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Ode to Airheads, Hairdos, Trains to and from Paris

For an hour on the train from Beauvais to Paris
          Nord
I'm entertained by the conversation of three
American girls about their appointment the next
          day with a hairdresser, and if there is a subtext
 to this talk, I'm missing it, though little else. Will bangs
          make them look too dykey? And layers, sometimes they hang
like the fur of a shaggy dog. Streaks, what about long
          streaks? "Whore," they scream, laughing like a coven of wild
monkeys, and after they have exhausted the present
          tense, they go on to the remembrance of hairdos past--
high school proms, botched perms, late-night drunken cuts. The Loch Ness
          Monster would be lost in their brains as in a vast, starless
sea, but they're happy, will marry, overpopulate
          the Earth, which you can't say about many poets,
I think a few weeks later taking the eighty-four
          bus to the hairdresser, where I'll spend three long hours
and leave with one of the best cuts of my life from Guy,
          who has a scar on his right cheek and is Israeli,
but before that I pass a hotel with a plaque--
          Attila József, great Hungarian poet, black
moods and penniless, lived there ten years before he threw
          himself under a train in Budapest. If we knew
what the years held, would we alter our choices, take the train
          at three-twenty instead of noon, walk in the rain
instead of taking the metro? The time travel films
          I adore speak to this very question: overwhelmed
by disease and war, the future sends Bruce Willis back
          to stop a madman. I could be waiting by the track
as József arrives in Paris, not with love but money,
          which seemed to be the missing ingredient, the honey
he needed to sweeten his tea. Most days I take the B
          line of the RER, and one of the stops is Draney,
the way station for Jews rounded up by the Nazis
          before being sent in trains to the camps, but we can't see
those black-and-white figures in the Technicolor
          present like ghosts reminding us with their pallor
how dearly our circus of reds and golds has been purchased
          and how in an instant all those colors could be erased.

Barbara Hamby,
Indiana Review and The Best American Poetry 2009

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Copyright © 1999. All rights reserved. Revised: December 04, 2011