Elegy
1. Adrift
I count more graves than people in my sleep,
but nothing turns more quickly
than an empty wind
in a place whose memory has died.
And all manner of departure: What you have left is you
without you. As if it could be different, as if decades
could withdraw and draft a blueprint of motive and action,
returning them, returning you, to that point
across the sea where the ship has not yet arrived.
If you ask she will say it does not matter. If you ask.
2. Parentheses
To be within, yet without, as in the unuttered phrase.
It is time the stone made an effort to flower,
to render the void clear and resolute, the diction of
separation divided by decades and your ocean.
The language of silence, drawn near.
3. From the Other Side
Sometime becomes never and steps around a desolate corner,
and all we have left is our field
awash in stone, remnants of the unspoken.
I have no memory of you. Nor you, of me,
but the strands do not lie, and unraveled,
expose the imperfect blends
that compose my love. A leaky roof. The last word.
A pity to put up at all
but there is rain.
4. Another Night
Of all the hours which were the longest?
The earth trembled around me
and I lay still, bearing witness to
the uncertain malice of its
shrug, shoulders brought to
fore, then returned,
and finally, released. If,
after this half-century, words
could reform in your mouth,
what denial would issue?
Ashes, washing ashore.
5. Bridge
And seeing you only as the shadow of an
ending whose voice lies
in an uncommon past, how
may we recognize the very shape we share?
The bridge’s fate is loneliness,
knowing that one side
decries the other’s
call, that separation affords new light:
they are between
comfort and space, between words and a smile,
between nothingness and sorrow,
two points, beginning and end,
reaching, in opposition, towards each other.
Notes:
“What you have left is you without you” is from Edmond Jabes’s “At the Threshold of the Book” in The Book of Questions: Volume I, translated by Rosemary Waldrop.
“It is time the stone made an effort to flower” is from Paul Celan’s poem “Corona,” included in Poems of Paul Celan translated by Michael Hamburger.
“A pity to put up at all but there is rain” is from Basho’s Back Roads to Far Towns, translated by Cid Corman and Kamake Susumu.
Albert Huffstickler’s poem “Bridges” which appeared in The Balcones Review in 1987, begins “They are between…”
“Elegy” first appeared on Underfoot Poetry in October 2017.
The Book of Questions has been one of my most treasured books for many years now. I was about 18 when I first picked it up and it’s one of the few books that have remained with me through many, many moves. So wonderful to find someone else familiar with Jabes. And you’ve found a wonderful way to join some of his words with your own. Well done!
LikeLiked by 2 people
Thanks for your kind words, Sarah. I first picked up the Book of Questions in the mid-80s, and was blown away by it. It’s one of those that I return to time and again.
LikeLiked by 2 people
Oh, Bob, so many worlds within a few words here! Especially like “If you ask she will say it does not matter. If you ask.” A wonderful and thought-provoking poem!
LikeLiked by 2 people
Thanks, Lynne. This was one of those poems that took shape over a decade. Most of mine don’t do that, but this was personal, in multiple ways, and difficult to get right.
LikeLike
I’ve had a few of those kinds of poems myself, so understand! But here, I think your poem benefited from the prolonged time lapse, became something greater than the sum of its parts.
LikeLiked by 2 people
The time was essential in forming this one, as it was truly a lifetime in the making.
LikeLike
I’m left with a sense of having “been” somewhere I cannot quite locate in memory … maybe it was just a dream? maybe it was yesterday? The sensation is a bit unsettling … the poem is quite effective in stirring the senses.
LikeLiked by 2 people
Thank you, Jazz. The poem is a bit unsettling, with a barely visible core threading through each part. I was feeling a bit “adrift” when I began writing it (probably in 2000), and that feeling only increased over the decade it took to complete/abandon it.
LikeLiked by 1 person
I did not know it was acceptable to place entire quotes from other works in one’s own poetry. That aside, this piece is stunning. And, 100th monkey stopped by……my next title was to have been “I Miss Dead People.”
LikeLiked by 2 people
It’s perfectly acceptable, provided you give credit to the original authors. Centos consist entirely of the writing of others. I don’t know why those phrases leapt out at me, but they did and I couldn’t let them go. Nothing like that has happened in my writing since this poem.
LikeLiked by 2 people
Your writing is always a surprise, and I don’t say that lightly. There is never anything predictable in the turns of your phrase. Tight, clean, and remarkable imagery. Bends the head, every time!
LikeLiked by 1 person
The highest compliment. Thank you!
LikeLike
I can remember taking phrases from Emily Bronte, many years ago, and fashioning a piece out of them. But, I only sent it to a friend, not thinking it could ever pass legitimately.
LikeLiked by 1 person
You should try that again. I offer you a cento, using H.D.’s poetry: https://robertokaji.com/2018/03/30/love-scattered-cento-3/
LikeLike
I found this poem very very moving, and the subtle links from one part to another seemed to tell a story without completeness, where there will forever be more to say, if only we could. Thank you.
LikeLiked by 2 people
Thank you, Margaret. I’m glad it resonates for you.
LikeLike
This one is stunning. (K)
LikeLiked by 2 people
Thanks, Kerfe.
LikeLiked by 1 person
They both took my words. Stunning. More to say. You stretch our heads.
LikeLiked by 1 person
You are so kind. “Head-stretching.” Something to aspire to! 🙂
LikeLike