Little Dances for Words

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Little Dances for Words Improvisations in language and storytelling.

25/11/2023

At the Thanksgiving table

during the newest war

people think it’s important

to know how they feel just now

so they take sides—Gaza, Israel

which, underneath any formal

feeling or knowledge of history

feels like one side is children

and one side is adults.

One for living and one

for the dead.

In the documentary made up

entirely of four children

living without adults in Gaza

surviving their every next terror

of violence, one boy, around 12?

turns and faces the camera

and says,

“We grow vegetables.

We do not grow bombs,

so they don’t have any

reason to come bomb us.”

Such a childish thing to say

a war will tell you

about the children of war.

The difficulty that comes

with peace is its power of

non-equivalence.

At the Thanksgiving table

the sides for the living

and the dead switch places

some times, some years,

depending on the war,

or whatever they’re calling a war

that year.

One year, the machine that makes

soldiers called it DESERT STORM

like an action movie.

Once you are on the side

of the living,

you stay with the living

which is ambiguous because

of the words we use to describe

any inherent madness.

We say, casualties,

for example, knowing there

is nothing casual about

dying in a war.

At the Thanksgiving table

I usually take the side

of the dead,

or the children—the side hidden

from history—the side

of love and loving

unstoppable wonder.

Children.

Because they lived

during a war which made

living feel formal.

Just to live one day more

which is different than

the way we live now.

Casual, along with the casualties.

03/09/2020

Among other things, Lynda Barry, film scores, Newport, the vote, the backyard after sunset.

03/09/2020

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