ELEGY IN A MIRROR
Whether crushed beneath a cartoon piano,
its eclipse blossoming around you
like dusk, or, hurtling, hurled
from the hull of a speeding boat
on to the igneous shore
of the afterlife, brother Charon’s open palm
outstretched, you won’t die
the odd deaths you’ve imagined.
The banana peel won’t compose
a single elegy once you’ve
slipped. The ashes will comport
themselves poorly: what
will they retain of what you once were?
The white scar beneath
your lip, that your best lover
once lavished, that you bore
like an affliction, even so,
will become anonymous as the emptied
sky. Though you dream
each hulking sunflower
will mourn your hands,
and the golden bobs of each swollen fish
you rescued from the mall
will swear off the odor
of their food, and though
you wish for your favorite flavor
of ice cream to enter
into history with you—
none of this will happen.
In the elbow of the shallow river,
your name won’t be
said against the skin of a lover’s neck.
On postcards mailed back
to a fading home,
will not seem sullen, sad without you.
And so what? Today
your hair was brushed
by a branch you didn’t duck
beneath: spring limbo,
your spine aching
at last to bend, to curve, to comma.
And today you were
offered chocolate
by a girl who began to forget
even as you turned
that you lived, that you once said yes.
5 comments:
You use the word so a lot in your poems. A lot. How come?
Who knows? I probably like the sound. You gravitate towards certain words for any number bof reasons. And I like the work it does rhetorically.
I like: "hurtling, hurled
from the hull of a speeding boat
on to the igneous shore
of the afterlife"
Thanks, Rebecca.
i like the detached kind of visionary dreamlike tone of your poems. a lot a lot ...
just passing through ... nice work ...
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