You are currently viewing: The Thin Line of What I Know
The Thin Line of What I Know Iowa flows across the windshield like a relaxation video; I turn off the radio and listen to wind rattle the window near my cheek. Gravel scattered after the last ice popping in the wheel wells, I daydream about being in Des Moines already, with you. The familiar mile-markers pass like hand-holds up a cliff: Number 31, and six-eighty becomes I-eighty; 66, I'm halfway to Des Moines; 88, two-thirds; 99, three-fourths; 121, eleven-twelfths... At number 60, the Purple Martin Train lounges, a primped wreck, zig- zagging and only a little purple. On one trip, I stopped and bought an "It's Purple Martin Time!" button at the caboose- made-museum. I only stopped there once; like I only had one flat sandwich at 4-Sons; only made one trip up the stairs of the observation tower near the Beebeetown exit, one look from above at the little crease of interstate, the thin line of what I know among all the foreign fields and hills stretching from it like butterfly wings. I always mean to follow some of the signs, detour through someplace like Persia, Casey, Atlantic, Van Meter, Waukee, Prairie Rose State Park, all just tin signs and exits to me. I never go further off the interstate than the Have A Nice Day water tower smiling from Adair, never go past the gas stations, never put my fingers to the skin of the East or West Nishnabotna Rivers; never slow at mile 71, where that pond, always flat and still no matter how windy, stretches two drowning elms like bony arms clinging onto the sky. As the counties slowly metamorphose from Pottawattamie to Polk, I watch the trees along the road perform all their acts: fat, naked, flowering, flaming, green, chainsawed. I know the corn by name, fast-motion life flowing from conception by John Deeres through green puberty, then fading, then death at the teeth of their own creators; the bodies removed, their ground left for crows and cows to tidy and fertilize. More of you forms as the white-on-green numbers count upward. At 14, I see your feet; at 23, you have hands, a hazy middle, lips; by 57 or 58, you are female; 85, your eyes are grey like the sky; 96, the cornfields fade into your hair. I know every mile ticking by, I know, can drive by sense of touch.
This poem appears in The Wisconsin Review and in Mason’s Things We Don’t Know We Don’t Know from The Backwaters Press