The survivor’s testimony, then, is a matter of response and responsibility. In “Some Haunting,” the phantom address elicits, by way of response on Shurin’s part, a question – “How do I serve this dead young man?” – that again summons the text of the past, estranging and reconstituting Whitman’s “Song of Myself”: “I wish I could translate the hints about the dead young men / and women.” When, as in this instance, reading and writing “the process of history itself disappearing” demand that we translate the hints, the fleeting fragments afforded by the past, poetics and historiography prove inseparable.
Unbound puts “Song of Myself” in quotation marks once more in its final chapter, dated 1996 and entitled “Generation.” It recounts the aftermath, or more properly the wake, of a windstorm that raged through San Francisco “late in the night of December 12, 1995”: “The wind tore deep at the earth as if it wanted to get in: a thousand trees uprooted or broken in Golden Gate Park, hundreds elsewhere pulled out by their hair…. The city whose trees are reaching maturity together woke to a loss that was generational: not once in a lifetime, but a unified swath of lifetime lost” (85).
Confronted with this violation of life expectancy, Shurin has recourse, again, to Whitman: “It was grass growing on top of the dying trunk that originally drew my pen, preposterous and fertile like Whitman saw it: ‘And now it seems to me the beautiful uncut hair of graves. / Tenderly will I use you curling grass, / It may be you transpire from the breasts of young men'” (88). Resituated in their context in “Song of Myself” (whose several versions are also variously dated, in the ten editions of Leaves of Grass published from 1855 to 1897), the lines resonate further:
A child said What is the grass? Fetching it to me with full hands;
How could I answer the child? I do not know what it is, any more than he.
I guess it must be the flag of my disposition, out of hopeful green stuff woven.
Or I guess it is the handkerchief of the Lord
A scented gift and remembrancer designedly dropt,
Bearing the owner’s name someway in the corners, that we may see and remark, and say Whose?
Or I guess the grass is itself a child, the produced babe of the vegetation
Or I guess it is a uniform hieroglyphic,
And it means….
And now it seems to me the beautiful uncut hair of graves.
Tenderly will I use you curling grass,
It may be you transpire from the breasts of young men,
It may be if I had known them I would have loved them.
With the confession that “I do not know what it is,” the tentative reiteration of “I guess” and “it may be,” the “I” in “Song of Myself” speculates from before or beyond certain knowledge, and considers a range of possible responses to the child’s question about the grass. But Unbound‘s first person, writing and citing in a time of crisis, seizes on Whitman’s “now” – “And now it seems to me the beautiful uncut hair of graves” – recognizes and reads it, allegorically, as part of an effort to make sense of the devastating windstorm and what it figures. As in Whitman’s “Calamus,” the body is here “metaphorized as leaves, roots, blossoms, scented herbage, live oak, moss, vines and buds” – so much windfall in the wake of the savage weather. [In the final paragraph of “Generation,” Shurin writes: “A reminiscent wind has whipped up, strewing the gleaming street with papers and leaves, anything that rises. I imagine a series of substitutions which stand for flight: black crow, broomstick, milkweed, vapor trail, pterodactyl, red balloon, oak pollen, helicopter, luna moth, dust mote, box kite, June bug, rocket man, gazelle. The wind takes them all” (89).] “I pushed the ruin of the storm to mean the ruin I needed. What constitutes a memorial, a legacy? Where do the bodies go I don’t see go – no graves, no burning ghats – and how do they reseed a city lost to loss?” (88).