Legacy 1993

Legacy

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1993 ^/^T-^ 1

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1993

Reflexions of our world

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Legacy 1993 not often we are allowed a glimpse of what others see when look in the mirror. This Legacy provides that rare glimpse. In these they pages, real people have laid bare their real selves with revealing and sometimes brutal honesty. They look into the "mirror" of their writing and uncover their identity— their view of themselves and others. My hope is that you will read with an open heart. Let others share their most powerful emotions about God, love, death, politics, growing up, and the world around us. May this Legacy inspire you to search your own "mirror." It's

Brenda

Keller, editor

Jhe Writers CJub held a poetry and prose contest in December. Prizes were given for each category: First prize~$50. 00; Second prize— $35.00; Third prize~$15. 00. Many of the entries^ including the winners^ are distributed throughout this Legacy. Special thanks to/oJin Durichek for the use of the computer-aided publishing lab, to our contestjudges, and to the following people who

helped in special ways: Beverly Camp Carol Pettibone

David Smith Donald Sahly William Wohlers

Patricia Keller

Debbie Suarez Tanya Cochran

Elaine Janzen

Floyd Greenleaf

Contest Judges Pamela Harris, professor, SC Communication Dept.

Writers Club officers

Melissa Hefferlin, artist David Smith, chairman, SC English Dept.

Mark Kennedy,

Greg Camp, president Lori Pettibone, public relations

Brenda

columnist,

Chattanooga Times;

UTC writing instructor Sheila Draper, secretary,

SC

Keller,

Legacy ed\ior

Calvin Simmons, fundraising Acela Baglaj, fundraising Helen Pyke, sponsor

Testing and Counseling McKCEUfiRARY 1

SoutNniOoliptfSM CoOefadale.

IN 37315

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Love

is-

/

-

Something in the wind that blows. Something in the heart that knows.

Something in the mind that goes Boink. —James Dittes

^^P^_

—John Ringhofer

Only three words Touch me once more to secure my dreams. To keep me from receding into darkness. Whisper sweetness in my ear to dry the tears. As a mother reassures her lost-but-found child. Let

me hear my name pour over your lips.

Like a newborn mountain spring. Allow these moments to asphyxiate your soul.

As deadly poison

attacks vitality.

Release the strength to

make us

real.

And breathe

that which unlocks forever. dare not see honesty in your face Until you honor me with enduring words. I

Say you love me. —Tanya Cochran

5 3^^ L

/

She

Sat,

He Sat

/U3 She

sat

On the cool, concrete bench Anxiously buttoning and unbuttoning her buttons To make sure the buttons were buttoned

And Watched F

the brilliant leaves

a 1 1

and littering The heavily congested sidewalk Scattering

And waited

for

him

To rush by But Notice her

new

Fall dress.

He sat On the

icy, concrete bench Nervously snapping and lonsnapping his snaps To make sure the snaps were snapped

And Watched F

the intricate flakes

a 1 1

Sprinkling and decorating

The heavily congested sidewalk

And waited

for her

To hurry by But Notice his

new Winter jacket.

He came and went. She came and went.

And now they only wonder. —Tanya Cochran

Thirdprize winner, poetry

Answers Night

in

Snow

oh wanderer.

falls,

Whither are you bound?

Snow

falls in

Clouds

patient light;

drift lazily in

and through one another.

Light dims as the sun nears his Filling the air

Light

oils

And

rest.

with violets and roses-

crushing the azure spirits of day.

opening the

brilliant light of night.

wrap and

Families of otter

In the knot of

curl themselves

warmest family

love.

Foxes entwine deep in their dens-

Warmth

of family staving off winter's touch.

Deer yard in the midst of forest glades. Does, fawns and stags together.

Lonely wolves

And

call

out to one another

the high places

and valleys echo with

Mighty oaks standing naked in the

their song.

forest night

Are cloaked in warmth by coats of ice. Maples proudly

lift

And embrace The Cottonwood

their

the

arms

snow

to the

sky

that falls to greet them.

flashes her prismatic coat;

Delicate fringes of ice decorate her linnbs

Through They

the lonesome whispers of the tell

each other of those

who

wind

dwell in their shelter.

Spruce perfumes the quiet air His spices are sweet and gladly mingle with The essence of cedar, clinging to each zephyr. They spread their promise of spring to Pine that lets no load overburden him; He lets his problems fall away and leaps for the sky again. In silent majesty, noble hemlocks nod at the peace; Their approval is felt by all who breathe the light of day. I

am he who dwells herein.

My life is caught up in this peace. Though

intruder

The harmony I

I

surely am,

of nature

is

I

am loved.

the song in

my heart.

am not a wanderer, noble moon and sibling stars, turn the pages of this book. reading these ever-flowing lines of beauty Find the thing which it is my life to seek.

I

And

In this song of nature,

For here

I

see

I

find myself;

my Master's face. -Ralph Waddell

The Actor Sometimes Tm glad I'm an actor So I can hide the way I feel. Sometimes Tm glad I can fake it So I never have to be real. You'll never

know how I'm

You'll never see

feeling

me cry.

You'll never be able to detect

it.

When I'm telling you a lie. You'll never have to share

my hurt

You'll never really know me. You'll never reach deep down inside,

and

set

my feelings free.

Yes, sometimes I'm glad I'm an actor

can hide the way I feel. sometimes when I'm really hurting wish I could be real.

So

I

Yet, I

-Lori Pettibone

Waves Waves crashed

against the shore.

Lightning flashed across the sky. Wind blew strong

through the trees as

we sat by the lake's

shore.

We talked of joy and love, pain and

loss.

We dropped our masks. Unafraid, our true selves to show. But too soon

came time

for leaving.

We replaced our masks, would not see and went home. But I still hear the waves and feel the wind on my face. so others

—John Lamb

—Peggy Burrows

Masks me I see masks.

All around

Automations

Who know me less than I know then\. Where am I

feel as a

I?

watcher

An alien Inside I am empty.

A husk Empty and barren Where are you? I

see,

I

hear,

I

of

smell,

I

life.

taste

But I feel no life. Don't do this to me! Where are you?

Where

are

you who knows me

Better than

I

know

myself.

-Ralph Waddell

A

Quiet Moment With A Perfect Lover Deep

in contemplation.

We stood for a timeless while. Your arms might as well Have been tight around me For the nearness of You, Which, until now Has been an enduring secret.

Mothers with children. Mothers without. And some that should have been. All passed us by.

Some may have wondered

Why I smiled so long. The most contented, with the

least

reason to be.

We strolled or didn't stroll. As we

felt

or didn't feel.

So inclined.

The wind as Your fingers Through my hair. The sun Your smile.

Oh how warm it was! You were

everything that could nature seemed pleased.

And

all

That

we were—

YOU and

satisfy.

I.

—Donna Denton

&IP.1_

(7)

WITX ft-UTE low.— r ti'v^i^/^^"-

-John Ringhofer I

am not the creator

music performed Nor am I the conductor who keeps rhythm of the

artfully

and flat pitch in tune. They call me the performer-

how wrong they are. They may never know. I

.

.

only read the notes.

God makes the sound move in your soul. He is the Creator, Conductor, Performer; Call

me an instrument

and

I

might agree.

~ Wendy Carter

—Sabine Vatel

Childhood Childhood

is... is

getting excited because

Daddy wants

to talk

me and then having him tell me he's leaving me. It's trying to please everyone when there's an extra woman in the family your to

mother

hates.

Childhood

and

is

loving your mother and loving your father

feeling guilty about

it.

It's

being terrified

when your mother

and cuts her knee—afraid you are going to lose her, too. Childhood is living out of a suitcase every-other-weekend. missing your friend's party because you have to visit your

falls

It's

dad.

Childhood

why.

It's

is

waiting for

knowing go swimming and

crying yourself to sleep but not

Daddy to pick you up

to

him not showing up. Childhood

is

seeing your mother cry night after night and

trying to comfort her.

scared

It's

not knowing what love

you don't love your Childhood

is

is

and being

father.

wearing sunglasses to hide the tears

when

your parents are in the same room.

Childhood

is

thinking this

is

normal. -Shelly Neff

10

,

Yesterday You Rushed Through

Me

Yesterday you rushed through me shaking and roaring crashing and splintering raging, deafening, overthrowing overpowering and pounding;

You changed me. More slowly now, you gently roll

and turn ble tingling freshly

a ding, rippling;

You soothe me. Tommorrow will

you tr i

ck le,

bar e ly

vis i

ble,

sp ea

k in

8 quietly to heart?

my

I

will listen--

you Are the voice

for

of

many wa ters.

—Jennifer Schmidt

11

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Our Emotions Collide I

love to

hold you close Where our emotions

One Happy Day

collide

And the birds sing

The sun is shining brightly and you are here beside me.

And the

daffodils

bloom.

Birds are singing;

—Thomas Duerksen

children screaming,

and bees are buzzing loudly. watch the water speed through iridescent leaves. I

Colors changing. Rainbows forming,

and shining through the

And it's but

trees.

our happy day,

all I feel is

pain.

Memories changing. Doubts are forming. My love—just words I say. poem, and a painful, fleeting home remind me you

I

bittersweet, old

are fleeting, too.

One happy day on loan. —Thomas Duerksen

Photo by Sean Pitman 13

Second prize

winner^, poetry

A Psalm

to

God

the Father

had an embarrassing moment today. My trousers split apart at the seams And introduced to the world I

A flaming red pair of boxer shorts— My red boxer shorts. I I

stiunbled through a gauntlet of laughing peers hurried home and slammed the front door shut.

But my embarrassment and my shame snuck I broke into tears and I called to my God:

in

anyway.

"Holy Father, sovereign Lord, all things and see all things. Surely you see my embarrassment. Surely you know^ my shame. Surely you heard my so-called 'friends'

You know

When they saw my red boxer shorts And sneered and chuckled out loud." And as As

His arms draw^ around me. heard Him speak in a colossal whisper: dear son, I am with you always.

I fell

"My

I

cried

silent

I felt

I

I am in the wind that follows; When you shout, I am the resounding echo; And when your pants split apart

For where you run,

I

was

And

I

I saw your red boxer shorts chuckled too.

there.

For I am a part of life—not apart from it. I run and sing and shout and laugh too. My precious son, my tender loved one. Let me live with you— I gave my life for such a privilege.

And

I

will.

with you up on my wings; swoop down and lift you up

I

will soar

I

will

When your whole life splits apart. And I will nestle you on a high place

forever.

.

.

FOREVER.

When I had heard

this, I

thanked the Lord.

my knees; the tears from my eyes

I

got up from

I

wiped

And I put on a new pair of pants. —James Dittes 14

A an

6

i H,':^r

'h

Simile rush out and see the dark, black sky Flowing across the universe I

like

your long, black

skirt

when it is hugged by tlie wind. I

run back inside but your eyes shine blue carpet laughing up at me.

like the delicate

Outside, the silhouetted trees

beckon me, and taunt me, like your long, slender

fingers.

And all the smells smell like your perfume.

.

And all the sounds sound

And every is

like

your voice.

.

footstep

you beside me.

.

First prize winner, poetry

You have permeated my senses, and have conquered my

Don't Pass

soul.

—Thomas Duerksen

IVIe

Don't pass me by in your red Ford truck— Didn't you notice

my

new suede cowboy hat? Don't you hear my radio tuned to the guitar station?

Fm seventeen and all decked out in

my natural look—

Can't you just slow down, take a glance

one

is all I

need.

Don't pass me by! bye. Don't pass me.

Drawing by Andrea Saldana and Sean Pitman

.

.

—Jennifer Schmidt 17

By

A

Flower Will Grow

movint the burden of sorrow upon

I

my shoulders.

And say good-bye.

My hands are clasped tightly around our friendshipIt's

so hard to

go.

let

must bury our friendship

I

as one buries a seed

Li the earth.

Our memories I will In place of

nourish,

and a flower

will

grow

my pain.

remember on our first date you wore satin and flowers. As you do now. You were so calm compared to my awkwardness.

I

We are still acting out our roles. No tears fall, no

smile breaks as

Your cheek with

my hand.

Yet my own face with pain.

is

I

gently brush

ravaged

Why? Why can't you show me Your emotions? How is it that you hide your fear Of the xinknown before you? You always said that I was strong—I am weak In comparison to you. So set is your jaw. So stiff

Are your shoulders. Is that

determination?

You once said that you could never Someone you love. Yet

it

seems so easy

To go now. I implore you not

for

you

to desert

But your ears hear No more.

leave

me.

me

You say not a word As I pour out my heartJust stare with those vacant eyes. Tell me you'll stay. Just let

me embrace you.

Once more. I

won't make the same nustakes.

I

promise. 18

a flicker of second thought?

Is that

Did your chest just heave With a sigh Of regret?

Show some emotion. Cry! Scream! Laugh.

Do anything But look at me with those empty eyes. I know you still love me— Please.

.

.

PLEASE.

.

.

Don't leave me.

A tear rolls down my cheek. I

catch a last glimpse

Of your unseeing

As

eyes.

the casket

Closes

On your cold Heart.

—Deana Abdel-Malek

Mixed Metaphor I

can't escape the

sound of your smile the sight of your voice the smell of your embrace the taste of the

you laughed

way

at death.

Now it laughs at you but

I

feel

no humor. —Brenda Keller

19

Second prize winner^ prose

Please Don't Leave

byEncAakko

It's a cold, misty summer Minnesota morning. Last night's rain left beads of water droplets on the car, making it look cleaner than it is. The arrangenrents of the northern excursion have been completed: pay for the marriage license, reserve the church, and a dozen other things a couple will need for a wedding. The car's trunk is crammed with luggage, the Mr. and Mrs.-to-be are anxious to leave, for it's a long drive back to Tennessee. The young woman knocks on her parent's bedroom door to say a final good-bye to her sleeping father. He coughs, sneezes, and then the bed creaks loudly as he gets up. A metallic sound of a belt buckle being hastily fastened is heard from behind the door. The bedroom door pipes a tiny mouse squeak as it opens. Her father looks the Norwegian that he is: pale blue eyes, ruffled gray hair pushed back over his head, white t-shirt, baggy faded blue pants and the thick gray wool socks which are poking out from underneath his trousers. He shuffles out of the bedroom and hugs his daugh-

ter.

The

father gently strokes his daughter's hair while looking deeply

into her big, blue eyes.

hands show a

life

He

of hard

kisses her

work and

on

the cheek. His large v/eathered

discipline.

They contrast with

his

daughter's soft, smooth, flowing red hair. Those pale blue eyes search her own eyes and seem to ask, "Are you sure? Do you really want to do this?" In that moment he sees their entire father-daughter relationship.

He remembers the first time she could walk and say "Daddy." Oh, how that had made him feel so proud. He recalls the birthday parties, picnics, and summer vacations—all of the good times. She gently touches his face, which momentarily disturbs his reflections. He wishes at least time could stand still. "Don't leave," he thinks. "You can't,. not now, not with him, not with this guy who's going to take you, my .

baby, away. things

I

.

Why do you have to get married? There are still so many to share with you, my princess." His pale blue eyes blink

want

and then he realizes that time cannot stand still—she is leaving. He hugs her, and kisses her, again and again. The sight of his beautiful daughter is etched forever into his memory. He will never forget this moment: the smile on her lips, her kind blue eyes, the softness of her hair, her gentle touch, and her sweet feminine scent. The daughter returns a kiss and hugs him, "I love you Dad." He slowly recognizes that she is no longer his little girl, but rather a mature young woman, soon to be married. A different kind of proudness swells in his heart, causing

him

to smile.

20

X

—Peggy Burrows

Changes Changes hurdling

me

against a wall. Knocking the breath

out of me.

Making me

fall

into a confused

slump in a comer, groping in the dark for answers to

the questions that keep haunting me. Smashing easy,

my

little girl

fantasies and dreams, forcing me out of now safe corner, to make life-long decisions.

my

—Heather Tydings 21

Third prize winner, prose

Th e It's

another

M

i

byUsa

r rO r

a silver picture frame in which is

seen.

the world at one time or

An image appears and is gone. Yet these few clips of

events, of emotions, of

The picture now fashion, the

all

Clark

mauve

life,

are

what

the

world

is

made of.

motionless. Chairs are arranged in an orderly flowers in one coordinate with the blue stripes in is

The couch squats between them, stretching its arms, beckontall plant stands to the right of an end table. Its shiny silk leaves,

the other. ing.

A

brushing against the side of the blue stripped chair, give the appearance of reality. Neatly stacked magazines, their covers dulled by thumb prints, the comers curling back from the pages, add color to the dark end table. Soft blonde hair fills the picture and a girl moves through in slow motion. Two large blue books lie flatly in her arms—a pencil is grasped in one hand. Balanced on top of her load is an open notebook. As she passes through the frame, her lips move silently, repeating the same movenients over and over. An older woman rushes through. The lined forehead is topped by graying hair. She pauses and looks around. Shaking her head slightly, she absently straightens an arm cover on the couch and hurries on. A tan, leathery face appears in the frame. He slowly sinks onto the couch and places his left foot on his right knee. The dark brown shoe moves slowly back and forth. A hand passes over the short-cropped sandy hair. His eyes dart frequently over to the right of the frame, down to the watch on his wrist, and back again. Suddenly a blur of long red hair and denim goes by and the room is empty again. A loud noise breaks the stillness. It moves steadily toward the frame. At first, only a long silver handle can be seen, moving back and forth. Lint and dirt particles disappear under the bar at the end of the handle. Then a hand appears, then a hunched-over girl, pushing the handle back and forth. The noise stops and the girl tugs at a chair, rearranging the spotless room, wiping invisible dust particles from the end table and restacking the perfectly-stacked magazines. The roaring begins again and the bent-over girl and silver machine are gone. Laughter spills onto the picture. White teeth, red lips, heads tipped back so the gales of merriment can spill more easily from them. Tennis rackets in blue covers swing from bare arms. Brown legs show under

blow by the silver frame. The couch and chairs remain motionless, shedding the emotions that have rippled over them. The silver frame continues to reflect short skirts. Ponytails

blankly everything

it

sees.

22

Mirror World In the mirror world

we

see ourselves

images of and actors. as

stars

In the mirror world

flaw is hidden and what we see is what we think all

we

are.

—Lori Pettibone

—Sean Pitman

True Image am nothing without you, yet you curse me I

for

I

your problems.

never

lie

to you,

but you shatter

me anyway.

Why do you blame me, when all I am is a reflection of

you?

—Brenda Keller

23

Fir<ifpn'7f ivinnfr. prn<;e

On Lake

byAndyNash

Melissa

Like Garrison Keillor,

I

grew up

in a small

town

in Minnesota.

Detroit Lakes, Minnesota. Population 7,106. Actually,

my town used

to

be called Detroit, Minnesota, but due to postal complications with Detroit, Michigan—people would write "Detroit, MN" on envelopes they thought were bound for the motor state, and our postman had fits trying to find 176th Street-the city council

wise decision, for each summer

since,

added the word "Lakes." tourists, most of

A

thousands of

them from Fargo, flock to the town where they are sure to find lakes. "What are you doing this weekend, bud?" "Hey, we're going up to Detroit Lakes!" "Detroit Lakes? Sounds good, I'll come too." And like a caravan in search of the nearest watering hole, in they come. "Gonna go to D.L. They got lakes there." And they invade our lakes and splash around for the weekend and go home to Fargo. They find most of our lakes, but not all of them. Not the best one. A good thing, I suppose, or our summer home on Lake Melissa may not have been things

worked

my favorite place in the world, out,

it is

just that.

.

after all.

But the way

.

.

My mom gives directions the best.

"Yeah,

it's

six

miles south of

not on the golf course turnoff, but the next one. Take South Melissa Drive one and eight-tenths miles and look for Riverside

town,

down 59,

Place Resort

on

the right.

Our place

is just after

the resort office.

It's

a

cedar A-frame with an orange door. Either the Jeep or the yellow

Corvair will be parked out front. We'll probably be down by the lake, so just walk right in, get changed—the bathroom's the second door on the left— and meet us at the dock, okay? See ya then. Bye."

driveway of my favorite place in the world, you see three things: a yard, a lake, and a cottage. Our yard is a proud yard, not one of those neglected yards you find in town with the humiliating plastic flamingos that peek out over the uncut grass. Our yard begins boldly inches from the concrete basketball court near the street and wraps itself around the cottage,

And

so, as

you

pull into the

run onto the small, white rocks beneath the porch, down sandy beach where the whitefish lie dead. Here, the yard reverses its path and aims for Orlo Gilbert's yard, but, as it senses Orlo's fertilized grass, it feels inferior and decides to stick to the original plan and wraps on back to the concrete slab. Out of love for our yard, I unlock the shed door each Thursday morning and bring out the big International lawn mower. I mow in circles. (Orlo mows back and careful not to to the

24

The yard cordially accepts the free haircut because it loves the compliments on Thursday evening when we drive tiie croquet hoops into it. forth.)

.

Smack!

.

My dad's black croquet ball careens into my blue ball, knocking

it

clear

and down into the gentle ripples of Lake Melissa, As I scamper down the sandy bank in pursuit of the runaway ball, my dad gazes out to the soft colors of the lake which are being sliced by a lunatic jet skier too close to shore. "Hey! Getoutahere!" yells my dad, who yells only when he is concerned about his family's safety. across the yard

Angel,

my little sister and her friend,

out on the orange

swimming

raft.

Nicole, are playing

The jet

"Marco Polo"

skier motions that

we

are

number one and flees. I see Angel pull herself up on the raft— the same raft that my dad and I take out every fall, except one time the lake froze early and we had to wait for the sun to melt off the ice before we could wade out together to get it, prompting the biggest argument we ever had— and we are glad she is okay. The lake shallow and

itself is

deep

in the middle, great for bass fishing, but

mushy around

the edges. (The church joins us for

when we all get hot and jump in the how mushy and gooey the bottom of our lake is, and I wonder what they want us to do about it.) When it has not rained much and the lake is low, we push our boat out past the muck because we do not want to bend the stainless steel prop which cost a whiffleball Saturday night and,

water, everyone remarks

lot, you know. It already has a few nicks on it. Anytime there is glassy water on an evening my dad is home, I ski. Angel and Nicole tube. And the boat paces back and forth in front of our A-frame cabin on Lake Melissa until Mom comes out onto the cedar porch and rings the

big brass

bell,

which means

it is

time to

eat.

Back inside our cottage, we take turns pouring the white dressing on our salads while Casey, our West Highland White Terrier, and Gypsy, Angel's pet raccoon, chase each other around the bar stools. The evening is cool and quiet, and Orlo drops by "to see how you folks are doing" and to tell me to clean the beaches in front of cabins two and

morning because he will be in town. I decide how late I can get up and still be done by the time he gets back as I turn on the television. "Not that stupid show again," says Angel, referring to the "Great KX Hole-in-One Show," my favorite. And, as Casey scratches the door to go out and my parents talk about taking the Jeep over to the Flea Market Sunday with Burgesons, I am content with our life on the lake, never dreaming that a financial crisis will force an auction next summer where we will have to sell our favorite place in the world, piece by piece, at an opening bid of five dollars. three in the

25

Unnoticed Walking down the empty beach toward the dying sun Alone.

Dancing, playing, laughing behind, friends

watch

me leave

Unnoticed.

—Thomas Duerksen

The

Iron

World

Gates of iron close with a resounding clang.

What was once vibrant

now

lies

cold

and

lifeless.

Memories of laughter echo through corridors of a hollow heart while gray replaces rainbows and questions replace answers. Life is no longer a playground, but a prison.

The blackened night acknowledges only the harsh realities as gates of iron close with a resounding clang. —Michelle Codington

Through A Dark Glass by Sabine

Vatel

"Mama, what does nigger mean?"

Mama raised her head from the papers

she was correcting. She shoved them aside slowly. Her face hadn't changed, but Marjorie could tell that her movements were now calculated and careful. Kiki must have sensed something because she stopped coloring her project and looked worriedly at Mama. Marjorie came near the table and leaned close to

Mama. "Where did you hear that, Marjorie?" Mama asked her. must be a very bad word, Majorie figured. She had known it was bad. When Yannick had spat it out at them, his stare had been hateful, and he started to run fast away from Marjorie and her friends. When far enough he had turned and yelled it again, "Nigger black. Nigger." Erika, a nrst-grader and Kiki's new-found friend turned and kept asking, "What did he say? What did he say?" It

Erika's eleven-year-old brother, D.J., stared

away long

after

Yannick had disappeared around the corner. Suddenly he shrugged his shoulder and rubbed his nose with the back of his hand. "Bah! Never mind that." He said while looking down. "He said Nigger." Marjorie smiled at the way Erika's accent made the "r" roll. "What's that?' Erika insisted. She raised her chin toward her brother and almost tripped over the sidewalk cracks as she walked. She kept bumping against Kiki who was right behind her. Kiki rolled her eyes and moved in between Marjorie and D.J., where it was safe. "He doesn't know," she told EriKa. The little girl shook her head and made her orange pony tails dance around her head.

27

"Uh-huh. D.J. knows all kinds of stuff." Erika said stubbornly. ?" "Don't you, D.J. D.J. ran his fingers through his sandy blond hair. Marjorie thought he looked shy all of a sudden. Their eyes met, and he averted his quickly. Marjorie didn't understand the sinking feeling inside her. "Nigger," Erika said pensively. "And stop saying that." Her brother snapped. His eyes hurriedly went from Kiki to Marjorie. Marjorie almost stopped in the middle of the sidewalk. She was now terribly aware of D.J. and Erika's lightness. And Yannick's too. It never dawned on her as much before, and she stared down at her dark arms. Whatever Yannick had said had to do with her, her dark arms, and dark face. Marjorie felt terribly empty. Mama. Mama would know what Yannick meant. Someone was pulling her sleeve. She looked down. "Byyyye!" Erika said as if she was trying to wake her up. D.J. was already walking away from them toward his street. He shifted his schoolbag over his other shoulder, and he stopped to tap his foot. .

"Come on,

.

.

Erika."

hopped to him and almost tripped again. Kiki rolled her eyes and opened her mouth. Marjorie nudged her younger sister's side with her elbow before she had time to say anything. D.J. hardly looked at them when he said good-bye and turned to leave. "Where did you hear that, Marjorie?" Mama asked again. Marjorie Erika

Mama followed her gaze. Mama to think it had come from her,

hesitated. She looked at Kiki.

As

she didn't want

Kiki blurted out, "Yannick said it." "Who's this? A boy or girl at school?" "A boy," Marjorie said. "He's one of the old ones. Older than D.J., even." Kiki joined Mama and Marjorie at the table. "It's a bad word, isn't it. Mama?" She asked as she pulled the chair. "It n\eans ignorant," Mama said. "And it's used by ignorants." She looked at each of them carefully as if trying to find the right w^ords. "Some people don't like other people because of their color. They don't realize that we're all the same inside. There are people who don't like us." "White people," Marjorie said. "Some of them," Mama continued. "They think White is better ." than Black and think it would be better if we weren't around. if

.

.

"But why?" "Maybe because they're afraid of people different than them. That makes them do and say horrible things. Long ago Black people were made slaves and put into chains and were treated worse than animals. Some White people think it should still be that way." "I hate them, then," Kiki said as she raised her chin defiantly. Mama leaned closer to her and watched her intently. "You mustn't hate, child. Hate has suppressed our people for a ." long time. Hate killed thousands of Jews. .

What are

those?"

28

.

"Who. They are people someone wanted to destroy because they were different than he was. Hate and fear made Yannick call you a nigger. You are not niggers. You are people and God made you, too. You're not above them. They aren't better than you are. You have a ." Mama looked at history. You have a future, too. Don't let no one. .

.

Marjorie, too. Marjorie held her breath. "... No one keep you from succeeding because

you are Black.

Because you're girls. I push you to have good grades in school because you sometimes need to be better than the rest because you will have to fight to prove you're good. To force the world to see you beyond your color. That's just the kind of world we live in, children." Marjorie stared at the lines in her hand. "Why does it have to be that way? Why do they want us to be ashamed to be Black?" Mama looked away. Everyone was quiet. "I don't really understand it myself," Mama whispered after a while. Marjorie bit her lip to keep it from trembling. "People like that need glasses. Mama," she finally said. "Real dark ones so they can't see any color. Then they'll see that we feel the same and play the same."

—Sabine Vatel

"How can you

write ifyou can 't cry?" —Ring Lardner 29

Work

It

Out

Don't wear me out talking about your soapbox stands and your bandwagon plans.

Inmate for Life

my ear

You

tire

and

to hear

in fact this

is

rift

a

My body is a temple

gift,

was

No,

created

because you've traded

for

A straightjacket of

ignorance to prove this world is decaying. But there you stand, preaching and praying not reaching me or the

you

raw

I

flesh

holds myself inside.

My body is a jail

LETMEOUT!

most You scare me. I don't want to hear your shouts. issues about.

a prison

my convict self.

care

Threescore and ten until parole.

—Laura Dukeshire

wish you'd just go

work

it

out.

—Jennifer Schmidt

A Captive A Prisoner A Servant A Slave I was told I was born a free man Under a sky of red, white, and blue

But the banner has turned cash green And imprisoned me In the

bonds

of time.

-Scott Walker

30

Brick by Brick Standing behind a wall. It has been built brick,

by brick by brick.

We laughed at the world's masons. Our hands knew not

that skill.

now I And face a brick,

turn to you,

But

by brick, by brick, wall.

When were we

We are Our

the

apprenticed?

image

of those

eyes blinded, as

we

we mocked.

stacked brick,

by brick, by brick. Stand up.

Turn around

And

face

your wall.

We are all bricklayers by trade. Societies,

towns, relationships

Have been built brick, by brick, by brick.

We have the power To demolish our

walls.

Yet

we choose

We

have built brick,

to live in the

houses

by brick, by brick. -Deana Abdel-Malek

"We have a natural right to make use of our pens as our tongues: at our peril risk, and hazard. " -Voltaire

31

words paint such beautiful in

pictures

my head world in there

i

like the

i

pick the colors

and the shapes things go where i want ^endy Carter i i

am the artist am the master

when the words

escape

my head

they're not ready

and they embarrass me when the words are forced out the colors run and make a big, ugly splatter i have to be patient and wait

until the paint dries.

—Sonya Nyrop

32

Imaginary Childhood used to be a child pretending to be grown up. I used my credit cards, played with my bank account, and paid my bills I

as

if it

were

all

part

some big game. "Look at me," I would say "I'm quite grown up now."

of

but inside I was still a child. Then overnight it seems I became a grown-up ,

pretending to be a child. I had myself convinced that was still a child

I

and that I would never grow up. Then I came face-to-face with someone the age I imagined myself to be still. And she looked up to as if I were

-Sherrie Piatt

me

old.

And I realized how different we were. She was young and I

w^as

free.

grown and

mature.

And my imaginary childhood ended.

—Lori Pettibone

33

Transposed

byBrendaKeUer

The woman sits alone in the middle of the darkened room. The dusty piano in front of her provides her only company. (Or so she thinks. .) She touches the yellowing ivory keys of the old Steinway grand, placing her foot, clad in an aging slipper, onto the tarnished .

.

pedal.

Unnoticed, a man in the comer shadow watches with intense steelHe surveys the piano's dusty, chipped cabinet; its cracked, worn keys; and the bench's pale, velvet cushion, threadbare as his own balding crown. "There is nothing unusual about this instrument," he blue eyes.

decides.

His focus shifts to the woman seated on the wobbly bench. Her white hair, a faint whisper of the past, is gathered and restrained at the back of her head by a faded yellow ribbon. She wears a yellow, flowerprint housedress which spans her frail form from neck to shins. It appears glued to her skin, as to a doll in an attempt to prevent the fragile china bones from collapsing into a meaningless heap. Dirmned by the weight of years, her gray eyes bulge slightly from thin sockets. Her paper-like hands, outlined by rounded veins, rest timidly on the keys, as a butterfly lights on a finger. "There is nothing unusual about this woman," he decides. Now her hands begin to w^alk up and down the steps of the keyboard. First hesitantly, then gradually gaining confidence and accelerating. At last her fingers dance gingerly, daintily, into a Beethoven Sonata. Effortlessly, her fingers now translate the beautiful sounds, which seem to flow from the most secret and forgotten places inside her heart. The melody reminds the man of days long past. He closes his eyes, imagining a young, pretty girl, standing barefoot on a whitewashed porch, long brown hair swirling in a soft breeze. As the music crescendoes, the man turns his attention again to the woman before him. She sits with eyes closed, body swaying with the music's intensity. Suddenly, the wrinkles in her face seem not so deep now, and her hands seem vibrant with youthful energy. The man stands motionless, as if unable to tear his gaze from the scene. What has changed?\\e wonders. His focus shifts from the woman to the piano, then back to the woman, then back and forth until the .

.

.

distinction blurs.

His eyes stare intently, unblinking, seeing the instrument for the first time.

34

woman and her

-Sherrie Piatt

When

I'm Blue

When I'm blue i sit

on a bench

tickling ]<eys

of ivory

and ebony; i see your face as

I

my soul soars through the clouds.

think of you. --Thomas Duerksen

35

sponsors Dr. John A. Sines

The Village Market

Don & Joyce Dick Wilma

& Jack McClarty

Bernice

W. Gearhart

and other anonymous contributors

"The original style is not the style which never borrows of anyone^ hut that which no other person is capable of reproducing. —Francois Rene de Chateaubriand

36

TMS 104490

For Reference Not to be taken from

this library

SOUTHERTi COLLEGE OF

SEVENTH-DAY ADVENTISTS