Monday, May 18, 2015

A Poem and a Temporary End

Factory hedgehog moves and clinks.
Its right foot raised, the left one sinks.
Little steel eyelid slowly blinks.
Chug. Whistle. Chug.

Factory hedgehog isn’t too bright.
Revelations don’t keep it awake at night
And it’s never had very good hearing or sight.
Chug. Whistle. Chug.

Factory hedgehog lives in the ground
where insects are damp and easily found,
and there aren’t many ferrets or weasels around.
Chug. Whistle. Chug.

It gobbles a factory slug. 
____________________________________________________________
I wrote the poem after I titled the blog, and I'm still 
trying to come up with a concise way of describing the
correlation between the name and coming-of-age novel.

I think it has something to do with inexorability. We move
on and on, toward our respective ends, and there's not 
much we can do to stop the clock from ticking. The 
occasional set of novel ideas (in both senses of the word)
can liven things up a lot, as can the occasional good meal.

I like the factory hedgehog because I find it comforting to 
picture a creature who is basically unconcerned with 
any nonsense the world throws at it, who keeps nosing 
around in the dirt in search of the things that make
its life more interesting.

As I come to the end of high school and try my best to 
meet all the expectations that have come to mean so 
much to me, I find myself having to keep going back to 
the image of that hedgehog, clunking away.

Somewhere in the world, there is a Benji who is trying
to figure out where he stands with his boss, and whether
that boss is a racist jerk or a brotherman. Somewhere
else in the world, there is a Benji who has just discovered
the answer to that question. Time moves on, and so do 
we.

So does the hedgehog, and it takes its time. It's nice to
remember that all stories take time, and happen no matter
which road we take.

Chug. Whistle. Chug.

 
 

Monday, May 11, 2015

Brotherly Love

We're reading Colson Whitehead's Sag Harbor now, and once again I'm being drawn in by the changing relationship of Benji (the narrator) and his brother Reggie. Not having finished the book yet, I can't talk about how their relationship ends up, but I have some impressions from the scenes we've discussed so far.

In the first chapter, when Ben (the narrator, telling the story of his younger self, Benji) speaks about himself and Reggie as "former twins." I completely understand where he's coming from. Having a younger--but not that much younger--sister, I'm familiar with the conflicting drives to be at once identical and individual. We still get mistaken for twins on the street, though neither of us can see how we look the same. Teachers who have had me in their classes for years mix me up with my sister after her first day in school, time and time again. I get the acceptance that Benji seems to feel at the beginning of the book, his calm narration of "this is just the way things were."Benji 'n' Reggie." "Celia and Stella."

A bit further along, when Reggie seemed to be trying hard to go his own way, I started to get worried that here was another Ruth/Lucille sibling relationship, where their paths are opposite and take them far away from one another. I always get antsy when a sibling relationship shapes up like that in a novel--as far as I'm concerned, anyone's best potential ally is their sibling.

It doesn't look like I had anything to worry about. Benji's worry about Reggie getting hurt in the "Gangsters" chapter and Reggie's obvious fear for his injured brother shows that the two are still close. The line "Reggie had found stoners. Maybe he'd be alright after all" or something like that--that really stuck with me. He's looking out for his brother, and he's happy that Reggie is hanging with a crowd that, while hardly the most reputable demographic in the high school world, is at least not waving toy guns around and screaming for blood. I'm looking forward to seeing how this turns out for both boys, and I hope the two of them and their relationship makes it through the novel.