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KIOSK Spring, 1974

Kiosk is published by the students of Morningside College, Sioux City, Iowa

Editorial Boards Art Debra Gengler Madonna Maiers Bruce Reid Literature Connie Adams Gretchen De Wall Elizabeth Elbe Ginger Riffel Kathryn Russell Terry Wright

Faculty Sponsors Frank Breneisen, art Carole Oleson, literature

CONTENTS becky mi ller dave lieder janice jans terry a wright

RORY THE NIGHT'S A SODDEN SNOW RACHELiS SONG from PUPPET SHOW SKETCH A MOST DEADLY SIN GOD OF THE HANGED MOON WALK KATHLEEN HAS A BABY

5 10 12 13 16 17 18 19 21 23 24 25 26 27 28 29 30

CANDLE SAILBOAT FOR YOU ODE THE STAR-GAZER FOOTSTEPS EDUCATION THE FROG AFFAIR REFLECTIONS ON HAVING ATTENDED A ROCK CONCERT FERNA

31 32 33 34 35 38 39 40

1. b. anderson maryann gaspar madonna ma iers roger randall marla ulven colin freeman debra gengler bill weins

jeffrey lee davis

james zerschling 1. j. yanney dan anderson harry buss becky miller

42 44

cover:

Bill Weihs

RORY becky miller

Softball is such a bore, I think standlng in the middle of the field, being a centerfielder, waiting for balls that are never hit this far. I turn to look at my pony, tied at the end of the field. He lifts his head, whinnies. Some riders are approaching; who is it? A rare, hard-hit ball flies by me. I chase it, scoop it, throw it infield. The riders are near. It's Rory and a friend of hers. But Rory is not on her own pony; she's on a big beautiful stallion. I can hardly take my eyes off him. I know it's her friend's dad's horse, and Rory's not supposed to be riding it, especially not in town. But boy, it's beautiful. Another stupid ball rolls by me. I throw it to the second baseman. Safe. Oh well. Rory's giving rides to some of the other girls on the recreation field. I'd love to be on the big, black beast. Why am I a fielder right now?

Rory and her friend trot over on their h o r s es ''Wanna ride this one?" she teases me" "We~re heading out to my place,," Rory lives on a farm on the edge of our town~ I want to get on~ but I notice the field supervisor g l a r- . ing at me" "I go t ta play ten more minute s, Rory,," I! OK~ weYII come back s hortly" Have your mutt ready \I Ten minutes pa ss s lowly, no more ba lls hit t o mee The sup ervi sor blows the whistle s; I put my g love away, run down to my pony~ Trot~ tin g a l ong ~ I cut my pony ac ros s the field, to the street" Ro r y a nd her friend are j u s t com= ing.. Maybe I can ride th e s t a llion when we ge t to her farm, I think, as my pony plods alonge "C oming along?" Rory as k s., "Yeah," I sayo Of cour se I'm cominge I always have the most best times with RorY0 Sh e~s t hr ee years older than my ten years, and she never was te s time on boring thingse I figure that's ' cause she has no mom, a n d her dad i s always busy in the f iel ds , so she does whatever she wa nt se And she always wants to do fun thingse "Can I ride it when we ge t there?" I aske "Firs t one t here ge t s to ri de it first," she announc es, t aking off at a ga ll ops The friend takes off on her horse, and they race down the highway. My dumb old pony just plods on ; it hardly ever gets out of its trot.. Before they get out of sight around the curve, I see that Rory has the lead with the s t allion, but the friend is not far behinda Here I am left on my s tupid mutt, as Rory calls ite But weive had a lot of fun times on our ponies, I think. We used to ride and ride , i n the fields of her farm. We'd try to get ou r ponies to jump the rows of stubby stalks in the cornfields. Mine would hardly ever jump, too old was why, Rory said. Once we were just trotting along in the field--as much as Rory hated to trot, she liked it

to cant er or gall op~ but mine wouldn ft very oflen~~ when she gave me a swif t rush on the shouldere 1 sL ipped right on overC, landing with a corn~ scalk in my stomach .. When I asked her why she ~d done iti she said someth1ng crazy-like, that 1 U d never- fa 11 en of f and i.t wa s t hoe I learn. Well" RoryWs like r: hat " She hardly gave me time to ge t back on my pony 3 1,;Jhen she 'took off for the river~ We~d ride the ponies inLo the river~ You have to be quick to jump off when theil front legs stare to buckle, ~cause the next thin g theyill start 'to roll in che watero They roll in c..he water and mud and then shake and shake Wewd tie them to a tYee and wade in ourselveso Weld si nk up to our ankles in the muds The river was dirty; I wasn't supposed to go in it~ my mom said" But I always did" Though 1 didn ~t go out as far as Rory dido The current got strong~ er the farther YOD wenL out~ and [ got scared of getting pulled awaye Bu t Rory always went out a good ways$ Once she even swam across the whole rivera 1 thoughL she was in trouble at one poine, but she took a big breath, went under, fought the current diagona]ly~ and got out of the wors t par t ,. She alway s knew wha t LO do at times like thats Then weqd quit wading, and go into the old shabby shed速 We found our favorite poles, just poles with line s and hooks was a ll Lhey were~ and Lhe can of worms~ We gd catch lot s of fish quickly. Ju s t little ones~ little s ucker s~ You werenUt supposed to eat lem~ but we did0 Rory taught me how to clea n and cook w em , back at her housee We ate ~ em with butter a nd salt. I thought they t as ted good ~ thou gh I knew they weren Wt supposed to; there was supposed to be something wrong with eating suckers~ But then lid always have to be home for suppere When I'd leave,Rory would just ride on and on ~ through the fields, laughinge I guess she go t her own supper later~ when she wantede 0

Well, supper was kind of in the way when you're having a good time ~ My pony i s so s low~ I think~ as it keeps up it s s teady trot, r ounding the second curve. Soon I should be able t o see the two horses down the st rai ght par t of the highway.. Com~ on old mutt, let me s ee t hat beautiful, black ho r se@ Now I do see a horse~ Just one horse alone, in the ditch to the right of the road~ I urge rr~ pony into a faster trot to c omp letely round the curve.. Then I see" Ahea d on the highway, the black stallion, sp illed on the concretee And the jack-knifed, ov e rturned semi.. I trot, slowly, closere The corn f rom the semi i s s pread a llover t he road . The friend i s s tanding there a nd screaming "My horse, my beautiful hor se , oh my horse." But I l ook a t Rory~-h alf buried under the co rn, half under the s t al li on, crushed and bloody , her head bent funny t o one s i de . They cover her up, till there is enough help to pull her ou tQ They take her in the ambulance. People keep coming and going; someone takes the screaming friend away . The truck driver sits, holding his head, saying that he should have done something. Someone said he ' d seen the stallion shy right in front of the tru ck; t here wasnit nothing the driver could've done . Someone beside me said they all speed down t he h i ghway , though, even where it cu t s through town. The driver didn 't hear that, I guess. The beautiful , black stallion is terrible 100kingQ Blood allover and one leg is all wrong . The leg is bent at the joint, W cepting for the bone which s t icks straight on through . Most of the town is ga t hered now, looking. Some are crying. Someone came back and said she was already dead when she got to the hospital. I guess she was dead the whole time I was looking at her. They start shoveling the corn off the highway; there is a traffic problem now, and they haul the semi away. The rendering truck comes. They strip the saddle off.

CanVt get the b it out of the locked jaw~ They put a cr ow ba r in its mouth and pry" It makes a ripping sound and blood spu rt so I get s ickv Someone g ives me the reins of my pony and t e ll s me t o go home~ I lead th e mutt homeo When I get home~ mom t e lI s me t ha t th e old ma y 0 r jus t d i e d ÂŤ> I'm s eill t h inking about Rory =~mo m hadnit heard abou t thato I dream abo ut Ro ry that ni gh tÂŤ> ItUs a hard week on the t ownspeople~ They c arryon a n d on abou t the dea th s 0 They say "Go d r es t h i s s oul" abou t th e ol d mayor~ and !! shame ~ such a shameSJ I! abou t Ro r yo I knew t he old mayor, he was a fr i end of g ran dad wso Iij d t alked to him sever al times" Bu t I don it r emembe r h im l augh inge He just a lw ays sa t down town in h i s s t arched sh irt and su it" n o t say in g much t o anybody,. r. do n~t know tha t held ever ri dden po nie s when he was y ounger , and a t h i s ol der age, of cour se~ he was to o s ti ff to ge t on one " He probab ly wouldn~t have eaten a s uck e r j f you f ixed him one~ t hough he was preLty skinny .. He ju s t sa t t here in his s t a r chy sh irt, which pa rtly covered his t h in necko I go to see Ro ry at t he Homeo The people a r e some crying a n d blow ing their noseso But when I loo k in t he casket~ th e r e calmly lies Rory ~ her hands crossed on her chest, with her ever s till smil e on her lips0 "God res"C her soul:?" I say"

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RACHEL' S SONG dave lieder I wat che d a sp i de r thread a web Ac r o ss my window sa tin grey An d she hides behind it s cro ss ing s Wa iting for s ome thou gh tle ss preyQ An uns uspecting chil d Walk ing in t he ni ght Tries to find wha t s r igh t But all she finds i s gossamer Dan g ling as a broken thread I saw li qu i d eyes and shat tere d minds Before a weeping Buddha pray Behind whose ba ck a shouldered cross Glistens in satin grey.

from PUPPET SHOW janice jans

The play takes place in a bar~ At this point in the play, each of the characters presents a short monologues As they do so, a puppet, bearing their likeness appears inside a jukebox. The puppet~s action depicts aspects of the characteris personality or emotional make~up~ The last five speeches are presented in this cuttinge Edse

Working Girl ~ lim not accustomed to speaking out this way against anyone or anything, so forgive me if I seem a bit nervous~ My problems seem so insignificant compared to the hardships the rest of you have faced. I really feel guilty about mentioning them at all; however, from the looks on your faces I can se e tha t you won't allow me to r emain s ilent" The hardships "They" have caused me are like a ll the others mentioned here t o ni gh t in that they're unforgivable, cruel~ and most of all~-unfair and without justifications However, I differ from the rest of y ou because I've learned to accept theme _Yes, I've learned to sit back and t a ke what they hand mee It's eas ier that waY0 To them lim just a Wall Flowers Someone they can shove around" " Here's this job no body wa rits to do" or "Here~s this task that wasn~t finished. " Do it, and you~ll ge t a nice pat on the head if you're luckye But I~ll take that measly reward<t I probably don't really deser,!e apy= thing more e

Bar Maid: I've worked many jobs in my life-time and not a one of them is worth mentioning, including this onee No offense, Bartendere So I've seen a lot of what "They" can do to help~ less people like us. I a lways wanted to BE something, to be SOMEONE, but I couldn ' t rise above "Their" s tringe nt requireme nt s . You see, I never finished " Their" school of education. A dropout in "Their" school, i s a drop-out in life~ P lain and S imple! If you want to be some thin g ~ you have to be willing to work fo r it~ to plan a head~ But I don't h a v e time for that. Why can't I just have what I want without go ing thru a ll that worthless, time-consuming School of Learning? Can't " They " take a lo ok a t the REAL ME? So ldi er : The War ruined me, my lif e ~ And who do you suppose created that war ••••• YES! I gave t o them my lif e and what do they offer me in return? A job when I c ome home. Well e I'm home e Here I am !! But t ell me gentlemen --what j ob requires my skills? I am trained, as you we ll know, to be a •••• eKill er ! Have you an opening in my line of work? No , you say? How can that be? How can you do this to me? I ' ve worked hard these past years to complete my education and my records can verify that. WHAT? You want me to be a used car salesman? (Spits on the floor). YOU CAN GO TO HELL!! ! Bartender (Very drunk by now): I, like most other men, have a dream of someday being rich. The man you now see before

you i s the same man~ fina n c ially, you will one day see laid to rest e And th e rea son for this i s that theyU ve crea ted a mounta in of sand for me to climb., The fa s ter I try to g0:1 the more the sand shifts a nd s lip s under my feet, mak ing my progre s s h a rd a n d my c o n~ quest impossiblee The mounta in of sand I r e f e r to i s t he o t her sma 11 ba.rs owned by "Theme II I try to surpass "Them" by making improvement s in my own lite Ie p lace, here but r.hey a lwa ys manage to outdo me and stea l a way my few cu s tomer s e When t his happens, I turn to the bottle速 They ac c u se me of drinking up my pro f it s r a th e r tha n not being a ble to cope with "The ir" com ~ petition0 ( Shouting )0 YES I DR INK~-~ THEY DRIV E ME TO IT !! ! Actr ess ~

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the wo rl d ws a s t age e An d a ll t he me n a n d wome n me r e l y p l a y e r s ; Th ey ha v e th e ir exit s a n d th e ir e ntra n ces ; And o n e ma n in hi s time pla y s many pa rt s .," So sa i d by Sha k esp e a r e a n d s o ag r ee d u pon by your s trulys Fo r wh o s h oul d know mo re a b out a cting tha n me~ the Actr ess e But I~rn n o t the only ac tor i n thi s r o ome No in deed ~ d e a r f ri e n ds ! I~m only o ne in a c as t of nine ; s u p p o rted by a s till l a r g er c as t of thou sa n ds a n d direct ed by a r e nowned p e r s onage r e ferr ed to as " THEY,," Don't y ou see ? Thi s i s th e ir s t age a n d we ire wh a t e v e r t hey ma ke u s . They p ull th e s trings a n d we da n ce a tune , t he ir tune e An d do y ou know why ? Becau se-n0-0n e ' s e v e r DARED t o cut t he s trings befo r e e We ' re af r a i d t o t ake r espon s i b ility fo r our own ac tion s o ItY s mu c h eas i e r t o b l ame t hem for ou r mist akes e But I fo r one ~ am t i red of be ing some one e l se Ys PUPPET . Who is t h i s Someone Else? Who a r e They?

SKETCH t e rry a wright

i really dont force myself to think of you as often as it seems its just that since youve decided to go ive become very lecherous and wear my hands in a muff so i know where they are

A MOST DEADLY SIN t erry a wr i ght

upon th e sacred hear~ as betueen a gap i n teeth the da rkne ss lies

above the goat mouthed demons fa 11 be fore sa int christoph ers s taff venial and pathetic t he s truggle fades without the light be low a bloo dy furnace bled from sulph~r water and july decadence here the child of colored g l ass brood s upon the mothers rnagda len . the b rea路d WOlna n dusts a p ew post with he::::- black apron

a lightn ing f la sh in t he ch ild s eyes reveals a moth

sealed white into wax

and the priest who has not moved hi s ha nd

~a p

GOD OF THE HANGED terry a wright

Odin himself was the ••• God of the Hanged, and men and animals were hanged up in honor from the sacred trees of the holy groves at Upsola. A. Alvarez The Savage God god of the hanged i wear a stake in my heart cut out beating by my own hand now re moved from the sacrificial artist who has kicked in the trees each branch matures once a martyrs half buried staff then a switch to bruise off face to face weltering with the legal arms and demand it or kill it kill it the open gallery display of death encased like gems by the wise men who guard the door god of the hearse plus bad shocks my body is going to get hers she flops her problematic face to my side as if imploring me to ask directions

MOON WALK ( MIDDLE OF JULY) terry a wright

sharon crossed each of her legs after i had witnessed their uncoiling like a dynamite fuse across the surface of the moon it is fitting that geology is black and white the vertical hold is confused but beyond the window near the jam at twilight an automobile horn cuts like a blind lumberjack into the trunk of a rotting pane randy is shaking his dice in the drive being odd man out he laces his cinderella slippers he reads an e.k.g. he peeks beneath the widows robe this is called education her hair was crayo1a yellow under 60 watt is this what is meant by observing a heavenly body the question was academic all evening the park something about the park where the grass folds like a clean sheet

(i will not remember that one) where are you sharon telling plato jokes wearingyou~ long longer longest blue dress torn from the flaps of paper dolls mystery dates painted cleavage now i see the paper doll men come and go and randy your glasses are snake eyes a street lamp falls across your back i am the silent pedestal and you have gained no weight but i shall find a new profession have gin for breakfast and eventually corrupt your daughters

KATHLEEN HAS A BABY

terry a wright and i thought a diet might help but no right in the middle of all that cagey philosophy and "god its three in the morning again you know im so miserable got to pop like a mannequins button down on the carpet plugging the high intensity well forget it ugh ••• i guess merely stall the pressures that slink like a gunfighters dawn through cracks of a silver curtain like a flat dog plastered to jims radials its only a dog" kind of talk hey im ra tt led hell i told you i was lame bop he 110 expense ka thy theres a s1)eep in the crib and me without a bad check or blankets be s ides its pr~t -iou-s ' this sometime-in-the-future gift upcoming (da da) leader

but my friends the whole things just a bit fishy and all i really want to know is whose overcoat is on my hook

ANDERSON

"UNTITLED "

MARY ANN GASPAR

"CHARLES CITY"

MADONNA MAIERS

"OLD AND NEW"

, i

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-- ,

ROGER RANDALL

"LOWER 4TH"

MARLA ULVEN

"LORD DANE/LADY GRAY"

' 1

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COLIN FREEMAN

I )

"UNTITLED"

DEBRA GENGLER

"INDIAN ON HORSEBACK" J

BILL WEINS

I! TREES "

CANDLE jeffrey lee davis

Tongues of wind are tasting the pines At the edge of town they make a yawning sound A candle burning on my table shivers while it burns I i ll turn And look at you, the flame Venitian blinds are beheading The moon Iill be there soon With a ll of me

SAILBOAT jeffrey lee davis

Something's gone wrong Again. Ribbons on my lampshade Hide My eyes ••• and Pictures on the mirror Make me remember ••• Toddler, Be a clay modeler Fashion a face so fine, No, not mine I happen to have a snapshot •••

FOR YOU

jeffrey lee davis

You were a child a dew-hung . leaf-bud in some magical wood, adorned by spiderweb necklaces, frost-diamonds clinging, moon rays glittering in the gems ••• Came the sun, who melted the jewels and you raised your head to look out upon the glen, A young princess in her and when you smiled.e.

sun-crown~

ODE jeffrey lee davis

Just as Merlin the magician died when the time was chosen; And Houdini died, for want of three seconds air on top of the British tea, in Boston harbor;

••• so must many wizards pass.

THE STAR-GAZER james zerschling Part I. Upon the throne of humanity sat the Stargazer. The Star-gazer who for eons had watched quietly and earnestly. The Star-gazer whose thoughts transgressed into time and histories, thereof. The Star-gazer who spoke to those who would never be able to listen. The Star-gazer who constantly observed the pitiful actions of mankind. The actions which almost constantly lead man to dead-ends. Actions in which man stagnated his mind, his thoughts, and finally his life. Actions which forced man to believe that his being was not his own determined existence. Actions which clouded and distorted the minds of humanity. Actions which lead to a fate worse than the death of life, which humanity feared. The fate that led to the death of thought ••• The Star-gazer's eyes knifed into the heavens and spoke softly in a whisper; a whisper that told of a soul possessed of patience and pain ••• "Sometimes my heart cries out for dreams ••• Dreams and fantasies ••• Oh my soul, realisms come and go; Realisms And symbolisms which pass before me In endless procession. I sit quiet:ly - and perceive all that which is a part of me. All that which is my heart, my soul, my mind. Oh my mind, I sit amongst the thoughts decayed in the essence of Beings greater than myself.

Oh my heart, which is cold and warm; hidden and open; of loneliness and painaoQ The thoughts o f humanity bloom again and aga in, only t o wither and to die~ Oh my body, the one finite that has re~ mained the same since the beginning of man; Is there no hope? Are there only dreams? Is it that mankind is only perceived in illusions? Where is life? Am I always to remain the Star~gaze r of humanitY.'H)Must I always remain silentaeo Oh my soul~ who has known so lcng@oels it that I remain humanity and stagnant? Why have I no end, while humanity has.,06 ended~.,eeAm I so ignorant and poor not t~ notice what IU ve seen? Has it always been th ere? Have I since determined my own destiny? I ~ do sit here in the trials and tr ibulations of humanitye -A human ity which prays to gods., Gods, if th ey existed, wou ld net involve t hemselves pos itively or nega= tively., "in the cesspool known as humanity., Oh my heart wh ich has bled unt i l it ",ras bloodless and could bleed no more., Whe re are the secrets? Are they forever buried with life of humanity? Must -I be chained to the aft3rthQughts of humanity? History? Or myself wh i ch has existed., An existence caused by my own actions~ An existence which represents all my experience., It seems I have much left to learnefJemuch left t o experience05ebefore I choose my final path to a goal I know is mine., Mine is my destiny to reach my goal. Oh my soul this throne is cold and lacking in all sensitivitye Oh ancesto r s why is thy life so absent? Is it too that you forever star-gaze from my eyes, perceiving from that which I witness and observe., â€˘â€˘ 8

Oh universe, hear my thoughts of a prayere~~ A prayerftCiC Oh universe which is my Being, gently ac~ cept my emotione "''' "," And th e S t ar~gazer returned his eyes to th e heavens i n silencee And only the throne could be heard brea t hing", And the throne whispered "Oh my soul , sometimes my heart cries out for dreams"''''G''

FOOTSTEPS 1 .. j., yanney

I am home now'} liv-ing in my footsteps;) counting s tair s as t he minister down the st reet counts silver; ski pping stones as the bartender ski ps gold int o c ash boxesQ Bailey~ Rev~

the

bartender~

Hobson lives

lives off

there~

too.

I am home now, living i n my footsteps .

s in~

EDUCATION 1 .. j", yanney

A week Each day Empty co rridors echo ing Heart thumping round each corner You might be there Ni ght comes The cool dry breeze of autumn b lows Across balcony stones of red a nd brown And speaks of summer i s dying And summe r i s dy ing Your window yawns dark and bored at my despair Your life is fu ll No time No place No word For me I cry For you

THE FROG AFFAIR A Truly Thrilling Peter Immobile Story ",

Shortened~

dan anderson

Chapter One "Frogs!" he cried, and then he bolted out the door. There arose such a clatter~ we ran to the window to see what was the matter. From our vantage point, we watched in awe as the Canadian-born French agent who was counter= spying for the Chinese fell merrily to the ground . Meanwhile~ Pete r Immobile, crack treesurge on for the C.I0A.~ landed in Bolivia wit h a briefcase handcuffed to his lege The sus~ pense was growing. Chapter Two (Later that same millenium) Back in New York~ the corpse of Pierre Porsche arrived to meet a crowd of cheerful Irish women who had ar~ rived by bus only a few minut es before. Unk nown t th em, however, Alec Rolls and John Royce had a lready left for the missle complex in Honduras to try to find the answer to the Frog. Chapter Three The intrigue the Frogs had produced was spread~ ing quickly~ Captain Kork aboard the Federation Steamship Centerpiece, flashed an im~ mediate stare of urgency a t Mr. Spook, the orange peeler, and receiving no answer, he screamed, "Gorfs!" and ran into a space-time frog drive. Spook dispatched a lifeboat in

the d i.r e ction o f Bermu da with a mes sag e wa r n = ing Pe t e r I mmo b i le 9 who ha d r e tu r ne d ;) t ha t t he contro ll ed f u s ion o f ma tter a n d a nti =ma tter h ad fa ile d ~ due to t h e fro g~ Chap ter F our Immo b ile spoke to Ro ll s a n d Roy c e in a n e rvou s Egyptia n co de l a n guage , " I hav e t he a n swer to t h e F r og ! Now we know why h e cri ed ou t ba c k in Cha p t e r O ne ~ 1I An d t hen hav ing l e a rne d t he a n swer, t he t h r e e left~ sm ilin g~ Epi lo gue Fro gs ~

as a ny educa te d r e ade r woul d imme d i a t e l y r eco gni ze, i s a n in fe ction of t h e dura ma t e r, pro du ce d by insa ne vi s ions o f g r a n deu r . The s olution obviou s l y l a y in th e extrac t t ha t Im~ mo bil e had t a k e n f r om t he Au s tria n Naval Of= f ic e r h e had contac t ed whi l e he was in I t a l y the s ummer previous t o Chap t er One. Porsche was dead; this was why his corpse arrived in New York. Kork was never found.

REFLECTIONS ON HAVING ATTENDED A ROCK CONCERT AND AFTER GETTING HOME REALIZING THE REASON WHY THE BAND LEADER MADE YOU UNCOMFORTABLE harry buss

The a rt form c al le d Rock has numerous facetse Pa rt s have nothing to say thou gh others are asse ts To the preservation of demo cr a cy~ free thou gh t~ apple pie; Because they have ar ti sts with re a l thinking minds., Bu t somewhe r e on th e road we have picked up a s tranger Who masquerades as a good soul but is nothing but dangere He performs before thou sa nds~ an elec tric Wizard of Oz His ampl i fied mind spelling out his great cause , While blue~jeaned individuals follow in hoards And express t heir mass feel ings by stomp ing on boards. The fans of thi s man a re a n odd sor t of group ~ They come from all places, the librarY9 the loop e They have th e ir own id eas ~ their ways of believing~

Some are Republicans and others ha t e thieving., Bu t it seems~ I believe~ t here is one thing they sha re!j They are be i ng misled by the charlata ni s dare=The dare that he makes every time he performs., He says ~ "Follow me, throw off leaden norms .. Get loo sened up well and youill f ina lly see~ That much of the world reeks of hypocrisy,," Bu t under his mind he clandes tine ly whispers In a tone not destined for the ea r s of his listeners~

"The hypocrites worst are tho se of you here That refuse to believe me, not lending your ears Rejecting my view, which i s s ingularly right, And plunging your souls into the darkness of night, Not to mention the fact that it peeves me no end To see you not accepting my mind-bending blend.," But the point is well~hidden by his buttonholing hazes, By symbolic lyric and vocabularial mazes., Only well~practiced jade ears although they be rare Real ize his argument i s but amplified air e

FERNA becky mi lle.r

"0h~ Mi ss Haggley, t he re th ey i s aga in~!! E1i z= beth says , po inting t o t he yell owed pa ntie s lying on t he g rey tiled fl oor of t he wash room s

" El i zab eth~

go ge t Mr", Ba r ser i mmed i ately "

And

hurry",!! Mi ss Haggley wrapped u p th e pan ~le s in a b rown paper towe l and l aid it on the s helfs Mi ss Hagg l ey s tr ode to the win dow; s h e s tra ined her eyes, sca nning the playground of chil dren; s he reached for a le dge and l ea n ed aga in s t the window. "I' m goin ' to get Principal Barser cau se Fern~ a i s rapin' the boys again â€˘ â€˘ e I 'm goin ' to get Principal Barser cause Ferna e Elizabe th told each child she met in the hall on the way to the office" c&

"Hre Ba r se r !1 Ferna i s rap i n i the boys aga i n a n d ya be tt er come qu ick. " "Nonsens e , El i za be t h li t he pr ob l em?"

Now exac t ly wha t i s

" Fer na i s r a p ing the boy saga in and you be t t e r com.e quick.. Mi ss Hagg l ey sa i d .1! i ~ OW Eli zabe t h , y ou don ftt m.ea n that Mi ss Hagg l ey sa i d exa ctly t ha t! "

"Yes~ sir" .. "no s i r ., " "I mean yes, uh,. wel l, sir, she sa id to ge t you immediat e lye And hurry $" G

"Ah~h a ," Mr" Ba r ser sa id .. "Mi ss Hagg ley wished to see me a n d Ferna i s not chasing the boys aga in." Mrco Ba r ser knocks the calendar off his desk as he f lurries ou t of his office., Elizabeth , hands on hips, following behind him, i mitates his st i ff , elongated, hurried s tr ides",

"Mi ss Haggley , this has def init ely and positively got to .... "tOe", ." the principal starts as he enters the classroom .. Thad and Stanley are huddling in the corner!1 ou t of breath ~ sweat ing $ Miss Haggley is s t anding , faintly, between the boys and Ferna , who i s s t anding th ere with only a yellowedwhite blouse on., Darren is sitting on t he window ledge, his arms folded, looking down ., "Twice around the field chasing u s, and â€˘â€˘ Thad b lurt s out, starting to crye

il"

"Mr. Niemore ," the pr i ncipal addresses him, "I am capable of handling this inquiry. Miss Haggley, take Ferna to the bathroom." Miss

Haggley sheep i shly he r ds FeLna into the washr oom " And ~ ah ~ c lean her up",,, de cenr lye Thad and S t anley ~ come with meo 1 will s e e you in a momen t 9 Da rr en a You may wait where you a rea" Da rren continues s tari.n g a t h i s feel!! a r ms fold e d " 0

"And she done It aga ln jurnp rope group

E li za beth informs her

速

"My mom says t ha t they 0ughtn i l. lel a 14 yearoLd i[l t h e 4th gr ade class~!t anocher' adds . Da rren don i like havin fj his older sister in the same cl ass9 i! a not he r p ipe s ..

'~n d

' ~o ~ he don i like It9 bu t he doni not like it neither 9" .hldy adds, puzzled ..

" He he lp s her==he ge ts B ~ s and she ge t s F ~ S;j t he f ir s t one sayso

" Su re~~she~s no t nor=1TJal~" J udy says 'j correctly emphasiz i ng the infl ec tion p i cked up from her mother"

" Bu t she

shouldn ~t

chase 'the boyse l i

"And she wears those funny skirt s ", II " Bu t she ' s not nor=rnal.,!1 "If I were Da rr en, J ~ d wi sh her dead

ilDarren 9 Da rren;r whadoya wish ," (skip, skip) " do ya wi sh Ferna dead like a fi sh? " (skip ~ skip~ clap~ claP9 double skip, slap)" " Dar ren, Darren , whadoya wish~ o"

"Now Ferna, tell me why you insist on chas ing the boys like tha t?" Mrt> Barser says~ sternly eyeing Fernae Ferna s t ands by his desk~ twisting her long , p l aid skirt with her handse The zipper i s broken; a safety pin secures the opening. The plaid ski rt comes just above her ank1es0 Her yellowed white socks a r e mud"" sp lattered as is her one brown shoe and her one black shoe0 She is bigboned; her fingers long, her hands bigv "Ferna

s it down, plea se 速"

Ferna sits, her long ish red hair cove r s her face; only her big grin peers out at Mr5 Barserm nFerna , don~t you like it here with us?" (Pause.) "Ferna, (more sternly) do you not like it here with us?" (Longe r pause",) I~m afra id, Ferna !il I ca nnot let you go until you t ell me why you do it,," "I don ~ knovJ, Prine ipa 1 Ba r ser 51 I just s does it E)" She continued smiling at hime

"Tha ti s a 11 for now' ~ Fe rna e"

"And Da rren, I want you to tell your mother and fa ther that we expect that this wonWt happen aga in <9" "Yes, Miss Haggley," Darren murmurs, writhing in his chair~ staring down at his shoes, one of which has a hole in the sole0 Darren pokes out to the playground. "Darren, Darren, whadoya wish:1" (skiP:1 skip) "Do ya wish Ferna dead like a fish" ( skip, skip, clap,

clap, double skip, slap).

" Da rr en, where's Ferna today? " "She stepped in a hole in the creek." "A deep one? " "Uh huh." "She a'right?" "My da d say so."

"Oh."

"Now, Darren, where is Ferna? This is the second day in a row she ' s missed." "She stepped in a hole in the creek, Miss Hagg ley." "A deep one?"

Miss Haggley eyes Darren.

"Yes, Miss Haggley." "Did she catch cold?

Is she a'right?"

"I don't know, Miss Haggley." ''You don't know if she r s a 11 right?" "Well, Miss Haggley, she step in the hole and then I seen her going down the river real fast, and I run and told Pa, and he say 'it just like her to sneak away down the river like that.'"

Mis s Hagg ley's eyes widen. Mr. Barser immediately.

"E 1 i za beth, go get

"Guess he don' feel like coming back to school yet." "I wouldn't come back at all." "Think of findin' her ••• at midnight ••• in the dark ••• a 11 wet ••• and ••• crummy ." "She wasn't nor-mal."

_____________________________________________ J