You Stand on Soft Wood Chips: A Swing Set Monologue

You Stand on Soft Wood Chips: A Swing Set Monologue

By Dave Woehrle        

            The bell rings and you run headfirst outside, whooping, yelling, living.

            You look to the swing set – six swings divided, three on each side, no baby swing nonsense – the chains of each swing suspended from a high gray support beam, with six yellow legs extending down for support, and you realize the swing set resembles an ant, and so it’s like you’re swinging from the udders of an ant when you swing, but you won’t tell anyone that because they will put you in counseling.

            But you love swings. Everyone loves swings: those gods of elevation, dashed to at recess, the hot limited commodity of the playground, the space under each swing cleared of woodchips, like worn launch pads. The blue spongy swing seats, like Smurf smiles, under you butt, you reach and pull, your little legs clawing the air, like hungry oars in dense water, higher and higher, and your arms pull, too, and you lean back on the upstroke, legs extended, and at your zenith, you see your shoes silhouetted on the backdrop of blue sky and you feel infinite and hope you don’t puke up your shark and dinosaur fruit snacks.

            And you look to friends swinging around you, each dreaming and sweating and wishing there was more than fifteen minutes to do this, and someone gets in the same swing rhythm as you, and you yell, “We’re married!” and then you sing songs from Aladdin and dare each other to keep eye contact as you swing, and it’s so CRAZY DUDE and your equilibrium gets squishy and if you fall, someone will take your swing and that sucks but that’s the recess code.

            But you don’t fall. Not today.

            You swing as hard as you can and your body is its own ride. And at your highest point on the backside of your arc, you’re level with the top support beam, so high the chain goes suddenly slack and suddenly back with a THUNK like a bass drum kick to the body and you know you’ve reached your peak and there’s nothing more to prove, so it’s time to jump.

            Jumping off a swing is its own art, its own philosophy. If you jump too early on your upswing, you launch, line-drive style, over the safe bed of wood chips, and onto the unforgiving blacktop, knees and palms scraped up, and others will laugh. You release too high, you stall, you panic, you flap your arms, and you drop like a rock. You get no distance. You get bruises.

            You must time your leap to create a slow, parabolic glide to the Earth, like a last second three-pointer, a trajectory beyond physics, more of a mindset, an angle only swing set practiced children know.

            Everyone’s watching you just as you’ve been watching those jump off around you, judging, nodding, taking stock of it all, recalibrating popularity ranking of playground dominance. Jamey can’t jump worth crap. I won’t sit next to her during story time. Besides, she farts.

            So this is important, this leap, this letting go, hands unclenching the chains, butt off the seat and in the air, giving your body to gravity and luck. You’re scared and excited, the same emotion regardless of what adults tell you, but you must jump. So you swallow a hard ball of nervousness, take a breath, and you’ll go on your next upswing.

            Yeah. The next upswing. Okay. Not that upswing, it felt off. The next new upswing. No no. One more. Make sure the right people are looking and remember to jump to mid-upswing, and okay be ready. This is it. This upswing now. Go go go go go go.

            Oh yeah oh yeah this is great momentum and here it is and here it goes and……………………………………………………………………….......................................

            Time stops. You’re flying. Or the closest you’ll get to it. You’re t-shirt billows, your arms raise, you’re like seaweed moving in water, suspended, eyes popping, mouth open, not surprised by the falling sensation, just in love with it.

            And in that jump, you’re a legend, a superhero, looking over the school’s roof, to houses and fields and worlds, and you know you have a test about the Louisiana Purchase you didn’t study for when you go back in after recess, but right then, in the air, in the air of this strange day as they all are, you’ve conquered the art of the swing set, the swing leap, the landing, and you stand on soft wood chips, proud and sweaty, a god of the suburban playground.

            And the bell rings again.

            And it’s over.