Worstward Ho

To Beckett

 

The father and his child plod somehow on

past Croker’s Acres, down the fields and lanes.

The image rises, flickers, and is gone.

Madness in your skull is what remains.

 

Hand in hand they go. Father explains

the twain must jump from “Forty-Foot” at dawn.

Be a brave boy, he calls, as all else wanes.

The father and his child plod nohow on.

 

The wished-for, given hand is soon withdrawn.

In the gazebo, Father’s belly strains;

he snoozes after lunch. Gaze past the lawn

to Croker’s Acres, well-trod fields and lanes,

 

until the scene recedes. Your skull retains

an Easter Friday birth. Child still unborn,

the father roams the hills till daylight drains,

then strikes a match. He flickers and is gone.

 

Don’t look down at the rocks. Be brave, my son.

Hearing the gouging whistle of the trains,

the boy recalls his only good deed done.

A rescued hedgehog’s stench is what remains.

 

The voice builds company. Whispers. Refrains.

A black-clad woman paces, curtains drawn.

You hear them still—the cries, the labor pains.

And far below, as though the two were one,

the father calls his child.


About the Author

Andrew Sofer is Professor of English at Boston College. His books include The Stage Life of Props (Michigan, 2003); Wave (Main Street Rag, 2011); and Dark Matter: Invisibility in Drama, Theater, and Performance (Michigan, 2013). His essays have appeared in Theatre Journal, Journal of Dramatic Theory and Criticism, Modern Drama, Comparative Drama, English Literary Renaissance, The Oxford Handbook of Early Modern Theatre, The Blackwell Companion to Twentieth-Century American Drama, and elsewhere. He holds an MFA in Directing and is a widely published poet.