TOMMY McGHEE, CORBY WORKS, 1981

He had been there since ’55,

his lungs thick with smoke

and urea, the wicks of his eyes

damp, like the walls

of the furnace he tended for years,

till they laid him off.

He’d thought he would be glad

to say goodbye;

but that last shift, walking away

with the cold flask and rolled-up newspaper

tucked in his coat,

he turned to the sudden black

where the ovens had been:

wet slag, and frost on the tracks

and the last sacks of by-product

shipped out to beet-farms

and landfill.

With severance pay

and two years to go till his pension,

he had money enough

to survive;

but he hated to see himself

idle, a man on his own,

his wife dead, his grandchildren grown

and moved away.

He rarely saw his son;

though, once, in a bar

on the Beanfield, he found him

sitting alone with the Mirror:

Natalie Wood had drowned

in the ocean, near Catalina,

a hint of champagne

on her breath, and the longtime

child star’s bewildered smile

a memory now, as she stared up

out of the picture

and both of them, father and son,

remembered how, long ago,

they had almost

loved her, miming that song about time

through her immigrant smile

that neither could disbelieve

as hard as he tried

somewhere, a time and a place –

since there has to be something.