As I grow older my hands open more slowly. Maybe they know more? What’s empty turns its face to us, said a good poet, long ago. My hands read Braille poorly. My hands which have touched Marcel Duchamp’s bicycle wheel. Hands that pull the voting lever for freedom.
There are several good books about hands. One of my favorites is “Victorian Hands: The Manual Turn in Nineteenth Century Body Studies” edited by Peter J. Capuano and Sue Zemka. Hands are transformed by the industrial revolution—they become vulnerable instruments seemingly designed through evolution to operating machines. They are all too often dismembered. Hands become “throw aways” as much as anything else.
My hands are today helpless. I used them to vote against fascism just last week. It was foolish of my hands to think they had power. Today my hands are grieving and their grief differs from that of the head or heart: my hands are those of a sailor who desperately wants to put the ship on the right course—hands that are educated, seasoned, and moral.
What about the hands of those who voted for fascism you say. These are the descendent hands of industrial labor, desperately caught up in the machines of their own doom. They voted, essentially, for “throw away” hands.
My favorite poem about hands is by Jane Hirshfield
A hand is not four fingers and a thumb.
Nor is it palm and knuckles,
not ligaments or the fat’s yellow pillow,
not tendons, star of the wristbone, meander of veins.
A hand is not the thick thatch of its lines with their infinite dramas, nor what it has written, not on the page, not on the ecstatic body.
Nor is the hand its meadows of holding, of shaping— not sponge of rising yeast-bread, not rotor pin’s smoothness, not ink.
The maple’s green hands do not cup
the proliferant rain.
What empties itself falls into the place that is open.
A hand turned upward holds only a single, transparent question.
Unanswerable, humming like bees, it rises, swarms, departs.
Planet of the Blind 