I The Bridge When we were children we would meet by the bridge; you would take a folded paper from your pocket and give it to me: a poem, or a song lyric you loved. I was excited by the paper; it was warm, and wrinkled by your curves. As I read it you would blink and smile. Under the bridge we would talk for an hour, and stand together in the creek kissing, cold water and sand washing our ankles, our feet slowly sinking. When we were children, the secrecy of kissing was everything — the world began there, for we had never been in love before. Now the years have nearly doubled and we spend our first night as lovers. We call the children, and they are here, kissing, while two strangers explore the deliberate excitement of adults. Your hair, still long and wild, is gray, which stirs and fascinates me. Later, when you sleep, I hold and watch you, my arm across your breasts, and I am fully content. This is a rare happiness: it is a readiness for death that makes sense of life. The children are let go, and in your sleep you smile at their perfection. II Saving And Waste Outside my grandmother’s house, now empty and simple, I help my parents pull gray oaken boards from the shed my grandfather built. My father uses the wood for picture frames, and gives his brothers & sisters photographs of the house. The wood is sixty years old, solid, strong, and “never dressed,” my father says. He pulls the boards loose from one end, and my mother holds them out while he crowbars loose the center nails, then the other end. On the ground I hammer the nails on their points, then flip the board and pull them out. Most of them are loose, pulling out by hand, their passage smoothed by rust gone to powder. A few are difficult even with a claw hammer, resisting the undoing of work done well so long ago. I toss them all into the shed — now becoming a skeleton — onto a pile of wood, broken tools and things that will never be of use again. I think about how much we waste, how much we save, and whether my grandfather could have guessed the further use of what he built. My father walks to the back of the shed, crowbar in hand, and stops for a moment, his mouth slightly open, for he is slightly surprised. The back wall has many gaps; someone — his brother? — has been here, and some of the finest boards are already gone. III The Names We ride through my mother’s country, and my father’s: I see the steps where my mother sat and talked after class in high school, 45 years ago. I’m shown the intersection where my father had a flat tire, and left the car to hitchhike to his wedding. “It was easier back then,” says my mother, “and of course he was in uniform.” This is a country now of churches and hunters, Thursday night bingo, alcoholism, poverty, fast food, and family gardens. There is what city people call a closeness to the earth, and there is meanness and bigotry. There is common sense, and a sense of plainness in living day to day. There is a bizarre growth of satellite dishes, and new, wider highways pulsing nervously with the commerce of rapid change. My parents left this country to make themselves over, near the city. I left it all, floating, balloon-like, to another side of the continent, but riding through here I realize, with mixed relief, that my tether has not been cut. There is meanness, bingo, deprivation, and red clay in my very blood, and these toughen the stubborn heart. We drive through a quadrant of Lutheran churches and a wide plaza of tombstones on either side of the road. I read the names of my family, and their kin, friends, lovers & enemies for generations: Eckard, Bowman, Fry, Miller, Killian, Yount, and Campbell. The same names appear again and again. Suddenly I feel the tether tied right here, rooted at the level of death, and through it I hear the muttering of these names, and all the questions left on the lips of the puzzled & persistent. IV The Wedding In the light rain, beneath a lean-to of bamboo, Win and Caroline honor the old tradition in the casual, wistful way of our generation. Win’s tone is didactic, for he has chosen to officiate at his own transformation. The truth of the matter rushes up in Caroline, sometimes halting the poem she has chosen. Gathered on the hillside are their family, classmates, intimates & kindred souls; many are graying, and we are all slowly falling within our bodies, accepting our limitations, aging with humor, humility, and the lyric fatality of Southerners. As the party begins our frisbees and waterguns come into play, bewildering older guests unfamiliar with our rituals. Now we are training our children in the same games, and they are more zealous and studious than we. They cry more often. They have more energy than flesh, and struggle for the control that defines & frustrates their parents. Like wild birds, these children are messengers of pure creation, and their terrors are brief but total. They are shrieking our song, and unsettling us with tongues of the future. Through the afternoon I am torn between distance & devotion, the familiar moment of stress between communion & observation that turns lover into writer, friend into judge. When I sit with Jessica, our ancient friends see a familiar couple, and ask naturally if Zachariah is my son. My answers, wry and pained, recall the confusion of decisions taken desperately in youth. When Zach’s father arrives, I am both relieved and set adrift. The two of us talk with ease, all things considered, and then Win, resplendent in his inebriation, comes by to pat us on our heads, bestowing his blessing, perhaps, on such manfulness. Zachariah calls, pointing with a fishing rod to the space shuttle, a painted balloon floating on the lake in tow to a cruiser controlled by radio. This scene, I think, is suitably odd. A couple retreats to the far side of the lake, attracting the hoots and lewd cries of everyone else, so then they moon us. The clouds break and the sun lights up the late afternoon. A young punk band sets up on the lawn, launching into a raucous, pounding beat, but their Dixie roots betray their rebellion, for they cannot help turning out a sweet, obedient melody.