Recycled Declaration



Peter Breslin

“Happy Independence Day! Today, I declare my independence from jingoism, nationalism, American exceptionalism, starry-eyed sappy sentimental faux-patriotism, hagiography of our military forces and police and other public servants masquerading as unquestioning respect for heroism, willfully gluttonous and destructive consumerism masquerading as freedom.

I declare my independence from the tempting blindness to the entrenched corporate-fascist plutocracy that has slowly maneuvered a (bloodless?) global coup of politics and press.

I declare my independence from the State-sponsored story, the lies my teachers told me, the narrow minded, provincial and embarrassing ignorance of what it means to be not just an American but also a global citizen in a rapidly shrinking world.

I declare my independence from an all-too-convenient and unearned pride in an alarmingly deteriorating country where Constitutional freedoms have been slowly eroded or eliminated and where protest, speaking the truth to power and political activism (the very bedrock of our revolutionary origins) is now seen as, at best, ungrateful, and at worst, a form of treason.

I celebrate the true spirit of the American revolution and the American experiment today. I celebrate the human passion for freedom and justice, the universal longing for a better life, the grand ideal of a government of the people, by the people and for the people. I celebrate the greatness of America’s marginalized, disenfranchised, oppressed, exploited and apparently disposable people who have made it all possible from the bottom up. The poor and educationally short-changed who seem so easily put in harm’s way and who constitute the vast majority of our volunteer military, the suffering and homeless veterans who have been bought and sold on the market of questionable wars abroad, the labor force that sacrificed so much life and safety and comfort in the early part of the 20th Century for quality of life improvements we now take entirely for granted but that has been relentlessly disempowered and excluded from the economic and social conversation today.

I celebrate those who worship whatever God or Goddess they worship freely, humbly and quietly and in the true spirit of their faith, not obstreperously, legislatively and oppressively in the marketplace of public, civic ideals.

I celebrate the grand tradition of progressive thought and action in American history, represented by progressive education, progressive health, labor and work improvements, progressive programs to ameliorate suffering and aid the worst off among us, progressive attitudes about the privacy and security of our persons, papers and effects, progressive voting rights, progressive civil rights in their long, slow, painful unfolding, progressive and open ideals regarding the free exchange of ideas (including the least popular of those ideas), progressive attitudes of welcome and appreciation for those from other countries yearning to be free.

I celebrate America’s great innovators in the arts and sciences and America’s irrepressible spirit of not so much ‘why?’ as ‘why not?’ (to paraphrase Ornette Coleman). If there is any heft in the oft-repeated claim that America is the ‘greatest nation on earth,’ perhaps the anchor for that claim, ironically, rests in the most bold, progressive and innovative, most free and most humane and democratic of all of our contributions to the world.

If America has been great and exceptional in human history, it has done so along these lines: the greatest possible liberation of the human spirit, in spite of vicious and regressive attempts at oppression, for the greatest number. Empires are a dime a dozen throughout the centuries of our species. Tribalism, exclusion, oppression, greed, genocide, invasion and exploitation are dirt cheap and common in the human story. I celebrate an America that has been and perhaps still could be a true exception to these commonplace horrors.

Happy Independence Day! How free do you want to be?”

©Peter Breslin, 2010

Peter Breslin is a teacher, musician, PhD student in plant conservation biology at Arizona State University and writer who lives in Tempe AZ.

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  1. Who are you named after?
    No one. My mother opened a baby name book and dropped her finger on a page. My father came and went and left me in his wake, a little seed and I grew into a little plant, and she said she’d jump off a bridge before she’d name me after him. All I know is that he is a rock star. She didn’t want me doomed, she said once, to either having to live up to him or repeating his mistakes. She had this thing about fate and free will. She went to college for awhile I guess. She read me a lot of books.
  2. Last time you cried?
    When she died. I was twelve. She jumped off a bridge.
  3. Do you like your handwriting?
    Very much. I was praised as a child. People are more likely to help you out if you take some trouble making your sign. You can’t just scribble any old which way on some crappy piece of cardboard. You don’t want to look crazy. You have to make an effort, have a little self-respect. If I can scare up the right kind of marker and a relatively blemish-free surface, I mean, get out of my way. (Dumpsters outside movie theaters are great. If they haven’t just crumpled them up, if they’ve gone to the trouble to roll them which you’d be surprised, a lot of them do, the back of a movie poster is the perfect medium: glossy, pure white, just stiff enough to withstand some weather. And there are a couple of the librarians here, they loan me Sharpies. Sharpies only used to come in black but they’re all colors now.) Sometimes I’ll make a little picture: a puppy, a bunch of flowers. One of my foster moms, she liked to do art. And school was not for me but I did like the books and art class. My philosophy is you make it nice for people, they’ll want to make it nice for you.
  4. What is your favorite lunch meat? download
    They don’t make it anymore. Or maybe they do and I just haven’t been in a store for awhile. It was this baloney with sliced olives in it. Pimento loaf. On rye bread with cream cheese. Foster Family Four, if memory serves.
  5. Longest relationship?
    My mom. We lived in a bus. After that I kind of went from house to house, you know, sometimes a juvenile facility. A hospital once.
  6. Do you still have your tonsils?
    She didn’t believe in doctors. And we couldn’t pay for one anyway.
  7. Would you bungee jump?
    Not likely. But I’ve been known to surprise myself. I kind of have enough on my plate.
  8. Favorite kind of cereal?
    I’ve only ever had one kind. We didn’t do refined sugar or Screen Shot 2017-06-05 at 3.58.37 PMpreservatives and plus the no money thing so I stole a box of Frankenberry from a Kroger’s one day when we came into town and ate it in the parking lot. I was six I think. I don’t know. I guess I’d eat Frankenberry again. I’m not sure they make it anymore, like the pimento loaf. It makes your poop a funny color.
  9. Do you untie your shoes when you take them off?
    I avoid shoes. It’s what’s nice about warm climates. That and you can sleep outside and not freeze to death. There’s a shoes rule here, but I hole up in one of the computer cubicles so I’m generally not seen. I bring all my shit in with me, you know, because you need to keep an eye, and that has likewise never been a problem. As I said, I think it’s preferable by all that there be the option not to see certain things.
  10. Favorite ice cream?
    Ah, see, now you’re just messing with me.
  11. What is the first thing you notice about a person?
    The way they pretend not to see me. Everyone’s different, the way they do it, like fingerprints. It’s why I make an effort with the sign.
  12. Football or baseball?
    Baseball. Spring training down here. Nice guys. I watch through the fence.
  13. What color pants are you wearing?
    You mean originally? Couldn’t tell you.
  14. Last thing you ate?
    Why? You offering?
  15. What are you listening to?
    Grunge. Any and all. Once when I nagged her my mother told me that’s what my dad played. So I think sometimes hey, maybe this song I’m listening to? Maybe that’s him. They make me use these headphones. You know: shhhh. I like YouTube. And these quizzes. No one can see you on Facebook, so no one has to on purpose not see you. Simplifies things for everybody. I have a profile and everything, I’ve made some friends, you know, I have a list. I get to answer questions as if someone really wants to know. They say this stuff about privacy, about stealing your data, but I got nothing to steal, and privacy is overrated. You only care about privacy when you’re not alone all the time.
  16. If you were a crayon, what color would you be? download
    Burnt Sienna. I loved crayons as a kid, still do. That little sharpener in the box. Sometimes with a new box I’d just run my fingers over the tips and not want to use them because they were so perfect.
  17. What is your favorite smell?
    Simmering garlic and onions.
  18. Who was the last person you talked to on the phone?
    Some lady at the shelter.
  19. Married?
    Once. Wasn’t for me.
  20. Hair color?
    Blonde. The greenish is from chlorine. I sneak into people’s yards sometimes, you know, use the pool. One place? Really rich folks, never there. Easy to creep in through the woods, lame security system. It’s called an Infinity pool, and it just tips right off the edge of the world. That’s a favorite spot.
    stirling infinity
  21. Eye color?
    Brown, but kind of dull and blurry, like beer bottles on the beach.
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  22. Favorite foods to eat?
    Whatever I can find. Whatever they give me.
  23. Scary movies or happy endings?
    Depends on my mood.
  24. Last movie you watched?
    Wizard of Oz. That’s a weird fucking movie. No one ever points that out.
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  25. What color shirt are you wearing?
    Formerly white.
  26. Favorite holiday?
    New Year’s. People give you drinks, you know, they’re drunk so they’re nice to you.
  27. Beer or Wine?
    Do I have to choose? I mean, I’d prefer weed but I had to give it up awhile back. It made me too hungry.
  28. Night owl or morning person?
    Both. I can’t afford to be choosy.
  29. Favorite day of the week?
    I stopped keeping track awhile ago. You’d be surprised how quickly it stops mattering. I hate Sundays though and I always know when they are because they are when the library’s closed. The library’s quiet. You can’t believe how noisy the world is when you’re outside all the time.
  30. Favorite season?
    No seasons here. I miss the fall sometimes, the trees like they’re on fire, frost in the grass. It got cold in the bus, but my mom was always there and we’d bundle up, and I don’t know how she did it, but she was always warm.

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    ©Melinda Rooney, 2017

Little Martha

Recycled: Found Narratives

The story is disputed, as stories often are. And a song without lyrics…well, the story will rush in and, with the help of its listener, tell itself, and it will be both different and the same to everyone who hears it. It can’t be bothered with the facts.

Or, rather, it will take facts and make with them whatever it pleases. Stories want to be told, and heard, and passed along and told and sung and heard again, and they’ll do whatever they have to do to ensure that, seeking out those who have the craft and skill to get them out into the world and nagging away at them until they surrender, sit down, hammer it out, set it loose. And as often as not, even as they take a circuitous and often ‘unfactual’ path, even as we might never get back to the strict truths underlying their origins or inspiration…

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Little Martha

The story is disputed, as stories often are. And a song without lyrics…well, the story will rush in and, with the help of its listener, tell itself, and it will be both different and the same to everyone who hears it. It can’t be bothered with the facts.

Or, rather, it will take facts and make with them whatever it pleases. Stories want to be told, and heard, and passed along and told and sung and heard again, and they’ll do whatever they have to do to ensure that, seeking out those who have the craft and skill to get them out into the world and nagging away at them until they surrender, sit down, hammer it out, set it loose. And as often as not, even as they take a circuitous and often ‘unfactual’ path, even as we might never get back to the strict truths underlying their origins or inspiration, stories arrive, eventually, at something greater than the sum of their parts.

Here are some facts: Martha Ellis was a little girl who died of peritonitis, just shy of her 13th birthday, in 1836. She was buried at Rose Hill Cemetery in Macon, Georgia. Duane Allman was a young man, a founding member of the Allman Brothers Band, who died in a motorcycle accident in 1971, at the age of 24. He was buried at Rose Hill Cemetery in Macon, Georgia. The Allman Brothers’ best-known album, Eat A Peach, was released soon afterward and dedicated to his memory. Little Martha, a short instrumental piece that guitarist Leo Kottke has called “possibly the most perfect guitar song ever written,” was written by Allman and recorded for the album in October of 1971, only weeks before his death.

Duane Allman and his bandmates (one of them his brother, Gregg; another, bassist Berry Oakley, who would also die in a motorcycle accident not long after Duane did; he, too, is buried at Rose Hill), often wandered through Rose Hill Cemetery. What were they doing there? What a weird place to hang out.  Because stories hate a vacuum, possible explanations rush in: it was a quiet place to think, compose, arrange, escape the crush of new fame, get wasted, be alone with a woman, any or all of the above. And maybe the dead exerted a pull on them they’d have been at a loss to explain: one of the band’s other best-known songs, In Memory Of Elizabeth Reed, written by guitarist Dickey Betts, also took its name from a woman buried at Rose Hill.

It’s an arresting image: a group of most likely scruffy, most likely stoned, assuredly brilliant young musicians stepping over the threshold between the ’60’s and 70’s, riding the first giddy wave of success (their first couple of albums had tanked but their most recent, the live release At Fillmore East, had put them on the map, and Eat a Peach would assure they remained there) wandering separately or together through a graveyard. They stop occasionally to kneel and squint at names carved into headstones: women’s names that maybe conjure melodies or lines of lyrics. A young man, fingers numb and calloused from constant playing, gazes up at a little stone girl, reads the poignant epitaph, and the notes come floating up, fingers to brain, brain back down to fingers by way of the heart and gut. Music has sprung from stranger sources.

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Our Baby
She was love personified and her memory is a sweet solace by day,
and pleasant dreams by night to Mamma, Papa,
brothers and sisters. We will meet again
in the sweet bye and bye.

But the story is disputed, as stories often are. It is said that Betts and Allman insisted the songs ‘were named for one person, while actually being about someone else,’  written for, to, and about women with whom they were involved, women fortunate enough to have survived childhood, fortunate enough to still be living and in love with *musicians*. Duane is said to have nicknamed his girlfriend Martha, a riff on Martha Washington, because of the old-fashioned clothing she favored; Dickey Betts gave Elizabeth’s name to the woman he loved who had another boyfriend, one of Dickey’s closest friends, to protect everyone involved.

Okay; fair enough.

It is also said that Duane Allman claimed that he received Little Martha‘s melody whole in a dream, a gift from Jimi Hendrix. He visited Allman as he slept, plucked it out for him on a hotel bathroom sink-in that peculiar reality common to dreams where what is absurd is utterly ordinary-using the faucet as a fretboard.  Hendrix had died only a year earlier, and it stands to some sort of reason that he might not have been finished making music yet, that visiting the dreams of another gifted musician was his way of passing that gift along, making sure the story didn’t end with him.


©Gered Mankowitz

Which of these stories is true?  Which a lie?  Is it maybe just a little too narratively perfect, a little too symmetrically sentimental, to find the song’s origins in a young man’s wistful gaze at the grave of a dead child, a man who would be sharing the ground with her only a short while later?  Does the welter of conflicting accounts muddy up the picture a little, and is that a good or a bad thing, story- and life-wise?  Some assert, others deny, and on and on it goes. Does that make the account more plausible, or less?  Does the fact that Allman’s real ‘little Martha’, after his death, sued for control of his estate curdle the purity of the song that bears her name? Is it futile to try to square faulty reality with perfectly crafted art, or to make private creation publicly understood, to explain how and why we tell a story, sing a song, paint a picture? Maybe it was none of these stories; maybe it was all of them.

In the end, though, who cares? We have the song, and the song, once we’ve heard it, is ours to sing (or hear again and again in our heads, often to the point of distraction) in our turn. We can hear its melody any way we like. The dead speak amongst themselves, they speak to the living; the living speak to the dead and to one another. The story is the conversation, picked up and told and retold by those who follow. And we’re all trying to figure out the same thing.

A little girl died in 1836, of an illness easily treated today by the antibiotics that didn’t arrive on the scene until 1928 (the year my father was born), far too late to save her.  My third son fell gravely ill with a similar illness in 2007; he was promptly cured and released from the hospital after the most harrowing week of his and his parents’ life. A young man who had only begun to express his brilliance (he and the band were best known for their skill at onstage improvisation, which often carried their live performances, to the delight of their fans, into wee hours that rang with extended instrumental solos) died after crashing his motorcycle, which he of course was driving too fast, into a lumber truck.  He’d assumed he was more indestructible than anyone is, or maybe it’s only that death is something that no one, particularly a young man, can imagine. My middle son, at one time an ardent guitarist and with, on many occasions, a similar tendency to skate along the edges of profound risk, once texted me a YouTube video of one of the Allman Brothers’ epic performances, dazzled by their talent and endurance.  I wish I could tell you that he was 24; the little shiver that might run through my reader is worth a lie or two. But he wasn’t.  He was 16.

Did the fact that there are stories, and music, help me as I faced down horrible days when I feared I might lose my children? Maybe. I don’t know. But what else did I have?

Lorrie Moore once said, of the fact that we will all, someday, lose the people we love and with them their gifts and loving presence, ‘this is not acceptable. This is a design flaw.’  We are left to do with this what we can. So we tell stories with words and music and paintings and sculpture and film, and we visit others in their dreams, passing them along. It’s all we have. It’s the best we can do.

Duane Epitaph

Duane Allman, November 20, 1946-October 29, 1971

©Melinda Rooney, 2017

Why I’m here

Once I made  my mother pull the car over so I could retrieve a stuffed dog from the side of the road: gritty, rain-soaked,  a frayed felt tongue.  I gave it a bath, replaced its faded cardboard eyes with buttons.  I hoped that the child who’d lost it would know that it was safe. I spend long hours at Goodwill, digging for treasure, smelling other people in the folds of flannel shirts, filling 50 cent bags with t-shirts and and mismatched china and cheap jewelry and foot-molded shoes still warm from their wearers: orphans, unwanted.  They needed a home, and someone to listen.

As I grew older I scavenged for words: quizzes and clippings, cartoons and quotations and ad copy and stories, the crumpled receipts in my wallet.  I go through the junk mail, follow instructions to the letter. Anything with words on it I read, and cannot throw away.  Someone wrote those words once. There’s something in them that wants to be let out.

Ever since I got a toy typewriter for my fifth birthday I’ve tried to make another world out of words and step into it and stay there: story after story, novels in drawers, recycled myths.  But I keep coming back to the doctor’s office and the grocery store and my email inbox, and I’m forced to realize I cannot escape the world and all its discarded litter.  Maybe I don’t even want to. There are stories in the receipts, the emails, the stuffed animals and the used shoes, and I want to try to tell them.

©2016 Melinda Rooney