Southern Cultures 9.1 (2003) 79-81
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Audubon Drive, Memphis
Poetry By Jim Seay
There's a black-and-white photo of Elvis
and his father Vernon in their first swimming pool.
Elvis is about twenty-one and "Heartbreak Hotel"
has just sold a million.
When he bought the house,
mainly for his mother Gladys they say,
it didn't have a pool,
so this is new.
The water is up to the legs of Vernon's trunks
and rising slowly as he stands there
at attention almost.
Elvis is sitting or kneeling on the bottom,
water nearly to his shoulders,
his face as blank and white
as the five feet of empty poolside at his back. [End Page 79]
The two of them are looking at the other side
of the pool and waiting for it to fill.
In the book somewhere
it says the water pump is broken.
The garden hose a cousin found is not in the frame,
but that's where the water is coming from.
In the background over Vernon's head you can see
about three stalks of corn
against white pickets in a small garden
I guess Gladys planted.
You could press a point and say that in the corn
and the fence, the invisible country
cousin and mother, the looks on Elvis's and Vernon's
faces, the partly filled pool, we can read
their lives together, the land
they came from, the homage they first thought
they owed the wealth beginning to accumulate,
the corny songs and films,
and that would be close but not quite central.
Closer than that is the lack
of anything waiting in the pool we'd be
prompted to call legend
if we didn't know otherwise.
They're simply son and father wondering if it's true
they don't have to drive a truck
tomorrow for a living.
But that's not it either.
What it reduces to is the fact that most of us
know more or less everything
that is happening to them
as though it were a critical text
embracing even us and our half-mawkish
geographies of two or three word obituaries:
in the case of Kennedy, for example, I was walking
across a quad in Oxford,
Mississippi; King's death too caught me in motion,
drifting through dogwood in the Shenandoah.
As for Elvis,
there were some of us parked outside a gas station
just over the bridge from Pawley's Island
with the radio on. [End Page 80]
I know the differences.
But don't think they're outright.
The photo is 1034 Audubon Drive, Memphis,
and then it's Hollywood,
still waiting for the pool to fill.
James Seay is professor of English at the University of North Carolina at Chapel Hill and the author of four books of poetry.
Reprinted by permission of Louisiana State University Press from Open Field, Understory: New and Selected Poems, by James Seay. Copyright 1997 by James Seay.