Tillage as Art (1990)
By Neal Bowers
In this version of the past,
life is so simple and pure
no one has buttons or buckles or pockets.
At sunup, the men step into
their leotard trousers, shrugging
suspenders over their shoulders;
the woman rises like a clapper
into her bell-shaped dress;
and they all set out to work
in the clean earth where no one gets dirty.
Nobody sweats (not even the horses),
though thirst seems to be a possibility
as the plowman turns over the plush pile prairie,
easy as lifting a rug.
In the grove with the wildflower border,
one of the men chopping trees
looks like a young Abe Lincoln,
The job is that noble.
Meanwhile, over this rustic scene,
art deco clouds drift in,
streamlined, urban, building
in the distance like the future
of everyone’s dreams,
too pure and simple to be true.
Hard Labor (1992)
By Michael Carey
For John Madsen
I.
The purest form of hell
is threshing in Iowa
in July or stacking bales
of straw or wheat
on the wagon
or in the hay mow.
Under the cuffs,
under your collar
chaff blisters
the skin into boils,
your body drenched
in a sweat
that will not
cool or wash
away the dust
from the eaves
or the dirt in the air
you can’t breathe
anyway, because
it’s been smothered
in 110 degrees
and 82 per cent humidity.
II
The further we get,
the prettier the picture,
the softer the line
on the rough edges
of the wagon. Even
pigs fall silent
as men measure
their medicine.
No one moves
their sullen faces,
no one smiles,
not the boy
with the head
of his father,
not the quiet wives
with their needles
and thread and china.
It is the distance
they stare into,
the soothing balm of years.
Step by step, we leave them
to their never-ending chores.
Step by step, we rise
like the painted butterflies
on the wallpaper or are they
leaves blown in on the sudden wind,
the white window left open,
caressing our brains
into different bodies
that see and touch and do,
now, different things,
softer things, strange things
in a world, we love, like them,
and cannot understand.