Cowgirl, Cowboy

ooh ooh ooh weep padoo,
ooh ooh ooh wooop padoo
ooh ooh, ooh
ooh ooh ooh weep padoo
singing their cowboy song

Cowboy couldn’t believe Emmy Lou sang that song. He’d thought it was a throw-away – though he’d found it infectious beginning age six – from a cowboy compilation record with a wild west lasso cover, and lyrics remembered as the kid heard it: not “cattle call,” but “cowboy song,” and maybe he heard it right.

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Stubborn Leaves

On the stairs up the deck,
Or walking through piles of curling leaves
Still waiting for spunky Japanese red maple compadres
To drop and join them in flat bouquets

The racket above is like an old school, non-green,
New York City traffic jam where cabbies blast
exhausted horns and Yiddish-bang their steering wheels—not too hard—
not to get anywhere, just on a Racing Form stage for their passengers’ tips

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Norton’s Big Check

This story poem about a working class hero’s lost weekend, which First originally published in 2012, is a favorite of Mark Dudzic and it brings home class struggles that inform Dudzic’s analysis of Trumpism. (See Mr. D.’s post below.) Like Dudzic, Smucker is alive to the difference between the collective idea that still shapes aspects of working class culture and the ethos of “The Golden Boy on the Way Up.”

Smucker finds lyricism in lives at risk of being trumped now, if only in the society of spectacle. Whenever this editor re-reads “Norton’s Big Check,” I’m reminded of Hemingway’s memorable mockery of proletarian lit in the bar scene late in To Have and Have Not. But “Norton’s Big Check” is no joke. Though it’s not solemn. It even has something like a happy ending. While Smucker isn’t beamish, that finish is a sign he believes in more than Hem’s nada.  B.D.

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