adventurer, on the 'high seas' of the stage and silver screen...

http://www.issues-mag.com/sept2/blackbeard.phtml

As a child, I experienced the warm and reassuring memories of family gatherings and 'Picnic Time'...

http://mfinley.com/poems/publish/leonardbourret.htm

As an adult, such buds of promise turn into colorful and fragrant flowers of recollection, radiantly blooming and reminding me that 'It's Springtime in New England'...

http://www.theunps.com/its_springtime_in_new_england.

With such clear and vibrant images, I am increasingly becoming a writer of affective and cognitive romance.

I am a long-standing fan of June Allyson, and the fine aromatic wine of Hollywood's golden era, a vintage which has become sweeter with each passing year.

I am a graduate student, with a 4.0 cumulative point average, and have completed numerous courses in education and social work at Springfield College and Roberts Wesleyan College.

I have completed research studies, on the topics of depression and effective anger management, using a cognitive-behavioral approach, single-subject and single-group designs, as well as multi-dimensional assessment (not limited to standardized measuring instruments). 

'Beginnings' & 'Endings'... masking the 'Ending', the 'Beginning' may be just in sight...

http://www.great-e-scapes.com/wordsart/maskingtheend.html

I am 'somewhere-in-between', a wanderlust marching to a different drummer, and enjoying my journey on the way up to the mountaintop.

The following work is Copyright © 2004, and owned by Len Bourret and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Aaron and Esther are
Alive and in New York


..........Dedicated to Isaac Bashevis
..........Singer and Sam Borenstein.

Dr. Josef Mengele,
Angel of Death,
giving out candy
on the Devil's train
tracks to perdition's
hell.

Black-and-white
and color stills,
the horrors of
the concentration
camps,
the consequence
of discrimination
and prejudice at
a bloody siege,
the slaughter of
precious human
lives, and the
destruction of
complete families:
fathers, mothers,
and their children.

Against great odds,
a testament to the
survival of Jewish
people, preserving
their culture and
strong wills,
a journey from the
land of milk and
honey, to harsh
experiences on
gentile mountains
and hills,
not able to go
outside, viewing
atrocities from
prison window
sills,
transported on
cattle cars and
forced to the
gas chambers,
millions of
precious
human lives
needlessly,
senselessly
taken away.
But, thank
God, for
Isaac
Bashevis
Singer
narratives
and Sam
Borenstein
paintings,
and colours
of their vivid,
word-painted
images of a
gentler and
brighter day.

Alex Braverman
alex@bravermans.com

Bio (auto)

Birth sets off events, generalized as “life”, and subdivided into “childhood” and so on. My childhood, decorated by pediatrician mother, deemed deep associations between didactics and disease: Grimm groomed mumps, Pushkin banished pangs of chicken pox, Dickens caused measles.

Geography was always prominent. Born and raised in Lithuania, immigrated to Israel at 18, in the middle of the Yom Kippur war. Israel offered Hebrew University of Jerusalem and the Air Force. I enjoyed and graduated from both.

Ten years later – South Africa, Mandela, and English language. They asked me, “Why South Africa?” If I moved to Australia they would have asked, “Why Australia?” Only if I were to move to the USA, no one would ask a question, as if it is the most natural thing to do – to move to America. Sixteen years later, I gave in and moved to America. It was easier than answering the same question.

Having lived on three continents for over ten years apiece, within the cultures as diverse as the Slavs and the Zulus, I have accumulated a bagful of curious experiences, of which I will tell you none. My stories are entirely work of fiction, retold by the participant and witness in the immediate proximity, never a bystander.

My downfall, and the most annoying quality, is living in obscurity, instead of being a famous dead person.

The following work is Copyright © 2004, and owned by Alex Braverman and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Dates

— I —

I am confused by the dates
born of borrowed memories.
Slow is the steady progress
through the calendars that predate me.

On January Sixteen he turned sixteen,
but he would not receive
his present for two more days.
Yes, then it was the Eighteenth,
the time for the gift:

a ride

away, away from the soot
and the cinders married to snow –
every blizzard was doubly dense:
the sight I have never seen,
but clearly recollect,
(the word that really means
collecting again, or it should).

The train departed the camp
and the chimneys were now defunct,
the Red Army entered the site
to examine the grisly find:
the stake the mutant drove
through the body of Polish land.

Sixty Thousand of the not yet dead
were carried at great expense
to a distant secure place
by the philosopher in black dress
who would enter a burning house
to rescue a cat – to drown.

— II —

The dates till the Fifth of May
were garbled, and so were the days:
frost and scurvy claimed this domain,
gums could not hold teeth,
starved minds let go of weeks,
and suddenly it was spring.

It’s not possible to ascertain
whether he was too weak
to climb the flight of steps
called Mauthausen death stairs;
more likely, the guards fled,
while the inmates ate weeds.

No restraints, neither armed nor dogs,
were holding the humans back,
just the skeletons, just the bones
depleted on the diet of grass.

“Wake up, son,”

were the first words
heard in the noon haze,
equivalent to “Let there be light!”
An American Pilot’s course
was plotted through this Austrian land.
He held the live sack of bones.

Three days later a decree was issued,
signifying the end, surrender.
The next day, the Ninth – celebrations,
and the fireworks, vodka and women,
and the dead Sixty Five Millions.
And the hunger that lingered and lingered.

The life with the American Pilot
was heaven: talks of adoption,
meals more sacred than the ancient Temple
sacrifices of the firstborn lambkins.
Corned beef and

the chocolate bars.

All the harder it was to depart,
which he had to, for there was a word,
just one word in the whole world
more hallowed than the survival.
He had to go back, to find her,
his mama.

— III —

..........................He did.
Who knows how he found her?
What matters: the world was recreated,
the great flood of blood had subsided,
the dry land offered school and college
in the shallow shade of olive branches
brought to him by his dove mother.

Short-lived was the repose between the slaughters.
The tyrants are forever restless,
thirst drives them to the dark waters,
for they are bottomless wells
to be filled with the agony, endless.

Eight years after the liberation
of Auschwitz by the Red Army,
Stalin dreamt up a plot by the Jewish doctors
to murder various dignitaries,
Marshals and Commissars;
on the Thirteenth of January Pravdas
carried the news to the nation –

a signal for the great extermination,
the plan for the Jews to perish.
And the trains were already ready
yet again for the Jewish cattle
to be packed and delivered safely
to the ultimate unsafety.

They lived through that too
having been harassed by the uniforms
only once, inquiring
how and why and for what supreme reason
they survived the obliteration
by the Nazis,
which raised KGBish suspicions
of the Jewish collaboration
with their own destructor.

March Fifth, Fifty Three, was an enigma:
the nation’s mourning at the timely departure
of the human pox that this tyrant
was. The Union Soviet
wept on the streets and in private.
Three years later the crimes of the monster
were revealed – just a crack –
to the people. Only then
the young man and his mother
fathomed the depth of the abyss
on the brink of which they were living.

— IV —

I was born on the D-Day,
on the dot, eleven years later.
Maybe that’s why I’m a battlefield
and the sky for the old thunder.
Now I’m closing on fifty –
more time than was given to Moses
to get rid of the guilt of the masses.

I wish to say this to my father:

I am tired of the constant one-upmanship.
Someone always knows more Torah,
or wrote better lines in a story,
or had greater suffering with more casualties.

For years I wanted to apologize
that I was not in Treblinka,
that I was not yet born to be there,
but still I was very sorry,
and if I could only offer
a piece of my flesh as redemption –
I would.

You, a survivor of Auschwitz
and Mauthausen, with no family left,
except mother;
the rest destroyed in Kovno,
be it ghetto or the Ninth Fort,
or Ponary. All my life I heard this story.

No, I wasn’t with them,
forgive me. But maybe I was that baby,
that unborn to whom much of my passion is intended?
For what philosophical reasons,
for what refined indignation
must the eternal victims
rob me?

And isn’t this sadism
to flaunt at me the number,
knowing that there is no answer,
the final trump has spoken
and played out in one-upmanship poker?

Yet, this wholly undeserving
mediocre, insignificant scribbler
had lived his lack of poetry
as an Israeli Air Force officer,
with the “Never again!” as promised,
volunteering for death if required,
protecting your right to insult me.

The generation of the sons and daughters
of the Holocaust survivors
were ordained to failure,
unintentionally and without foresight.
But how can we hope to live up to
the survivors of tattoos and ovens,
how can we not disappoint
when to mention or not
is deadly?

Let’s come out, let’s not dwell in the ovens!
’Tis sufficient, I assure you.
We remember the victims’ stories,
holier than the Ark we hold them,
but now it’s time to be victors.

Pluck the strings of the lute of survival
and of our hard-earned glory;
let our children rejoice, dancing,
let’s remove their restraints, advising,
to ignore all the righteous guilt trips
which are traps, when undressed of their trappings.

Tony Bush
bushtony@tiscali.co.uk

Bio (auto)

I am aged 42, male, live half way up a mountain (or is that half way down?) in Wales. I write poetry. That's it. When you think about it, what more do you need to know?

The following work is Copyright © 2004, and owned by Tony Bush and may not be distributed or reprinted in any form whatsoever without written permission from the author.

What They Saw

What they saw, that seminal liberation day,
Defied, at first, all comprehension;
The winding dirt road uncoiled to a clearing,
Snaked to primal ordinariness, a camp, militia deserted.
Static gates, fences of rust stained barbed wire,
Ramshackle huts in the near distance,
Flanking sentry towers and water towers attentive only to silence,
For the birds were not singing.

And in that silence seethed the heavy earthen burden
Of graveyards after rainstorms,
Of fear that gnaws in the gut,
Trickles of icy blood from intestine to bowel,
A silence that lies dead against the trunks of hanging trees,
That dominates above the frozen fields of battle done,
That rules in funerary deserts at night,
That defines itself in the airless vacuum of space.

What they saw, creeping-crawling dawning of envisioning,
Burned branding iron snapshots on each cortical cell,
As there they stood with slackened jaws,
And gaping eyes, weeping denial,
Conversely knowing the dread damning truth.
As hands grew taut, bloodlessly white yet hot
About the walnut sheen of cold carbines
Gripped in fright and mourning at humanity’s supreme debase.

Swaying, gentle tilt, lined behind the creaking cables,
Skeleton people in malodorous pyjamas,
Their own hands tapering like pale rags,
Grasping the nettles of cold steel wire,
Rotting mirror images of their liberators,
Staring back at them with saucer eyes in skull faces,
Eyes electric with black reflections, vision haunted,
Of unfathomable despair, near-death dominion, inexpressible torment.

What they saw, that day ruled by nightmare understanding,
The carrion legacy of remorseless lunacy,
Of man’s inhumanity to man,
The day when realisation gored the civilised world
Telling that mankind had transcended the primordial depths of savagery,
Travelled beyond the abhorrent degradation of the mere bestial,
Had screamed feral hatred in the face of creation,
Had proclaimed – “Behold what we can do!”

They approached on creepy soles, slowly advancing,
At first refused to acknowledge,
To submit to the awful, awesome cataclysm of truth.
In their exploration, such vile treasures they unearthed,
And in so doing exhumed some partial salvation,
For with this revealed visitation of atrocity upon atrocity,
Not one man’s heart could remain whole, unbroken,
And at some stage, not one man failed to bow his head and weep.

What they saw, at the point of history collapsing,
A scathing fable skewing the triumph of good over evil,
And as the hardened combatants brought blankets
And chocolate and comfort to the ghost prisoners,
And they hugged their bones close like brothers would,
Their tears dripped gently to the quicklime soil, sinking in puffs of smoke.
In a world that would never be the same again
Somewhere else the birds were singing.

John Davis
JHDUtah@aol.com

Bio (auto)

John Davis lives on Bainbridge Island, Washington. A high school teacher, he plays in the blues-rock-reggae band Never Been To Utah. His poetry appears in several journals including Beloit Poetry Journal, The Laurel Review, Passages North and Poetry Northwest. He formerly edited The Duckabush Journal.

The following work is Copyright © 2004, and owned by John Davis and may not be distributed or reprinted in any form whatsoever without written permission from the author.

Survival

Her grandmother didn't survive Auschwitz
but Anna survived the preservatives
in Mrs. Butterworth's syrup, felt her own
inner flesh shielded from aging.
It made her snore longer and longer
every evening after eating half a dozen
flapjacks, soaking them in golden
decrescendos of the brown bottle
and the thick wedges of salted butter
that dripped over the chewy dough.
She remembered her mother’s bread hands
kneading, and the tattooed number
on her mother's wrist shaking, saying remember
as if it could speak, remember the space
between happiness and angels. Live there.
Between Anna’s blues and her harvest
of golden plums, she knows the hands
of mercy, and lives between the air’s skin.

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