Milford Man Quotes

When man is no longer his own master, custodian of his own silly vanities and childish contentments he's nothing at all—being in the first place only an agent of a very experimental stage of organic free will

A friend tells the story of seeing percussionist Milford Graves perform a solo concert. Before the music commenced, Graves asked for someone from the audience to come up and help him with a demonstration. A young man volunteered, made his way onstage and stood facing the performer. Graves held out both wrists and asked the man to check his pulse, which was verified as normal. Then the drummer closed his eyes, concentrated, and halted his pulse—as the volunteer confirmed, in expectant delight. Relaxing, the regular pulse reappeared and the enlisted man released Graves's wrists. "No, no. Wait a minute," smiled Graves, holding his arms as they were, stock still. The assistant took ahold of Graves's wrists, once again feeling for a pulse. Once again, Graves closed his eyes and concentrated deeply. Some time passed, with the audience, volunteer, and graves absolutely hushed in anticipation. Suddenly, the man jerked away in disbelief, "My God, they're not beating together!" he exclaimed. Graves quickly took a seat at his kit and began to play.

My grandmother swaddled her baby, as they did two thousand years ago, and let him swing on a tree branch so she could do backbreaking work for fifteen cents a day. Lizzie talked about working, herself, too, starting when she was eight or nine years old, long before the era of child labor laws, at the Milford Shoe Company. “My first day, they put me at a sewing machine and give me two pieces a leathuh. They told me how to stitch the pieces togethuh—paht of a man’s shoe. Each time I did that, they told me, drop it inna drawa. I thought, this is easy. Zip, zip, zip, one afta anuthuh. End of the day comes, my drawa is full. Lady next to me, olda woman—she didn’t have so many done. The boss fired her right then. They gave me her job afta that.” From that day on, my aunt worked in factories all her life. Like my mother, she was heavy set but solid, as sturdy and muscled as the men who worked beside her, first at Milford Shoe and later at William Lapworth & Sons, a manufacturer of elastic fabrics, whose British-born owner berated her whenever a needle broke on her sewing machine. Later she worked at Archer Rubber, where a chemical spray left a small scar on her cheek. Her final employer was the Stylon Tile Company, known for making pink and black bathroom tiles, which were hard to handle without cutting her hands. She always called her place of work “the shop.” She was “working down at the shop.” Before I left her house, she always gave me something to take with me, like a bag of her hand-made swiss-chard ravioli, or if it was close to Christmas, a plate of her own Italian cookies. My favorites were the ceci, little fried cookies that looked like ravioli but were stuffed with sweet chestnut and honey filling, or the ones that looked like bowties, called cenci, dusted with powdered sugar. No matter how busy she was, she never let anyone leave her house hungry or empty-handed. Once I accompanied Lizzie to the Sacred Heart Cemetery to help her with all the flower baskets she wanted to lay on the gravestones of lost family members. There’s something about Italians and cemeteries. I was never attracted to cemeteries, never finding any comfort in visiting the dead, but for most of my family, it was like attending a family reunion. Seeing Lizzie moving

The rain had not stopped for a week, and the roads that led to the inn were little better than rivers of muck. This, at least, is what Captain Frost said when he tramped indoors, coated in the yellow mud peculiar to that part of the city and hollering for his breakfast. The rest of the guests sighed. Perhaps today, they had thought. Perhaps today, their unnatural captivity would end. But the bellowing man calling for eggs and burnt toast meant that, for another day at least, fifteen people would remain prisoners of the river Skidwrack, and the new rivers that had once been roads, and the rain. No wonder Georgie had thought he might like it. Substitute snow for rain and subtract a few people and the author might’ve been writing about Greenglass House. In the book, however, one of the guests, a man named Phin, suggested that they pass the time by telling stories. “In more civilized places, when travelers find themselves sharing a fire and a bottle of wine, they sometimes choose to share something of themselves, too,” Phin told them. “And then, wonder of wonders—no strangers remain. Only companions, sharing a hearth and a bottle.” The wind and rain rattled the windowpanes as the folks gathered in the parlor looked from one to the next: the young girl in her embroidered silk stole; the twin gentlemen with the tattooed faces; the gaunt woman with her nervous gloved hands constantly moving; the other woman, gaunter still and hidden beneath two layers of voluminous shawls, whose red-brown skin showed in small flashes when her wraps did not quite move along with her. “If you will listen,” Phin said, swirling his glass, “I will tell the first tale. Then perhaps, if you find it worth the trade, you will give me one of yours. Listen.

The black-eyed man leaned on the rail watching, listening, and acclimating while he inhaled the brew of sea air and coal smoke. There was something else in the air, too; a deep note, buried far below the scents and sounds that stirred on the summer breeze. It would’ve been nearly impossible for anyone else to detect. Humans were notoriously blind to the simmer of violence—which always amused him, considering how like a drug it was to them. The freckled and black-eyed man, not being human, could smell it as sharply as cologne. It was pervasive here, just like it was everyplace else he’d been in this country in the last twenty years, at least. Maybe more. It was easy to lose track of the passing time. He was far older than the flashy young fellow he appeared to be.