Winter Prompt #24: Lid off a Jar

LID OFF A JAR

Winter Prompt #24

Rusted on. The bail jar is full

of round black balls. Plums? How long

have they been here in the dust,

on this webby shelf?

She’s been dead how many years—

the woman whose house this was,

whose name I’ll never know.

A plum tree in the garden,

sheep in the pasture long grown up

to houses and lawns. New houses

not like this crazy one, layers

of wallpaper peeling, wide chestnut

floorboards, the space against the wall

where the kitchen stove used to stand.

Winter Prompt #6: Someone Else’s Shoes

SOMEONE ELSE’S SHOES

Winter Prompt #6

I would be someone else

in those lucite heels

with steam-punk gears

and holy cards; someone

else in orange stilettos.

 

Who would I be

in red leather dancing boots

like the ones on my Polish doll,

or in brown brogues or yellow clogs?

 

I was someone else, for awhile,

in the wellies I wore for apple-picking,

in the black flats that went with my robes.

 

Come to think of it,

who am I now

in these purple oxfords

or rusty hiking boots?

The sheepskin slippers I wear

when I prowl around the house

with the cats, at night.

O: The Magnificat Antiphons, part VII

O: The Magnificat Antiphons, part VII

 

7. O Emmanuel

O Emmanuel, our king and our lawgiver,

the hope of the nations and their Saviour:

Come and save us, O Lord our God.

With us—where else would you be

except everywhere?

Those galaxies, universes

bubbling into being,

stretching out and letting go.

Photons, quarks in their crazy flavors.

Magma flow, the frozen layers.

White shells and bones.

All the acorns buried under leaves.

The burning horses, stray dogs.

The toddler with brain cancer.

The addict under the bridge

staring at the river.

The black man, shot dead

even as I write these words.

With us.

The woman grinding the last of the grain,

drawing the last bucket of water.

If you’re not with us,

where are we?

And if you are with us,

where are we?

Where?

Emmanuel.

O Come.

OMEGA

OMEGA

. . .that which is sought transcends all knowledge, 

being separated on all sides by incomprehensibility 

as by a kind of darkness

~Gregory of Nyssa

 

Light through the grisaille illuminates

Omega on the shabby wooden altar.

What we’ve called “God”

or something like, is disappearing

into a cloud of galaxies

and unanswered prayer, or devolving

into fire and air and trees.

 

Some of us are here, bound in ritual.

Who knows what we believe?

Some of us have been around outside

and turned, or turned back,

hearing the echo of a name.

We murmur the ancient creed.

The psalms are full of mercy and blood.

 

Angels have descended and grown small,

their voices turned to syrup, or tin.

Shall we yet fear not?

A dead Jesus hangs on his cross,

between the guttering candles.

The cup is emptied and filled.

We make our humble offerings to the dark.

A STITCH IN TIME

A STITCH IN TIME

. . .saves nine.

Can you stitch time? Catch

the threads and pull it together?

Mend the little tears that happen—

the morning you killed

irritated by a broken gizmo,

the hour lost cursing at traffic,

that meeting—all those meetings,

those obligatory parties—

great rips in sense and grace?

Is there a patch or stitch or weave

that can redeem those moments

that might have been salvaged

but because you didn’t even notice,

leave you with tattered scraps

not whole enough for rags?

 

 

May 2017

NOTES CONCERNING THE PETRIFIED INDIAN BOY

 

This is another of the poems that I wrote for an exhibit at the Henry Sheldon Museum. And here’s a link to an article about the exhibit.  

 

 

NOTES CONCERNING THE PETRIFIED INDIAN BOY

Henry’s Accession Book. . indicates Leland gave it to museum for safe keeping —

“It was left with him by Woodard. . .

who sold it to parties near here.”

~email from Liz Bless, Middlebury College

History is a cob-web,

a tangle of strands,

flakes and pigments, letters

and scraps stashed in

baskets and chests of drawers.

It’s a pellet of feathers and hair.

Pick it apart with a finger bone.

 

Here, in the file concerning

the Petrified Indian Boy, we find:

bird tracks at Turners Falls,

a rabbit hole, a dog name Boz,

George Parsons the carriage painter,

credulous crowds,

a great deal of money,

a hundred barrels of whisky,

a flight to Canada, the law,

and Mrs. Sarah Henry Cross of Brandon

who saw it at the fair.

 

Was it a broken-off toe, or a crack in the ankle

that revealed the truth?

Did Mr. Parsons know of the Cardiff Giant?

Why did Mr. Harwood visit Newfane?

What happened to the whiskey?

Who brought the Boy to which express office?

Who was Mr. Douglas, who

bought the image for an immense sum?

Did Mr. Brainerd, scientist and historian,

president of Middlebury College

know the local men who raised the money

and did he himself contribute?

Where did Mr. Leland get it?

Safekeeping from what?

How much did Henry Sheldon know?

 

In the meantime, the Boy

in his coffin in the Museum

has slept away the years,

keeping his secret silent as stone,

or plaster, or pigmented clay.

KEEPING–a Sheldon Museum Poem

Three years ago, the Spring St. Poets wrote poems about objects in the Henry Sheldon Museum in Middlebury, Vermont. The items were then exhibited, along with the poems, and we did a reading. I wrote this one about a chunk of woodwork that Henry Sheldon had rescued, presumably from some renovation done at St. Stephen’s Episcopal Church.   

 

KEEPING

~the carving from St. Stephens, found in a cupboard in the barn

One autumn day many years ago I stole

an antique book with a tan leather cover

embossed in gold. The thin pages smelt of mice.

It was in a pile of many heaped

in a corner in a muddled room

on the condemned third floor of a gothic

sandstone castle awaiting remodeling

including–and this is important–new wiring.

It was a building I loved.

When spring came, it all burned up.

Nothing remained but a stone shell and they

bulldozed that into the foundation hole

and built a garage on the spot. I wish

I had taken all the books.

Henry Sheldon would have–

and a juice glass from the dining room and

a candlestick and the pump organ and

a chunk of the chapel window woodwork

and the horsehair sofa from the library

and the doughnut jar from the kitchen and

the mantlepiece from the common room and

the shield that hung above it and the tower

bell that fell and no one ever found and

a railing from the front porch where we used

to sit in the moonlight and sing or kiss.

What is this about? —

to love places, to care about things, to care

what happens to them, to be wary of change,

to want to remember, to want everyone

to remember, to believe that history

matters, to want to keep something, keep many

things, the everyday bits:

shoes and razors and appleboxes and doorframes,

chairs and violins and cupboards and spinning wheels

and dishes and cannonballs and hacksaws and drums

and books that no one will ever read.