What We Say When We Say Nothing
The rain has died and everything follows:
black, white – the law’s supposition. Their bodies
glisten only in memory. One says look at me from the steel
table as the scale registers the heart’s
weight. Another cries uncertainty in the most certain
of circumstances — laid open, emptied then closed,
the simple mechanics of ritual and form. Throughout my
dreams a line of dark figures shimmer in the cold
corridor, end-to-end, supine and unmoving, assigning
loss. I have fifty-six years and more questions than
answers. The drought testifies to a wrong. A woman
visits her son, a father weeps. Our silence, complicit.
My poem, “What We Say When We Say Nothing,” was published in Glass: A Journal of Poetry in January 2017. Many thanks to editor Anthony Frame for taking this piece and aligning it with some great poems.

Kudos for incorporating “supine” into your work. It’s a fantastic word.
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Ha! Thanks, Robert. I don’t believe I’d used it before in a poem.
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I think I might have once. Now I have to do a word search for supine….
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Who knows if we’ll ever use it again?
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This is in the top ten list (of my favorite Okaji Masterpieces!), for sure. I find the image of “the heart’s weight” so visceral, like a gut-punch. It tethers us all to judgment and accountability.
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Thank you, ma’am! The heart as organ, rather than receptacle for emotion, seemed more fitting in this piece. And yes, accountability!
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Ditto!
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Thank you, Leslie.
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so poignant…
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Thanks, Nancie.
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Your poem told me a lot, but I’ve still got sixty-six years of more questions than answers
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Those questions keep stacking up!
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Year after year
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They certainly don’t diminish.
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Great poem!
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Thank you, Anita.
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Anytime Robert 😇
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Nice sense of rhythm.
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Thanks, Pablo. I read aloud as I compose and revise, hoping to catch those hitches and stumbles in rhythm. Sometimes I’m successful. 😀
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Hearing you read one of your poems for the first time helped me understand that. I saw how it was tied to the rhythm of speech. It’s helped me with my own approach. More like the beat of a jazz snare drum and cymbals, though, for me.
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Mine is definitely the melody.
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Yes, this poem is exquisitely visceral–forgive the pun. No, the play on words works here–all humor aside. Like another commenter noted, heart as an organ–not as an emotion allows me to see both.
I’ve challenged myself to avoid using heart as an emotion or metonym in my poetry. Robert, you’ve set a high bar.
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Thanks, Bonnie. Jane Hirshfield can get away with using heart as emotional receptacle, but then she’s Jane Hirshfield. It seems trite when I try, so I generally work around it.
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