Living

To Kill a Deer

Into the changes of autumn brush
the doe walked, and the hide, head, and ears
were the tinsel browns. They made her.
I could not see her. She reappeared, stuffed with apples,
and I shot her. Into the pines she ran,
and I ran after. I might have lost her,
seeing no sign of blood or scuffle,
but felt myself part of the woods,
a woman with a doe’ s ears, and heard her
dying, counted her last breaths like a song
of dying, and found her dying.
I shot her again because her lungs rattled like castanets,

The Singers

They are not angels

though they have the hollow look

of beings bred on ether. There’ s an air

of cool removal from your life, the hawk’ s

indifference to the hare’ s terror.

You see it in their palms, raised casually

against the fresco’ s surface, as to glass

of submarine or spacecraft, and you see

it in their eyes, oracular, that let you pass

alone to unknown agony. The song

Cool Dust

A heave of afternoon light pulls a tulip from the turf, a bower for locusts, a cup of shells. The farmhouse tilts, a bent shadow on wheels. In cedar rooms a family is molded, silent, wrapped in the wire of steel eyes and stopped voice, romantic ash. This is not my house, my ghost, my uninvited guest, my lost labor of love, my thicket or grease, my JPEG gessoed or rawhide suit. The yellow light throbs like an internal organ — soft body of an overture to insect sounds — sapling of a new world — whose future awaits me at the tilting window of my own domestic hut.

Plume

Transfixed to the, by the, on the congruities, who is herself a vanishing point coming to closure — dusky flutter — trilling away like a watchdog on drugged sop, channeling her mother and grandmother who’ ve engraved on her locket phrases in script: “glide on a blade” and “rustling precedes the shuck.” This is not my teeming fate, my rind, my roiling ellipsis or valedictory spray of myrrh.

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