The guillotine kneeler-- a painfully humorous narrative

Every time I read the "humorous" tagline on a piece, I stress out. What if I don't get it? What if I'm too Philistine? Will the universe as we know it cease to exist? And if you think I'm neurotic about reading humor, I'm a buffet of trauma writing it. But here goes: my noir humorous narrative about my husband and the guillotine kneeler at church. 

Note: Those of you who are Catholic will know exactly what I mean, having probably had your shins injured on those garage-door heavy fold down kneeling benches on the backs of pews. And if the lowerer isn't careful (like the main character of this story) they come down with the force of a canal lock gate. The uninitiated should consider yourselves lucky. And wear shinty-grade leg guards if you visit. 

So a quick run down on how pew traffic is supposed to work. Individual or Group A enters pew, the kneeler is lowered for pre-mass prayers. The ideal plan of attack is that on a designated leader's count the group en masse lowers the kneeler after first doing a perimeter check for any feet blocking its descent.  This should be accomplished by signals, whispered consultations and consensus. Should. But often doesn't. 

If/when group B, C, D, etc. enters pew, group A (B, C) sits back, raises kneeler and allows them to pass. Then, kneelers come down, and back to obeisances. Why, you may be asking doesn't everyone move over? And it makes perfect sense, unless you understand another weird thing about Catholics. We guard the outer seats as if they were the Hope Diamond. I have seen people literally hug the upright pew end, while skewing their legs over to one side to make room, in this bizarre snake-like slither.  As if it is a pier and they are afraid they will be swept away.  

Sometimes, in clinging for dear life to the pew end, they forget to coordinate leg action. One leg slides while the other remains fixed ending up legs splayed wide as if in salacious invitation. The result can be pretty alarming to contemplate. I'll just let that mental image stew in your brain.

Then juxtapose being propositioned at church, with the open challenge glare, that just dares you to ask the pew Klingon to budge up. Trips to the confessional have been required after encounters such as these. And don't even get me started on confessional queue violations. 

But anyway, we get everyone in their seats, prayers said, and mass begins. But it's not over. Because one thing to remember, these kneelers are not just  used before mass. Oh no, that would be too simple and too safe. There are several times throughout the service in which those heavy benches descend on unwary legs. And this is where the blood sports begin. Because there are like four kneelers to a pew and now it's not just one Gruppenführer to contend with but several.  

And after last Palm Sunday, I have decided that my husband will not be that Gruppenführer. To start, he's not as careful as our feet and shins could wish. It's more like pull out and THEN look for cars. And hubby dearest was in rare form last Sunday. So mass was all discombobulated anyway, beginning with a procession outside, carrying our palms into the church. Which necessitated the raising and lowering of the kneeler as people were finding their seats again after the procession dispersal... thing. Because did my husband wait until all were seated to start praying? No he did not. I burned 200 calories before mass alone. 

Then enter a guy who was clearly as ADHD as my husband. First, he sat on my palm so I could not use it for the blessing. I had to share my husband's and instead of just letting me hold it too, hubs painstakingly separated it in half, slicing his finger in the process. And we haven't even gotten to the entrance antiphon. Then, neither pew-mate nor husband were paying attention at that ubiquitous kneeler lowering. Husband just guillotined it down with a thunk and I (the only one paying attention) had to kind of surreptitiously kick/push the man's foot out of the way to prevent crushing. This happened five times. The third with MY foot getting clobbered. 

Mass finally ended and my neighbor escaped unscathed no thanks to himself or my husband. But it wasn't over. I was temporarily off guard and husband came in with a blindside bench descent at the Eternal Rest prayers. I don't know what the poor clueless bloke had done to merit tarsal amputation.  Somehow our would-be hatchet man missed again but he definitely had an axe to grind and feet would roll. 

And most ironic of all, was husband's beatific face in prayer after nearly dismembering us multiple times. 

Pompeiian reverb


Pompeiian reverb
Form with no Function
Void reclining in
sleepless dormition

uncomfortably cramped
attitude of repose
I don't envy the model
this miserable pose





inverted geode doll
crystals inside out
vacancy within 
leaving all in doubt

where is the lady
in the gown of blue?
gone or just popped 
out to use the loo? 

who could blame the gal
who left her shell behind
lit out to find an
open state of mind?

cold bespoke casket
Rigid cloying mold
corseted to keep
cellulite on hold

escaped confines of
Spanxed conformity 
now wears old blue jeans
when she goes out to tea? 

perfection's a bitch 
reach exceeds our grasp
Venus de Milo curves
bite us in the asp

beauty's sepulcher
Snow White in her tomb
fair sex pilloried since
we were in the womb

pardon my cliches but
they're very real to me
man-made cages, jails, cells
dank familiarity 

expiring before 
we even begin
buried alive in
purpose built coffin

death eating father
brought the doom on me
honeyed hemlock of
morbid litany 

why the hell so smitten
with dames who are dead?
Pre-Raphaelite OCD
I'll bet she's a redhead

This maiden who left
empty dress echoing
glass still resonates
long after her going

I rejoice to see 
that this bird has flown
hollow lies the dress
of bondage glass blown

dragged herself out 
of bedragoned moat
our Lady of Shallot
good you ditched the boat

we'll hold space till you
Find functionality 
And if you don't well
keep on going, baby! 

Don't need ruby slippers
nor tight frocks of glass
to bust see-thru roofs 
you wrote your own pass

Oz only gave Dorothy
what she already owned
Emerald city exit
a balloon ride home 

Cinderella didn't
need shoes to break chains
didn't even need a Prince
just her head full of brains

I'll take a leaf from
departed sisters' book
to find my true north
in the mirror look.

Here's to our gone girls
Egalite! Sorority!
let's grab the brass rings,
ring that bell of liberty! 




This ekphrastic poem is based on Nocturne Reclining 3, by Karen LaMonte, shown above and on view at the Muskegon Museum of Art. Please visit and support local art museums! 















Tarmac Where My Wintergreen Berries Lived





I went back to the woods where I played 

with grampa in the dunes near the lake

My mother goddess Lake Michigan

or the big lake gitchegumme to locals 

this land was made for you and me


Houses sit and tarmac covers 

where my wintergreen berries lived 

drywall shacks that grew not from seed but 

chewed up, used up, spat out natural resources

post-industrial waste of too much muchness


too many structures holding too few people 

flimsy construction from destruction of 

the Great Spirit Gluskabe's stately dunes

irreplicable, irreplaceable, unshakable


until the diesel breathing monster machines came

gorging themselves on magnetite, hematite and quartz

of prehistory older-than-ice-age sands 

more non-renewable comrades fallen 

Avē Imperātor, moritūrī tē salūtant


Extinct is forever and gone is for good

it made sense of a sort when there were jobs, 

railroad, factories, newspapers, telephones 

neighbors and communities. America WAS Great

now it's just glutinous and grasping 


We build boxes to house bric-a-brac and junk

we buy too much of and don't need and

can't pay for and go bankrupt to have

and don't use and throw in landfills

already the size of small cities


useless crap to feed corporate and consumer greed

for things they will only destroy in a very short time

Woodsy used to say "give a hoot, don't pollute"

And we held hands and sang

if those poor owl could but see us now


ironic yard signs reading "no over development" 

in over developed sub divisions with landscaped

marram grass where it once grew wild

ripped out to replant in its native habitat

Why?


signs preaching "keep off the dunes"

in the yards built on trashed dunes 

and "dune preserve" preserved where?!

an asphalted over melted glacier Lake?

a concreted old growth back dune forest 

of pine, fir, Eastern hemlock, spruce, trillium


lady slippers, wintergreen, protective mosses 

oak, juniper, trilobite, petrified wood, fossils 

ground to wood chips to decorate lawns

that smothered animal habitats that grew

where leaves and needles once blanketed 


nothing remains except spent, sparse 

scraps of tree cremains left where they are 

till their spot is needed to build 

some family an even bigger house

And the Lorax laments on...

 

that they aren't going to use 

the divorce will be final before 

she moves in,  alone with her cat

kitchen larger than diners of childhood

sharing a cup they call loneliness


homes as large as tenement halls 

contrast the shotgun singles of my youth 

with a family of seven crammed 

to the gills under one roof, comfortably

homes that house families of families


two bedroom homes, not houses 

where people ate dinner at 5:30

around a Formica table in the kitchen

somehow they all miraculously fit 

chewing their knees with their rolls


now the huge kitchens are decorated

with cookbooks and spices no one uses 

and mass produced signs telling us to "Gather" 

in empty rooms with no one to comply

Seeger, Baez, Dylan, Peter, Paul and Mary warned us


There's an enormous dining room with

table big enough to seat the Love Boat crew

it's covered with packed boxes 

Each eats DoorDash in his room with 64" TV

Strangely Estranged, strangers called family


all that's in the commercial grade fridge 

which could hold food for a battalion

is vodka, half a lime and a takeaway

her Prozac prescription and a tin for the cat

paradise was razed for that


working to pay off overpriced boxes

they were never satisfied with anyway 

and soon they will move out and the

house will become another industrial sediment layer

crumbling my beloved dunes out from under


and they will gut someone else's childhood

to build their empty little boxes on 

the hillside made of ticky-tacky

to house their knicky-knacky crap-y

and they all look just the same. 


I want my berries back. 


Shall I tell of stars hidden by the queen?


lying underneath 

psychedelic sky

iridescent blue

sun spots in my eye


penning out my verse

he sleeps in the rays

each one celebrates 

in our preferred ways 


Shall I tell of stars

hidden by the queen

mute in the daylight

till night makes them seen


pondering nature

which glyphs to choose

lake days in the sun

my favorite muse


with hyperbole

in woods we do roam

shelter of the trees

is our little  home 


the bigger thought gets

a line of its own 

onomatopoeia

in glissade of foam 


alliterative 

litter festooned wave

words drip like driftwood

carved by the lake's lathe 


old lumber dock bones

like cypress kneed bogs 

watching memories 

and time float like logs


trash ornated surf

flecks of green and blue

silver metal can

a child's soggy shoe


assonance that makes 

an ass of me and you

oops, that's assumption

that I sometimes do


twinkling in the sun

mirrored sand beach

pass the Swiss cheese please

just beyond my reach


gritty on my teeth

from palm full of sand

universe of verse

trickling through my hand


I could write always

by eloquent sea

what better way to

spend eternity?


got water and pen

who could want for more

my man at my side

on Michigan's shore








If wishes were drinks we drunks would partake


peach bellini moon 

purple crow flies by 

pink Cosmo sunset  

in blue curacao sky


if wishes were drinks

we drunks would partake

of rainbow cocktails

and Sazerac cakes


but day is all done

color drained away 

like bathtub sloe gin

sunsets turned grey


but no one told them

arise and go home

are they asleep or

perhaps turned to stone?


sunbathing bodies

strewn along the beach 

shrouded in moonlight

their marble arms reach 


in homage to a god

with empty hole eyes

gems all removed for 

the lady who buys


back to the motherland

with her stolen hoard

on a tramp steamer 

and ghost crew on board 


and the ship goes down

taking all to their graves

the gal with the money

drowns beneath the waves


so goes paradox 

she who had has none

the thief is stolen 

by the stolen from one


such contradiction

in poetic irony 

what goes comes around

and washes out to sea 


cold as equator

wet as Sahara

dry as ocean deep

hot as the taiga


uniform contrasts 

mixed hyperbole 

same differences 

fluid simile


lyric without song

sensibly insane

musically tone deaf

Logically inane 


I shall never see 

verse so madding bad

I think that I shall

surely go quite mad


if mad is a place 

say that's where I'll be

but I shan't be long 

I'll be back for tea 


hopped a streetcar

just my cat and me

at the corner of 

Desire and Cemetery 


singing for sixpence 

on my ukulele 

puss strums the bass in

land of Honah Lee 


puff with the dragon

huff to the wolf moon

supping with devils

I'll use the long spoon 


riding the contrail 

to the end of the line

pull up a cloud 

right here next to mine


ask where I'm off to 

it's a ramblin song 

don't know myself yet

you can sing along 


start psychedelic

Sam, Bangs and, Moonshine

let her write herself 

this lil rhyme of mine

 

a pocketful of pocket

to pass the time of night

white noise machine 

to ward off my blight


so no point to my

silly pantomime

just felt like conversin'

if you've got the time









The Good Ship Marguerite L. and the Freighter D. Jack

My grandparents, Marguerite Louise (Kik) Kinney and D. Jack Kinney, were laid to rest many moon ago. Here's a little ditty I wrote in honor of their 70 years together. It's about two ships--the imperiled freighter D.Jack and a once fancy schmancy old ghost yacht the Marguerite L. The ships are named because my grandpa was a workaholic, like the mighty lake Michigan freighters.  And my grandma loved expensive things. And could have posed as a figurehead! 

It is ironic that in the poem, she saves him. Everyone always called Grampa the romantic Galahad, the rescuer, the savior all of which he was. Grandma appeared the frail lightweight but was in fact tough as a battle axe and 10x more incisive.

It is set in Lake Michigan, where my Grandpa and I swam and walked many miles over many years (while Grandma stayed home and read Architectural Digest). This poem is for my father D. Jack Kinney II, who knew all there was to know about the ships of Lake Michigan and who liked a good story.

The Good Ship Marguerite L.


stranglehold cold wind

mutes dull foghorn moan

banshee storm-ghoul's shriek

deafens warning groan


weakened lighthouse beam

struggling to sustain

snuffed in fog-clogged night

and vision-dimming rain


Embattled Freighter D. Jack

seeks safe, havening moor 

refuge from the storm

heads blindly toward shore


solid blank stare fog

lightless night darks drear

no moon marking rocks

sailors think all's clear


no fog gong foretells

dimmed lighthouse mocks

no death- knell warning

sailors off the rocks


beamless empty sky

deadly barrier ahead

ships smashed to bits

tale ends with all dead


blame the deafening blind fog 

curse the storm that rent the night 

sing of D. Jack's end and gloom 

blame the waning of the light


but tale's end is not yet writ

fate not sealed in lake tomb

sad's the song that ends too soon

ill's the wind that blows but doom


there is another verse to

this sorrowful rhyme

in the wings a heroine

is waiting for her line


within rock walls is calm

without tempest's brewin

bony schooner, Marguerite L.

sleeps moored in brooding ruin


by good fairy or bad sprite

Neptune's guide or Hades' shade

sends storm ripples into port 

rouses ghost ship to their aid


sleeping beauty wakes again

hears the S.O.S across the wave

though old, frail, falling apart

there are sailors she must save


with bump-booms, banging clangs

plays hornpipe on rusted chains

grind-jangle, rattle and clank

screams louder than the rains


by happy stroke of luck

or black magic rune

D. Jack harks danger

in her warning tune 


The rocks are avoided

The freighter finds a way

round the hidden breakers

ghost yacht has saved the day.


what genius loci possessed

Marguerite L. that night?

to rise up from death bed 

and take up the good fight?


sailor is a brother,

to seamen in all clime

Do some come back to warn 

just in the nick of time?

How to write mystery stories and whodunnits: detective story starters and mystery writing prompts

March is National Reading Month. Mystery readers, are you tired of cracker-bland mysteries you put down in sheer boredom? Mystery writers, are you sick of writing dull-as-plain-toast plots that readers barely nibble at? Here are mystery story starters for tales readers will gulp down whole and beg for more before the first even digests. Use these writing prompts and mystery story starters to write can't-put-down stories. This article covers detective stories and mystery story starters for crime fiction, affectionately called the whodunit. 

Basics of mystery story starters. Every mystery story needs an introduction, characters, plot, climax, denouement and conclusion. Detective stories are all about detail and sequence. But crime fiction doesn't necessarily need resolution and closure--a very effective literary device is to leave mystery unsolved. Charles Dickens was known for writing several endings and letting the readers choose (!) Ending on a cliff-hanger has the advantage of paving the way for sequels and more sequels. 

Plot development for detective stories. There are different school of thought on whether mystery fiction writing prompts should start with character or setting creation. Settings seem the best as they give a framework to place other elements in. Regardless, always write what you know. If you grew up in Michigan in the 1940's or Mozambique in the 1990's, write to that specific knowledge. Use your cultural or religious background or family history. Don't try to write about what you don't know unless you plan to do a barge-load of research. 

Choose a known time period and locale. You can set your story in any time period or place, as long as you know enough about it to make your mystery story credible. If your idea of medieval life is Game of Thrones, probs best to avoid the middle ages. This author once tried to write a 1930s English country house murder mystery like her hero Ngaio Marsh. Without having lived then and lacking enough research, the result was a schmaltzy pastiche. Mystery story starters require a specific setting. Where did the whodunit take place? 

Write mystery stories outside the hackneyed setting. So having said know the terroir, don't use overused places. Thinking of Scooby-Doo here--an abandoned mental hospital, a disused school, onboard a ship, country mansion are common (dead common) places. Try to get away from stereotypical mystery settings if possible. Tie it to your own locale so you can envision the details better (the disused factory on Third St that you drive by every day, the historic St. Adalbert's Catholic Church you attend, for example). Be precise but not trite in description--setting drives mystery stories more than any other genre. 

To detect or not, your choice. Mystery fiction stories may or may not include a detective character. Agatha Christie's best-loved mystery story "And Then There Were None" is crime fiction with no solver of the crime. Whodunit detective stories obviously require a detective-type main character. But it may or may not be a police officer or private eye. Start thinking characters, beginning with the investigator if there is one.. Match an appropriate person to setting. Your detective can be of any age, strata of society, occupation or nationality as long as you can write with some authority. 

Mystery Writing prompts for detective stories main character. How will your detective interact with official authorities? Is he a policeman or a PI? Is she an amateur crime-solver like Miss Marple? Does she solve mysteries as a hobby, but assist with investigations? Maybe he hasn't always been on the side of justice., such as Father Brown's friend Flambeau once the greatest jewel thief in Europe, turned detective. Perhaps your detective operates separately from public investigators or is too young to work professionally (like the Three Investigators, Nancy Drew or the Hardy Boys). Your detective may have a different occupation altogether: librarian, cleric, rabbi, pharmacist, garbage man (trash collectors see lots of dirty secrets). Lillian Jackson Braun's series "The Cat Who..."features a cat detective! 

Plot writing prompts for detective mystery stories: Frame the crime. It may involve a celebrated murder, international heist or art theft or it may be a local incident that affects only certain people. Maybe it's just an odd occurrence that unravels a larger problem. It could be a victimless crime fiction but victims make it more interesting. Details about what happened should come out little by little. The detective should be lead on a few wild goose chases by "red herrings" finding out whodunit. 

Outline and sequence the problem. Create a timetable for personal reference and draw a map of the crime scene and environs. These become the plot, but you can also add your map to the book. This mystery reader loves it when authors provide maps. Even if it's just a map of the study showing doors, furniture etc. I have trouble visualizing from verbal directions so this really helps me "see" the scenario. 

Detective story characters writing prompts: People the story. Who are the dramatis personae? Flesh out characters. Determines criminals, witnesses, suspects, accessories and assistants. Perhaps it's passengers and airplane crew, or members of a club or secret society in which the whodunit occurs. That narrows the field. Again, describe with accuracy and details but avoid stereotypes and tropes: beautiful, curvy blonde, hard-bitten detective, frail old man. Also keep the cast of suspects down to about 8-10 max. It's too difficult to keep plot lines clear otherwise. 

Detail writing prompts. Scatter some clues. Toss in subtle details that a witness may notice and mention to the detective, but not understand. Don't have the detective pick up on it right away. Readers love to catch things the detective originally misses but don't make it obvious. General clues are okay but try to spice them up. Tire marks could be from certain vehicle. Character clues--unique buttons from uniforms, grandfather's cuff links, Mrs. Highbrow's jewelry, a girl's personal perfume--could lead in one direction but be left by someone else. A smell of curry might have been planted to frame the Indian gentleman. These are called a red herrings and are useful if not too obvious. Also, don't make clues so complicated that only an expert would understand them. Don't dumb down or get too rarefied. 

Identify the MMO: Every crime is based motive, method and opportunity. The motive is the reason a character might have for committing a crime (money, jealousy). The method is how the crime committed (think Clue here--in the garage with a tire iron). The opportunity means who was available to have committed the crime. 

Identify the alibis (or lack thereof) for characters. According to the timetable, decide who was where and when at the time the problem occurred or crime was committed. The detective may remove someone from the suspects list and then re-add them as she finds new information. It really does work to make the criminal the least likely person, perhaps someone hovering in the background or someone who isn't who she claims to be. 

Write a climax. Generally, something intense happens which brings all the events together. It's usually an event of some drama, seemingly unrelated, with some element of surprise. You might include death, danger or disaster. It is this event that ultimately explains the mystery. There should be an explanation for why she did it, but it doesn't have to make sense. Grudges, scores settled, paybacks usually have deep roots. As the saying goes "old sins cast long shadows." 

Allude to solution, earlier on. Once you have your conclusion, be sure you hinted at it previously, but in a not obvious way, such as by something a character said or let slip. It's not fair to the reader, who is trying to solve the puzzle themselves, to have something completely unforeseen resolve the issue. It's cheating. My favorite plot devices are when children or previously discounted people (visually impaired teen, "senile" elderly person,, developmentally disabled man, "hysterical" woman) have said something that the detective overlooks (Miss Marple wouldn't) which come back to be helpful. 

Write your denouement: This is the resolution of the mystery. This is when secrets come out and loose ends are wrapped up. Some details will reveal themselves in the plot and your detective can articulate the rest: the what, who, when, where, how and why. Or, as was discussed before, you can leave some loose ends hanging, some questions unanswered. If the crime is wrapped up, summarize with a short conclusion on the outcome. As readers part company with the detective, you might even give a few hints about her next adventures, Be sure to read a few detective stories for inspiration

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