Art Recess 2

From Poetry (2005)

PARTS OF A STORY

Or, it could go like this, since
you want to know names,
places, people, particulars:

it was the particular paradise
of ninety acres of orchard grass
and a few scattered woods;
barbed wire, Holsteins,
and the plush of spring
as you feel it, wet beneath you,
when you sit down in a field in May—

or in the pasture’s folds where the creek ran:
there were ores of a grey clay
she could sit and mine all morning;
rotting trees, whose meat flaked off
like the flesh of fish;
or in the barn where the straw-dust
harried and swirled.

It was in an inheritance,
since it was given as all earth is given,
as ready to receive the pledge
of a young girl as the cow-flops
and the dull thud of horses’ hooves.

We may start here in this field,
with her kneeling, with the colors wet and black
suddenly pouring up—
but eventually we will have to confront the father,
then the ravishment by air,
then, still later—
the ravishment by imagination.

© Mary Walker Graham 2005

Livid: The Kanzler Saga: Apparition Poem #1181

Just as you couldn’t paint but to vandalize, I had
the instinct to vandalize you, my love. To rough
you up. Because for you there could be no love,
I would assist you in understanding repercussions
could follow from games you thought were fun.
How your green eyes had a problem— you stared
at things too long. That wide-eyed stare, made it
so that (for example) no one could take you seriously
as swish at a first night. Or on First Fridays, as you
tried to swish towards a homing sense you were going
where you wanted to, your simian male friend at your
side. As I said, I wanted to rough you up. You could
never paint to be crisp, only smudged, so that Abby laughed
at how hard you worked to convey retardation (and succeeded).

I could never decide if, behind the wide-eyed stare,
what was there had any genuine innocence. It seemed
to me, to be honest, there was none. Your sense
of complete calculatedness in every respect is why,
how I now kneel before you, my round browns mingling
with your round greens, brown & green smudging each
other to determine advantages, now that the first nights,
First Fridays are all part of a distant past, the time’s come
to choose whether to live or die. I’ve decided to salvage
us. That’s crisp in me. You were crisp about the bed
part of it, for a while, so that I force red into your mix—