Bananas & Pears
My grandfather forgot to kill one painting;
it’s hanging here on my wall
—Bananas and Pears—a still life
a life still, but no more.
Before he died, he made many trips
between his upstairs studio
and the garbage bin on the street,
each time carrying one of his paintings
each time depositing his hours,
his life, his work, his remembering
into the garbage on its way to the dump.
And I wonder if there was method to it: did he line his work up in some sort of order and choose the first painting to die? How about the second or third? How about the fiftieth or the one that made him lose count?
And what of his brain? Did it know what he was doing?
What’s left now is his banana painting hanging at the end of my sofa—cast in green, like his eyebrows, they are bananas and pears and more.
Freud often pounds on my windows and doors begging to come in for a look at all these erectile cylinders, at these hard-green pears and rounded hips and waistlines slender and firm, at the sloping shoulders and searching stems, at stiff anticipation holding its breath, at the pale green apples drenched in light, and the single gray lemon ready to squirt its juice into the foreground night.
But the painting is still—not like life, like death—and my grandfather, undressed and angry still, paints in the green-gray dominance that dulls the light and dries the paint before it has a chance to live—his bananas, his pears, his apples counted among his fruits,
his children, gone too, among his truths.
Hope, Robert, Julian, Scott, James—don’t think there is forgetting in shadows that hang on walls or even in light that tries to blind, that wrings all color from the deadman’s eyes.









