Jane Hilberry

poetry

Jane Hilberry is recently retired from Colorado College, where she took great pleasure in teaching Creative Writing and Creativity classes and helped to develop an undergraduate program in Creativity & Innovation. She has published two poetry collections with Red Hen Press and, with her late father Conrad Hilberry, a chapbook titled This Awkward Art: Poems by a Father and Daughter, introduced by Richard Wilbur (Mayapple Press). Her work has appeared in The Sun, Hudson Review, Copper Nickel, and many other journals.

 

The Better of Him

A team of wasps moves in, not to be waved away from my breezy lunch on the patio. They like cantaloupe, but dig into the turkey, tugging off shreds to carry away. Let them have it—I push the plate aside so I can read. I am looking for poems of praise, and find them in my father’s copy of George Herbert. I knew it was his by the check marks in the Table of Contents, even before I turned to the inside cover and saw his italic hand, C. Hilberry, delicate as a girl’s, in blue fountain pen. Herbert says the harbingers have come, marking his head with white. They steal his sparkling notions. And yet the poet declares, Thou art still my God. My father repeats himself. Exercise class is Monday and Wednesday. The teacher’s name is Pat. He’s happy, so who can argue? Last visit, sorting his drafts in the laden file drawer, his essays on Whitehead, I grieved for the man he isn’t any more. But when I cried, my sister said, “I like him better now.” Together they watch The Call of the Wildman, leaning back on her couch and laughing while Turtleman wrestles a raccoon. My father drinks wine freely, relishes the food my sister sets before him: chicken with lime, potatoes still hot in the grease, cinnamon cake, ice cream. Our ascetic, our man of no desires! His appetite has appeared, like a child who played hide-and-seek eight decades ago, and no one came looking, until now. I studied him for years, tried to fashion myself after him, but I see now I did not know him. In the hospital after surgery, loosening the neck of his hospital gown, I found his body is not slight, as I’ve always perceived— he's not mere thought, not an idea arising, but a man, with shoulders wide as anyone's. Today, the wasps still pull at the meat, unweaving the threads of the dead bird’s flesh. They will do it indefinitely. My praise today is for wasps, with whom I find I can equably exist, and for fathers, for the intelligence that once read each poem in Herbert’s book and inscribed checks by the finest, for the body in the hospital and the father on the couch, helping himself to potato chips, letting his large, startled laugh escape when the raccoon swings around to bite the man, getting the better of him.

I remember sorting through my father's papers—he was a poet and professor—and feeling intense grief about the decline of his mind. We had just moved him into residential care. In tears, I called my sister, whose response startled me. Her comment and the act of writing the poem brought me around to what I hope is a fuller understanding of who he was and of what matters—although the poem also tells me that I'll be unraveling the threads of my father's identity indefinitely.

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