Skip to main content

Tom Darin Liskey

Oral History

Her husband found work
Teaching in a backcountry schoolhouse
After the war.
It wasn’t her first choice, she said,
But in lean times like those,
You took what opportunity presented.
They headed west
In a beat up Ford truck
Given to the couple in dowry.
The birth of their first child followed—
A boy with sandy hair and blue eyes.
She named the child after her husband,
But everyone called him Little Bit.
It was a happy time, she said.
Living in an old farm house
On the edge of an alfalfa field 
Paid for by the school board.
The teacher’s salary was paltry,
But the children’s parents would bring them: 
Potatoes. Onions. Ham. Apples. Butter.
Whatever bounty the season had to offer. 
The weather turned sour early that year
And the baby caught a fever.
People remembered it as the worst winter ever.
Despite the prayers and doctoring,
Sickness took the child one moonless night.
But the man and woman had to wait 
To lay their firstborn to rest
Until some men from church
Built a fire to thaw out
The iron hard ground for burial.
Even in her 80s, when she talked about 
Dressing her son for the funeral—
Her hands moved hesitantly
In their grim remembrance of that day.
And in that instance,
I saw, not an old woman,
But memory’s ghost: A young mother
Standing at the edge of a bed 
Where a child lay bathed in lemon water
And slanted winter light,
Brushing the boy’s hair for the last time.


Tom Darin Liskey spent nearly a decade working as a journalist in Venezuela, Argentina and Brazil. His fiction and non fiction have appeared in the Crime Factory, and Driftwood Press. His photographs have been published in Hobo Camp Review, Roadside Fiction, Blue Hour Magazine, Synesthesia Literary Journal and Midwestern Gothic. 

Comments

Popular posts from this blog

Kinnell's Book of Nightmares/Under the Maud Moon

Probably everyone knows this poem and this book very well. Kinnell isn't exactly invisible in the poetry world. I loved this poem and this book from the very first time I read it, while I sat on the floor in the old Emerson College at 150 Beacon Street. I've loved kids from a time well before I had any of my own, and I could put myself in this narrator's perspective so easily it was as if I'd suddenly slid from my own life and become a real poet. ;-) I hadn't really read anything that used linebreaks so seemingly haphazard, but powerfully --I got a charge as I read it-- or a voice that seemed so assured of its right to the sentiments expressed. Irony is the rule of the day for many poets, and I don't necessarily cotton to it all the time so Kinnell is a balm for me; I can go back and read BoN and remember how it lit me up the first time and have energy to go back the page with. I'm sort of over his poems now, but the feeling comes back just a little every ti...

PRYING, Jack Micheline, Charles Bukowski, Catfish McDaris, a Review

Roadside Press $18.00 https://www.magicaljeep.com/product/prying/71 Limited Edition of 69 The three poets nesting cheek by jowl in this fetching 2022 reprint of the 1997 Four-Sep Publications chapbook Prying from small press dynamo Michele McDannold's Roadside Press will be familiar to anyone paying attention to even the tiniest of the outlaw poetry scene in the last 50 or so years: Charles Bukowski, Catfish McDaris and Jack Micheline. Bukowski and Micheline need little introduction; their long shadows hover over the outlaw poetry world even now years after their deaths. And the third, the only living poet of the three within, Catfish McDaris, has been building his own small press reputation with considerable success, for nearly as long as the former men. Illustrations are from Scott Aicher. It's most fun to talk about the living McDaris. He appeared and appears so widely it's difficult to keep track and critique, or not, but as his portion of the cover copy says, he doesn...

Ma Yongbo

  Line by line retranslation of Ashbery Waiting makes time democratic, you just said so Then a white horse ran by, repeatedly running back and forth Like a messenger passing straight through various rooms from the front door Out through the back door, I waited like this for twenty-seven years. Initially it was the honey of distortion brewed in the rooms distorted in your convex mirror And that gesture was both an invitation and a refusal Unfolding for me a moment that fluctuated incessantly A crack that exists, the circulation of water in the ocean A ring formed by a self-devouring serpent in motion In between is the void filled with power This mirror of others reflects oneself at the same time Allows all the images of leaves stacked in the depths of the mirror to remain Like a demon in a bottle floating on an infinitely transparent surface Longing for the light of your face, symbolic stones They only stop temporarily in order to focus Forming some kind of meaning, then they are qu...