Sunday, November 15, 2020
Share Share
Forward Forward

Listen to the audio
Subscribe to this email newsletter
Subscribe to the Apple Podcast
Enable on Alexa

Honda Pavarotti
by Tony Hoagland

I'm driving on the dark highway
when the opera singer on the radio
opens his great mouth
and the whole car plunges down the canyon of his throat.

So the night becomes an aria of stars and exit signs
as I steer through the galleries
of one dilated Italian syllable
after another. I love the passages in which

the rich flood of the baritone
strains out against the walls of the esophagus,
and I love the pauses
in which I hear the tenor's flesh labor to inhale

enough oxygen to take the next plummet
up into the chasm of the violins.
In part of the song, it sounds as if the singer
is being squeezed by an enormous pair of tongs

while his head and legs keep kicking.
In part of the song, it sounds as if he is
standing in the middle of a coliseum,
swinging a 300-pound lion by the tail,

the empire of gravity
conquered by the empire of aerodynamics,
the citadel of pride in flames
and the citizens of weakness
celebrating their defeat in chorus,

joy and suffering made one at last,
joined in everything a marriage is alleged to be,
though I know the woman he is singing for
is dead in a foreign language on the stage beside him,
though I know his chain mail is made of silver-painted plastic
and his mismanagement of money is legendary,
as I know I have squandered
most of my own life

in a haze of trivial distractions,
and that I will continue to waste it.
But wherever I was going, I don't care anymore,
because no place I could arrive at

is good enough for this, this thing made out of experience
but to which experience will never measure up.
And that dark and soaring fact
is enough to make me renounce the whole world

or fall in love with it forever.


Tony Hoagland, “Honda Pavarotti” from Donkey Gospel. Copyright © 1998 by Tony Hoagland. Used with the permission of The Permissions Company, LLC on behalf of Graywolf Press, Minneapolis, Minnesota, www.graywolfpress.org. (buy now)


It was on this day in 1940 that 75,000 men were called to Armed Forces duty under the first peacetime conscription in American history.

There had been a long history of resistance to mandatory military service in this country. During World War I, an estimated 3 million young men refused to register, and 12 percent of those called up didn't report for duty or deserted.

Franklin Roosevelt's decision to impose a draft in the summer of 1940 was especially controversial because the country wasn't even at war. But Americans had all seen newspaper and newsreel coverage of the German Army rolling over Poland in a few weeks, and doing the same in France in a few months. By June of that year, Germans controlled most of the European continent, and the United States had a poorly trained standing army of only about 200,000 soldiers.

So even though he worried it might hurt his chances of re-election that November, Franklin Roosevelt signed into law the first peacetime draft in American history. That October, 16 million young men appeared at precinct election boards across the country to register with the Selective Service. The first lottery was held in Washington, D.C., and it was designed to be as patriotic a ceremony as possible. Secretary of War Henry Stimson was blindfolded with cloth taken from a chair that had been used at the signing of the Declaration of Independence, and the ladle he used to scoop out numbers had been made from the wood of one of the rafters of Independence Hall.

After the selection process, the first 75,000 draftees were called up to service on this day in 1940. During World War II alone, the draft selected 19 million men and inducted 10 million. The draft lapsed briefly after World War II, but the Red Scare persuaded Truman to start it up again, and it continued until 1973.

Most Americans were happy about the end of the draft. Some had other ideas, however; in 1999 the historian Stephen Ambrose wrote: "Today, Cajuns from the Gulf Coast have never met a black person from Chicago. Kids from the ghetto don't know a middle-class white. Mexican-Americans have no contact with Jews. Muslim Americans have few Christian acquaintances ... But during World War II and the Cold War, American [men] from every group got together in the service, having a common goal — to defend their country ... They learned together, pledged allegiance together, sweated together, hated their drill sergeants together, got drunk together, went overseas together. What they had in common — patriotism, a language, a past they could emphasize and venerate — mattered far more than what divided them."

 

Be well, do good work, and keep in touch.®

The Writer's Almanac is produced by Prairie Home Productions, LLC, the same small media company responsible for A Prairie Home Companion. Please consider donating today so that we may continue to offer The Writer's Almanac on the web, as a podcast, and as an email newsletter at no cost to poetry fans. Note: donations to LLCs are not tax-deductible.
Support TWA
Show off your support of poetry! Check out our store for merchandise related to The Writer's Almanac.
TWA on Facebook TWA on Facebook
TWA text + audio TWA text + audio
TWA on Spreaker TWA on Spreaker
Copyright © 2020 Prairie Home Productions, All rights reserved.
*Writer's Almanac subscribers*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.