Tin Ear

We stood at attention as she moved
with a kind of Groucho shuffle
down our line, her trained music
teacher’s ear passing by
our ten- and eleven-year-old mouths
open to some song now forgotten.
And as she held her momentary
pause in front of me, I peered
from the corner of my eye
to hers, and knew the truth
I had suspected.
In the following days,
as certain of our peers
disappeared at appointed hours
for the Chorus, something in me
was already closing shop.
Indeed, to this day
I still clam up
for the national anthem
in crowded stadiums, draw
disapproving alumni stares
as I smile the length of school songs,
and even hum and clap
through “Happy Birthday,” creating
a diversion—all lest I send
the collective pitch
careening headlong into dissonance.
It’s only in the choice acoustics
of shower and sealed car
that I can finally give voice
to that heart deep within me
that is pure, tonally perfect, music.
But when the water stops running
and the radio’s off, I can remember
that day in class,
when I knew for the first time
that mine would be a world of words
without melody, where refrain
means do not join,
where I’m ready to sing
in a key no one has ever heard.

Peter Schmitt, Country Airport (Copper Beech Press, 1989)