
I like to go to a park and sit
on a bench, especially a stone bench,
talk with someone who also sits
staring at nothing in particular,
but people here, when they go to sit
in a park, do not like to converse,
afraid that a person next to them
may suddenly, after a simple question:
do you live around here, say: I want you
now to give me all your money
or I’ll rip your fucking heart out,
which is rather absurd, at first
such an ordinary thought is registered,
as if intended for someone to open
his lonely heart and tell a story
about his wife who died of breast cancer,
first the left having been removed,
destroying a balanced life habit,
then the right to even things out,
and follow that with the image
of a sacrificial offering to gods,
while a leopard in the cage feels
it could do that more mercifully.
My grandfather died on a stone bench,
but that’s another story, already told.
An old man sits at the other end,
gripping the armrest with both hands
as if afraid of his own presence here,
while his eyes dart across the roofs
of a freight train cars in the distance:
I was taken from a park like this,
straight to the station, meine Frau
this way, me that way, the park
is verboten for us, but it’s our Jortog,
farschtein sie, I should not bring her there.
That’s why I was condemned to live.
I tell you this I see it on your face,
you went through something like that, true?
That’s a shrapnel wound, and I know one.
I cover my scar with my hand and feel
the heart pulsate through the satiny skin.
We were sacrificed to life, I want
to say, remembering one of my lines;
yet I ask him: Would you like to have
a cup of coffee with me, and he mumbles,
still looking straight ahead: I never take
anything with me, kein Gelt, afraid,
but of what? They kill you sometimes
if you have it or not. I smile, keep silent
for a while, staring in the same direction,
through the sparse trees I navigated blindly
and hear the zing of a single bullet
penetrate my hand, leaving underneath my life
line mangled. And I see my grandfather sitting
on the roof of one of the box cars, gazing
at nothing, his chin resting on his knees
as the train carried him back to dying.
It’s all right, I say; I don’t have any money
either, but we could still have a cup of coffee.
One day, he tells me. A cup of tea I’d prefer,
two lumps of tsuker on the side, just for show.
Mario Susko, a witness and survivor of the war in Bosnia, lives in the U.S. and teaches at Nassau Community College on Long Island. He received his M.A. and Ph.D. from SUNY at Stony Brook in the ’70s and is the author of 22 books of poems. More recently his poems appeared in several British journals, The Interpreter’s House, Dream Catcher, magma poetry, The Ugly Tree, and the anthology In the Shadows, edited by H. Killingray; also in Nassau Review, Sonora Review, Wind, and 96 Inc. His poem, published and nominated by Dream Catcher, was short-listed for the 2004 Forward Poetry Prize in the best single poem category, and “Session in Progress,” published by The Paumanok Review (Summer 2004), was nominated for the Pushcart Prize. His fourth book of poems in English, “Eternity on Hold,” will be released by Turtle Point Press in fall 2005.
