River Cane

I.

The child scrambles from the car, sneakered feet firm on the spongy ground, the river cane a swaying wall before her—green, green all around, the song of a red-winged blackbird, the oh-so-gentle sound of the river, water sliding over boulders, down from mountains miles away, bound for the Tennessee, for the Mississippi beyond that, bound onward, always onward, though for the child it is the river here, the place she knows and where she returns, her father cutting cane for his pole beans, a cane apiece for her and her two sisters, horses they will gallop, their own childhood a river whose current they ride unknowingly.

II.

The plank bridge rattles beneath the car tires, the river below, her eyes straight ahead, no courage for a downward glance, though she knows the cane no longer grows along the bank, no longer holds the earth secure through spring’s floods, summer’s sun, and winter’s wild winds. Even the air is different—smell of the always damp, always verdant replaced by diesel fumes from orange machinery crawling over the land where once turtles sunned, rich silt scraped and packed into the red clay of the surrounding land. 

Tomorrow the water will rise, will wash away all traces of cane and blackbird, her footsteps from years past, and the father beside her teaching her to navigate the narrow planks will himself be gone in ten years, carried away by the great heart that thuds in his chest, her own childhood a dream settling beneath the new lake, scenes that waver the way all watery worlds imagine themselves.

Author/Illustrator

  • Connie Jordan Green lives on a farm in East Tennessee where she writes and gardens. She has published award-winning novels for young people, along with poetry chapbooks and collections, most recently Darwin’s Breath from Iris Press. Her poetry has been nominated for several Pushcart Awards. Her newspaper column ran for over forty-two years. She teaches writing workshops for various groups.

  • The Madame B Album (c 1870s) Collection of the Art Institute of Chicago. The “Madame B Album” was not made for public viewing, though the artist spared no care on its design. The book is a leatherbound volume of some hundred photocollages. Victorians enjoyed their photos in myriad ways — trading, posing, and arranging, inscribing winking captions, customizing rings and lockets. Collagists treated the photo irreligiously, as raw material for artmaking, something to be used, and used up. By educated guess, the name eventually attached to the “Madame B Album” was Marie-Blanche Hennelle Fournier, known as “Blanche” and married to a career diplomat, Hughes-Marie Henri Fournier. She lost interest in her album, and left many collages unfinished. Surely, she never imagined it acquired by a museum, and paged by strangers all over the world. From Public Domain Review, Sasha Archibald, Sep 6, 2023