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      June 26, 2010The TransparenciesGlenn J. Freeman

      In the Encyclopedia Britannica I used as a kid,
      the body was built in layers of transparency,
      a skeletal foundation you could overlap
      with, one by one, the circulatory system,
      the muscles, the organs, the flesh—
      or, likewise, you could peel away from the whole
      and leave only bone, two full spreads, of course,
      one for each sex. Hours I spent
      with the glossy images, lifting up or laying down
      as if there in the shiny representations of bone & flesh
      I might find where it starts.
      A simple Google search for anatomy or human
      body and a million images now appear, labels
      and diagrams and 3-D graphics and moving parts—
      and then there’s the plastinated bodies, corpses
      frozen in their simple routines without flesh,
      muscles and veins engaging with the everyday.
      Sure, it’s easy to proclaim the miracle of the human
      body, or even the faith or belief
      that emerges from somewhere deep within it,
      but something different altogether to imagine
      the layers of history folded like those transparencies
      into each self—but that’s too forceful
      a metaphor I didn’t even intend, one I didn’t own
      even as I set out to remember
      what haunted me as a child, that fragment
      of a memory now a keepsake, a phantom
      somewhere beyond the peeling away, some empty
      space beneath the final page, beneath the hollow
      of bones where I’d gladly return for one touch
      of that initial mystery, even if it meant pulling away
      that sheet so that nothing remained, all gone down
      like history into the dust and loam.

      from #32 - Winter 2009

      Glenn J. Freeman

      “I grew up being taught that a poem was some kind of a puzzle, a riddle that a teacher had an answer to and could determine whether I was ‘right’ or not. I grew up, then, not really liking poetry. But then at a particularly confusing point in my life, a friend gave me Theodore Roethke’s The Lost Son. Reading Roethke, I realized that here was a man as confused about things as I was; not some theoretical puzzle, but an individual speaking out of his pain, grief, and confusion. Here was a man taking pain and singing as best he could. From then on, I could hear the real voices in poetry and I began to listen.”