Circus Flames

It was a Friday afternoon, mostly women and children. It started right after the lions, during the Flying Wallendas.

On this day in 1944, the Hartford Circus fire broke out in a Ringling Brothers tent, during an afternoon show attended by thousands in Hartford, Connecticut. One-hundred sixty-seven people were killed. It was common practice at the time to waterproof the tents by coating them in a solution of paraffin wax dissolved in gasoline. The event is depicted by Stuart O’Nan in his 2001 book The Circus Fire: The True Story of An American Tragedy. The following is an imagined account from the perspective of a surviving member of the staff.

“Circus” by Joshua Zader on flickr under a Creative Commons attribution 2.0 Generic license.

We’d been short-staffed since the war started, always running behind.
A few years before, a fire in the menagerie had killed our lion. No one
could forget the elephant’s screams. You could call that an omen, or you
could wait until the trains ran late and our first commandment was broken
and the show did not go on. The land got a taint before we started, leaked
from the first audience, the one that never saw the show. You could feel
it, like the first notes in a film where the mummy wakes up, before it moves.

It was a Friday afternoon, mostly women and children. It started right after
the lions, during the Flying Wallendas. The bandleader 
played Stars and Stripes Forever, our smoke signal for danger. Don’t panic
folks, but you know how that goes. The big cats got out okay, but their chutes
blocked the exits. Some just ran in circles, calling the names of the ones they
could not leave. 

As the flames consumed the tent, wax dripped from the roof, burning tiny 
faces, flailing arms in summer shirtsleeves. The papers 
called it the day the clowns cried.

Simultaneous Open Windows

Sketching rocks bathed in light since the sun rose, try to remember dawn.

Open fist against graffitied bricks, he watches crows, remembers death.
Painted peacock lady smiles over traffic lights; checks the mirror, pouts.

Back-to-back on the park bench, a pair wonders if they are dating yet.
Babies bearing swords beat against trees and stones while sandboxes still wait.

Queens rock hi-tops, heads leaning toward hips, and braided babes run.
Mob men in trench coats talk business and horses while sirens wail upstairs.

Holiday blue notes shine cool on midnight sidewalks; her walking pace slows.
By park fountains he reminded her, What’s the point? ––Meaning, of her rage.

Baby boy finds mama’s stash. She won’t know what he eats, until later.
He fell in love: first God, then the ancients, then woman; then he was done.

Don’t tell me what to do, she says, leg crossed over knee. He listens, nods.
Bullet clears rib cage to stop against spine; now there is no need for shoes.

If you sit beneath trees long enough with snacks out, squirrels come to eat.
Makers cross the street. Meeting halfway, they embrace. Cars honk and they laugh.

Joining foreheads, seated lovers bow, form a heart by the fountain mist.
The bracelet was there to remind him to count each memory, but her.

Sketching rocks bathed in light since the sun rose, try to remember dawn.

Notes:
The title comes from the painting by Robert Delaunay (1912, oil on canvas; Tate London). The poem came from an exercise done on the seventeenth of the month. In honor of Alan Ginsberg’s American Sentences (A haiku without line breaks, seventeen syllables), I aimed to write seventeen of them. Then I took some liberties with arrangement and punctuation. Sometimes breaking from the sentence (into two or three), I kept lines of seventeen syllables, each aimed toward a particular scene, during a particular twenty-four-hour period, on a particular street, in an imagined city, present day.