Broken Chain by Jennifer L Freed

Broken Chain

As we walk these old roads, we won’t look toward the elephant
walking between us. We speak of the puppies
your dog is expecting, of our children,
our backaches, our husbands—yours,
in a wheelchair, mine, finally home
from the hospital. The elephant
has fever, a dry cough we pretend
not to hear, a rash that spreads
to those who come near. Only one of us
dreads the air we all share.
                          We go back forty years.
Isn’t it strange, we say, that we are somehow, already,
here—soft jaw lines, wrinkles, memories
older than the grown-up girls we thought we were
when we spent babysitting money on Levi’s
and pizza. We rode our bikes everywhere, no helmets
required, the wind whispering our hair.
Remember peddling through the woods
all day, those mossy trails, the boulders
we stopped to climb, bigger than elephants? Remember
that slope straight down to the lake—the jutting root,
me whipped over the handlebars, my breath
knocked out?
                          You dabbed blood from my nose,
then pushed your good bike beside me
and my broken one, three hours
to get home. Remember how close
the air felt, both of us dripping
with August sweat. How you didn’t leave
me behind, and I didn’t worry you might.
How we laughed as we walked, the whole world
on our tongues.

*

Jennifer L Freed’s collection When Light Shifts, exploring themes of identity, health, and care-giving, was a finalist for the Sheila Margaret Motton Book Prize and, in the 2025 Eric Hoffer Awards, was a finalist for the Medal Provocateur, was short-listed for the Grand Prize, and earned second place in the Legacy Non-fiction category. Recent poetry appears in Atlanta Review, ONE ART, Rust and Moth, Sheila-Na-Gig, Vox Populi, and the anthology, What The House Knows. Please visit Jfreed.weebly.com

Two Poems by Jennifer L Freed

Heavy Clouds

On the morning radio, our nation
breaks softly on the news.
Upstairs, the tile guy is singing
off-key as he works on the bathroom floor.
He warned us before he started, “Hope
you don’t mind my old songs.
It’s how I get through the days.”
Snatches of his voice float down to my desk, lift
my mood.

When I go for a walk, I stop to watch
a robin perched atop a hedge. He lets me get close
enough to see his chest move when he chirps,
close enough to see him pluck a red berry,
lift up his chin, let it roll down his throat.
A bent, leathery man in a MAGA cap
stops beside me, and the robin turns an onyx eye
to watch us watching, and the man and I smile
at each other. He says, “Such little things
brighten my day.”

I want to believe this is a good sign.
But I don’t believe in signs.
Lately, I find in myself a new impulse
to guard my tongue, my text messages.
Years ago, in Prague, I met a woman
who turned on her kitchen tap before whispering
her opinions. I met a man
who’d been jailed in his youth
for performing “degenerate” songs.

I wish I could still hear Tile Guy
singing his way through the day.
But he’s clumping down the stairs now,
going out to his battered truck for a smoke.
He leans against the hood, takes a long drag,
gazes up at the empty blue sky.

*

Geometry 350: Questions of Repair

          for Alessandra

If the January light is cold and clear, and the man
with the cardboard sign at the intersection
of Pleasant and Main seems close
to tears when you hand him the twenty
your mother just gave you,
what is the volume of his words
when he says he’s been waiting
for something good to happen
since his boots were stolen while he slept?

And what is the measure of your gaze
greeting his, staying long enough
for him to tell you he borrowed
a pair of size sevens, but his feet
are size nine, and he couldn’t
keep walking, so thank you, thank you, this
makes his day.

And if you now see his stocking feet,
how he lifts them in turns
off the concrete as he speaks,
what is the circumference of the afternoon
yawning wide and idle ahead of you?

If, an hour later, the man is still there, still working
his way down the street in his socks
as the sun withdraws and the ice
tightens its grip on the sidewalks,
what will be the trajectory of your voice
calling, Sir! Sir! till he turns, and you say,
You’re size nine, right?
and his eyes take in the bag
you are holding out toward him.

*

Jennifer L Freed’s poetry has appeared or is forthcoming in Atlanta Review, Writers Resist, Bellevue Literary Review, ONE ART, and other journals. Her collection When Light Shifts (finalist, 2022 Sheila Margaret Motton Book Prize) explores themes of identity, health, care-giving and parent-care in the aftermath of her mother’s cerebral hemorrhage. She teaches writing programs from Massachusetts. Please visit jfreed.weebly.com

ONE ART’s Top 10 Most-Read Poets of July 2023                               

~ ONE ART’s Top 10 Most-Read Poets of July 2023 ~                               

  1. Alison Luterman – My Vibrato
  2. Betsy Mars – Residual
  3. Susan Zimmerman – Two Poems
  4. Donna Hilbert – Two Poems
  5. John Amen – The 80s
  6. Jennifer L Freed – Five Poems
  7. Margie Duncan – If Found, Return to Store
  8. Robert Darken – Everyone Has Better Parents
  9. Lisa Zimmerman – Two Poems
  10. William Palmer – Four Poems

Five Poems by Jennifer L Freed

How to Pack for the Move to Assisted Living

Feel once more the weight
of the little brass elephant
with the missing tusks.
Run your fingers along
the banister, the bedroom curtains. Listen
for the ticking of the antique clock
at the end of the hall.

*

Yellow Tags

At the parting edge
of ninety-four, my father
wonders what’s the point,
this accumulation of life
unspooling in Assisted Living,
while his home, so close,
a mere two streets away—
its wooded yard, its rooms
lined with books
and treasures—his home
is packed full

of people this very day, strangers
browsing shelves and closets,
burrowing in drawers, finding
the antique clocks and pewter mugs,
the Nikon camera he bought
in 1969, the Navy blanket
and hammock, boxed
in the basement, saved
for who knows what
but saved, nonetheless, a part
of his passing through
this life, and he wonders
how he got here—his past
now stickered with yellow tags.

*

My Father Helps My Mother with Her Compression Socks

He asks if she’s ready.
She sets her wheelchair brakes.
He kneels and she extends one leg.
He guides her foot to his knee, slides
the cuff of nylon over her heel, then yanks, hard.
The wheelchair wobbles.
Extra material hangs over her toes.
She does not offer her expertise
from years of putting on panty hose: how to
gather the nylon, pull gently, doling out fabric
through delicate fingers.
She thanks him.
He pats her leg, asks if the sock is too tight
below her knee. She always says it’s just fine.
Then they switch—her left foot on his right leg.
Sometimes he helps slide her feet into shoes,
the boxy, wide-mouthed pair with space
for swelling, before putting his hands on her
wheelchair arms, using them to tug himself back
up to standing. She pats his shirt into place
around his belt, makes sure he’s not dizzy
from rising too fast. Then he turns right, to the desk
with his computer, and she wheels herself left, to gaze
out the window while listening to the news.

*

Remote Control

My father, now 96—still spry, bright, quick-witted,
still learning yoga, climbing stairs, using his computer
to find etymologies, stock prices, names
of temples in ancient Greece—now

he asks me if—and this is not an urgent
request, he adds—but if, as my husband and I pack up
our home of 21 years, we should happen upon
the spare remote control for my parents’ TV,

which, my father explains, I would have found in the drawer
of the hutch by the den door of the house my parents left
two years ago, the house I emptied for them
when they moved into assisted living—

if I should come across that remote control now (I might not
have known it worked, my father says,
since it shared that drawer with other, outdated
remotes and garage door openers), or if I find it

in a few weeks, when my husband and I are unpacking
our lives in new, downsized rooms, then
could I please bring it next time I visit,
since the remote they’ve been using till now

isn’t responding anymore when he presses the buttons,
and he doesn’t think it’s the batteries, but
he’s ordering new batteries on-line, in case that’s all
that’s wrong.

*

Cutting My Father’s Hair

He’s still tough as leather, but so much shorter now.
He wobbles when he stands too quickly.
Why didn’t I realize sooner?
When I comment on his fringe of hair—a little fluffy,
I say—he waves a crooked hand
toward my mother, now maneuvering from wheelchair
to couch: She likes it that way.
Then, The damned clipper. Can’t get it to work right anyway.
And so I offer.
Why am I surprised that he agrees
so readily? That he brings out the electric clipper
almost immediately? He hands it over,
small and black with its little pronged comb, asks
if I know how to use it, then warns,
You might find it hard though.
It doesn’t cut as well as it used to.
And you can’t even find the damn power button.
Of course. The worsening neuropathy
in his fingers. His failing eyes.
They have the hairdresser here, but
I don’t know her, and why would I pay
all that money? I don’t even have that much hair.
He glances over at my mother, who catches my eye,
and winks. Your Mum always did it, he says. Before
her stroke.
So I sit him in the living room, under the light,
and he lets me turn his head this way and that.
I trim the patchy beard along his jaw, the grey scruff
brushing the back of his collar. He asks me
to thin his moustache, says the hair
curls into his mouth. I use a tiny scissors
for this, my fingers humming along smoothly
between nostril and lip. I think of the fine tuning
of my muscles, joints, nerves. How much
I have not yet lost. My mother
lies on the couch, watching us, smiling. My dead brother
hovers in my father’s face. My father’s eyes close
as I snip the long hairs of his eyebrows,
the fine whisps crowning his skull.

*

Jennifer L Freed’s full-length collection When Light Shifts (finalist, 2022 Sheila Margaret Motton Book Prize) explores the aftermath of her mother’s cerebral hemorrhage and the altered relationships that emerge in a family crisis. Her work has been nominated for the Pushcart Prize, Best of the Net, and the Orison Anthology. Other awards include the 2022 Frank O’Hara prize (Worcester County Poetry Association), the 2020 Samuel Washington Allen Prize (New England Poetry Club), and honorable mention for the 2022 Connecticut Poetry Award. Please visit jfreed.weebly.com to learn more.

Two Poems by Jennifer L Freed

Gravity

                  Grief
pulls you close.
You know it too well
to think you can live without it.
You’ve learned
it is a chair that will hold you
up and ask nothing
of you but to live
with it. And so you live

through this spring day, drifting
from bureau to bed,
table to desk, touching
the shirt, the pillow, the cup,
the book; looking
out the window,
your hand on the windowsill, the sun
on your hand. Here is the view
so changed from yesterday. Here

is the blue of the veins in your wrist.
You can do nothing
and are grateful
there is nothing you need to do.
You let yourself sink
into your chair, let
the chair
hold you.

*

Widowed

Some days, she chooses not
to eat.
She needs to let absence
fill her body, to move with it, know
that she can.

On the table, fresh strawberries, radiant
in their blue bowl.

Without meals, extra pockets of time
unfold. She turns toward
books, sketch pads, longer walks
with the dog. Hunger swells, fades, swells and fades
again.

By night, stomach growling, she feels surprisingly
strong. She looks forward
to morning, when, standing at the counter, she will inhale
the scent of toasting bread.

*

Jennifer L Freed lives in Massachusetts. Her poetry has appeared in Atlanta Review, Atticus Review, Rust + Moth, West Trestle Review, The Worcester Review, Zone 3, and other journals. Her poem sequence “Cerebral Hemorrhage” was awarded the 2020 Samuel Washington Allen Prize (New England Poetry Club). She is the author of a chapbook, These Hands Still Holding, a finalist in the 2013 New Women’s Voices chapbook contest, and of a full length collection, When Light Shifts (Kelsay, 2022), based on the aftermath of her mother’s stroke.