[with 3 poems by Joseph Mills]
Nothing makes sense. Even so we tell stories hoping to make sense, to create a little sense.
My brother just called from the beach to tell me my mother has had some sort of spell this morning. Maybe a seizure. Wee, pellucid, bone china and silver lace, she is smiling now and saying, “I feel just fine.” The doctor in me asks questions. The son I am worries but then pauses to touch myself on the shoulder and remind: “Her family surrounds her. She is 94 and smiling. She is fine.”
How can we make sense of all this? What should we do?
The evening before they left I sat beside Mom while everyone else made supper and packed. She’d been standing in the middle of the living room for several minutes – feeling that she should be contributing to the activity in the kitchen? – when I convinced her to join me on the couch. For a week she hadn’t been feeling well but a fruitless ER stay, a visit with her beloved family doctor, lab tests, an ECG, none had put a finger on the malady.
I asked Mom if she really felt well enough to ride five hours in the car. I didn’t have to guess how much she wanted to spend two weeks with my brother’s family, their once a year trip east from Montana. She smiled, said she was fine, then started to list all the spots they’d go out to eat during their visit. At least one restaurant there is older than me and the host recalls my name from when I was four. She couldn’t remember the names of several of the places but she could tell me just how to find them and what she’d most likely order.
Mom watched my niece bring glasses to the table and pour the wine. She leaned against me, my arm around her shoulder, and said, “I’m fine. I can’t wait!”
Nothing makes sense and for a moment it doesn’t at all need to.
the answers may be
in the trees, but the questions
are not what you think
+++++++++++from Wind Dancing by Joseph Mills
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Joseph Mills tells stories. Wonderful wide-ranging stories, in each of which one of the characters is dance. The poems of Bodies in Motion (Press 53, 2022) take me to cities I’ve never visited; to foreign countries; to high school gyms, wild parties, intimate moments. Even more so they take me into relationships and conflicts and epiphanies I’ve never experienced but which I recognize, instantly familiar. The poems, the stories – do they hold the answers, do they make sense of life? Perhaps, probably not, but they do invite me into communion with the family of all humans – in joy and celebration we shall share our questions.
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At the Arts Conservatory
Music comes from practice rooms
a piano sonata, a cello being bowed,
scales on a clarinet.
Dancers slide out of studios
bend at the drinking fountain,
go to the bathrooms, check phones.
The hall smells of sweat,
detergent, the latex paint
institutions use on cinder block.
I’m here to talk about poetry,
but for now, I fold against a wall
in a way that eases my back,
and thumb through messages.
In a hospice room in Brittany,
my father-in-law is dying of cancer.
The doctor says when the pain comes
that will be a signal. The signal.
Through a doorway
I can see bandaged ankles,
knee braces, thigh wraps.
Dancers balance and jump
on calloused, scarred feet.
They are young and beautiful
and already know a great deal
about pain. The musicians do too,
talking with familiarity
about repetitive stress injuries.
And they too may know
someone who is dying
at this very moment,
perhaps nearby,
perhaps far away.
I turn off my phone,
and step into a studio,
crossing the threshold
that clears away concerns
at least temporarily.
This is what art making is,
a momentary amnesia,
a pausing, and perhaps
that’s all it is because
the signal will come
for those we love,
and nothing we do,
will stop it or change it.
The students regard me,
curious as to why I am there
and what I will ask of them.
A moment ago, I thought I knew.
but suddenly I consider telling them
how I used to bring my daughter
to the school to watch dances
and afterwards she would play
choreographer, each time ending
stretched out on the floor
with her eyes closed, and I consider
telling them how my father-in-law
lives in Finisterre, which means
the end of the earth, a name
and phrase I’ve always loved.
From his window, he can see
the sea, the edge of everything.
And I consider telling them
in the hallway I remembered
when my grandfather built a seawall.
A man, more comfortable with tools
than children, he kept grumbling
for us to get out of the way, then,
once he had shaped the cement
he lined us up to write our names in it.
The students watch and wait,
and I find myself saying something
neither in my notes or my memory.
I’m going to start by reading some poems,
and I want you to see if you can tell
which ones are by people still alive
and which by those long since dead.
Some students look worried,
some lean forward.
Joseph Mills
+++ from Bodies in Motion, Press 53, Winston-Salem NC, © 2022; first appeared in Sky Island Journal
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Physics
We may not have understood the laws of motion,
but we exemplified them. Inertia kept us from moving
onto the dance floor, but once we started we wanted
to keep going and grumbled when the band stopped.
We spent each night colliding with and recoiling from
one another. Forget the falling apple. Isaac Newton
would have looked at our rumpled sweat-stained shirts,
wayward hair, our staggering orbits, and said, Eureka!
Or perhaps he simply would have shook his head
as he drank and jotted formulas and vectors on napkins,
notes he would crumple after closing time as we all stood
on the sidewalk in the dark, a cluster of wandering bodies.
Joseph Mills
+++ from Bodies in Motion, Press 53, Winston-Salem NC, © 2022; first appeared in Change Seven Magazine
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Gratitude
After a dance,
thank your partner
no matter how good
either of you are.
Thank them to acknowledge
how unnecessary it is
such dancing
and so how much more
a gift
Thank them
for giving you
a part of their life.
Thank them
for allowing you
to give a part of yours.
Joseph Mills
+++ from Bodies in Motion, Press 53, Winston-Salem NC, © 2022; first appeared in The Power of Goodness
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V E R S E and I M A G E 
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