Lines on Locks (or Jail and the Erie Canal)

1 Against the low, New York State mountain background, a smokestack sticks up and gives out its snakelike wisp. Thin, stripped win- ter birches pick up the vertical lines. Last night we five watched the white, painted upright bars of steel in an ancient, New York jail called Herkimer (named for a general who lost an arm). Cops threw us against the car. Their marks grow gaudy over me. They burgeon beneath my clothes. I know I give my wound too much thought and time. Gallows loomed outside our sorry solitary cells. “You are in the oldest of our New York jails,” they said. “And we’ve been in books. It’s here they had one of Dreiser’s characters arraigned.” The last one of our company to be hanged we found had chopped her husband up and fed him to the hungry swine. They nudged the wan- ing warmth of his flesh. Each gave him a rooting touch, translating his dregs into the hopes of pigs. And now with their spirited wish and with his round, astonished face, her changed soul still floats about over their small farm near this little New York town. 2 The door bangs shut in the absolute dark. Toilets flush with a great force, and I can hear the old, gentle drunk, my neighbor in the tank, hawk his phlegm and fart. In the early day we line up easily as a cliché for our bread and bowls of gruel. We listen, timeless, for the courthouse bell, play rummy the whole day long and “shoot the moon,” go to bed and jack off to calm down, and scowl harshly, unmanned, at those who were once our friends. The prison of our skins now rises outside and drops in vertical lines before our very eyes. 3 Outdoors again, now we can walk to the Erie Locks (“Highest Lift Locks in the World!”) The old iron bridge has a good bed— cobbles made of wood. Things pass through this town everywhere for it was built in opposite tiers. Two levels of roads on either side the Canal, then two terraces of tracks and higher ranks of beds: roads where trucks lumber awkwardly above the town— like those heavy golden cherubim that try to wing about in the old, Baroque church. The little town—with its Gothic brick bank, Victorian homes with gingerbread frieze and its blasted factories (collapsed, roofs roll- ing back from walls like the lids of eyes)— has died and given up its substance like a hollow duct, smokestack or a pen through which the living stuff flows on. 4 So we walk the long, dead-end track along the shallow, frozen lake where the canal forms a fork (this time of year the locks don’t work). And now and again we look back, for the troopers haunt the five of us out the ledges toward The Locks. (We know they want to hose our bellies and our backs. Or—as they said— “Play the Mambo” on our heads.) We do not yet feel quite free— though the blue and yellow, newly painted posts for ships bloom gaily in the cold, and the bulbs about their bases bulge for spring. Soon the great, iron gates will open out and the first woman-shaped ship, mammoth, silent, will float toward us like a god come back to make us feel only half afraid. Until then, though my friends will be gone from this dry channel of snow and stone, I’ll stay here among the monuments of sheer, brown and gray rock where you can read the names of lovers, sailors and of kids etched in chalk, and in this winter air still keep one hand over my aching ear. Buffalo, March 1967