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Elephants in the wild
have been known,
upon recognizing
the white bones
of an
elephant they knew,
to linger, to rummage in those bones,
with delicate
movements of foot and trunk.
We don't know, (as usual, they maintain their steadfast silence)
but we think we see
sorrow in them,
and we include them in the group of God's creatures
who know
the pain of mourning.
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Today, traveling to D.C., visiting the museum of the Holocaust,
I am as
speechless as an elephant in the wild upon recognizing my dead;
then I
ache to tell those around me:
"That's me, there I am in that photograph,
that
is me, there, stiff and horrific."
My animal instinct begs me to walk into the displays,
to rummage
in the shoes of the dead,
to put
on the prisoner's rags,
to place
my passport under glass
and
enter the photographs, where,
if
any belong, so do I.
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Driving to our concert,
I see
wild ducks, swimming,
somehow
reconciled to the world.
Ages ago,
we cowered
before God,
then argued
with God,
argued
about God,
and now,
we hardly bother.
Can the ducks,
who never
bothered,
possibly
tell me what I need to know
to
keep swimming, to keep going?
I open my flute case backstage,
and there,
in velvet, a case of bones--
three
silvery white bones that I put together for my flute,
two small
time-blackened bones of a child,
as
light as hollow wood,
my
piccolo.
In prehistoric times, flutes were made of bones,
eagle,
bear and human,
emptied
of marrow
and blown
to make who knows what sound.
Tonight, on stage,
to ease
my misery,
I consecrate my flutes as the bones of the dead,
and all
night I make them ring and ring,
like a wild elephant howling over the huge tusks of its dead,
for no
purpose,
just ringing.
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