Atelier Home Parthenon

The studio has long been left
to blankets of dust
on the crumbling statuary: my easel,
your bathrobe, the hunchback lamp.
There was a time two goddesses
came here for worship.

It was easy to see you then,
poised and posed, sore from stillness.
I saw and adored all of you.

I do not go back anymore.
My brushes are silent, dry from disuse.
I imagine you drape your seraphic limbs
across someone else's understuffed divan,
and I am glad of it, truly;
you bear the adoration and the arguments both with grace.

But I have not yet found a new temple,
so it is in the streets
that I kneel and chant in search of a name.

Tornado Berlioz

Sirens yowl from the main campus
Rattle my windows
Cindy watches the television in the
Basement where we camp, and
When Spencer asks a question she
Hushes him with a hiss.

They will wait out the tornadoes
For maybe two or three hours
Before they go to bed. I will sleep
In my hallway with the dog
Unwillingly smooshed in the
Crook of my arm.

In Alabama I know already
Houses were flattened
People were sucked out of windows
And tossed like frisbees into the wind.

I'm not worried.
Maybe I should be, but I'm not worried.
Instead all I can think about
Is Aunt Sylvia, the tiny television perched on
Her knees, and no color in her face.
She watched the footage they aired and re-aired.

We were safe in Baton Rouge,
Crowded, but safe. But the thing is, nobody knew.
We waited to know how high the black
Mold would creep, when we could go home.
In the thick, thick air for weeks
My Aunt Sylvia watched the tiny television
Come in and out of static, and if anybody
Talked too loud she would hush them with a hiss,
Completely unable to stop waiting and listening.

The weatherman says we are in the clear
A mere four hours later,
Not even long enough to give it a proper name.
So I name that time in the basement
With the symphony of hail on the roof way above us
And the wide television and Cindy's hiss
And the vestiges of Aunt Sylvia and static

All this I have named Tornado Berlioz.
He's a palimpsest of that violent woman,
Who took her time coming and outstayed her
Welcome, who left bruises blooming on
Our walls. Bridging six years, Berlioz
And Katrina do a two-step through
Birmingham and Johnson County and
Through my mind again.

Red Beans and Rice

You cook the vegetables down
So you can hardly tell anymore that
You're eating bell pepper or onion.
Call them vegetables
So they count for greens.
Let's not lie, though, because what we're
Really interested in here is the
Andouille and salt-pork,
The vinegar and the tony's.

Chop the onions, bell pepper, garlic.
If you put the fan by your face
It blows the onion scent away
So you only cry a little.

Chop the onions the way
Your mother does: inefficiently and
With a knife that has seen better days.
Hear your father remind you
Of the Holy Trinity, which in
Your home has garlic instead of celery
Because celery doesn't taste like anything anyway.

Mince the garlic, dice the bell pepper,
Chop the onions, wait for the
Salt-pork. The red beans are an
Excuse for the andouille and a
Mask for the vegetables.
If you add tony's at the beginning
And vinegar at the end,
Your grandmother approves
From no matter how many miles away.

Breadth

On my side table, Sarah's painting is lovely in its frame
Two figures, a woman and a cow, look up
Towards their only option, towards the crescent moon
There is a way out
Yes, the two of them are going to jump

As though neither knows that she is surrounded
By four strips of painted wood
And the galaxy beyond is my living room
With other paintings hovering on the walls

I gaze at the artwork, at the walls so attentively decorated,
At the books--gateways to infinite worlds--and at the window
Two smudged panes bashfully standing between me
And the skies so wide I can see my breadth

blink

I want you to know Jamie is doing fine.
The eggs fry up nice.
The boots collect mud.
I am fine, too.
Go to school, earn a little.
You'd hardly even know we were missing something.
The dog keens more than I do.

I come to the place where they buried your bones.
I know you're not there.
But all the same, I want you to know.
Jamie and me, we are doing fine.

Macaroni Portrait of a Love Affair

There once was a girl. (There's always a girl.)
But this one, she was the why of it.
She laughed at me, tripping over my own shoelaces,
And I left them untied, hoping to make her laugh again.
I whispered heavy secrets to her,
The kind that must be spoken with cupped hands and daring proximity.
She kissed me once. (She probably doesn't remember
Because girls can be so guilelessly affectionate,
But I was over the moon for days.)
When she left, I was certain I would never love again.
I had sworn my heart, eternally, to her.
Luckily for me, the attention span of a kindergartner
Does not often reach eternity, so by summer vacation
There was a new girl, (there's always a girl,)
And she quickly became the why of it.

As You Are

"What is to give light must endure burning."
(Viktor Frankl)


Alright, Sal, here's the truth.
Your left breast is smaller than your right,
And, perhaps aware of
This inequity, it bashfully gazes
Outward like a lazy eye.

And your teeth, like the rest of you,
Have never been what you'd
Call perfectly straight, preferring
Instead to lean upon one another,
Comrades in the downtime of the chewing war.

And if we're dissecting here,
I'll acknowledge that you do in fact
Have a streak of strangely-placed obstinacy
And a tendency to leave
The cap off the toothpaste.

It is possible that you will
Never know how to handle money,
Nor intuit when to stop arguing with your mother
Or how much salt to add.

It is possible that these moth holes
In your fabric will not ever be
Patched, and your birthmark
Will show no matter what you wear.

And to all this, I must tell you, Sal,
I will again and again
Say yes.
Because it is through the
Gaps that the light comes,
And through the tears that
We learn to mend.

And for my part, I will
Smile to tell you easily
From the women who wear
Adult braces and pad their bras
And pay surgeons to fix
What, to be honest,
Was never really wrong in the first place.

Resolution

Holidays make me at once pensive and fanciful.
There are sequins on my dress that flash with sudden color as I walk.
If you were here I would kiss you at midnight.

I am careful with champagne because it goes quickly to my head.
It makes me think that I am much subtler than I actually am.
I would look for too long, and you would know.

That is the hitch: I am nearly always careful.
If you were here, and I weren't careful, I would definitely kiss you.

If you were here, and I weren't careful, or I were someone else-- or perhaps myself but more confident, myself more reckless--and if you weren't married,
If some of those things,
I would kiss you.

So for the sake of principle, it's good you're not here,
because there's a good chance I would ask you to help me ring in the new year with a sin.

In Cases Such As These, a Good Memory Is Unpardonable

Gloria scootches closer to the television to hear Colin Firth,
("He's so handsome,")
For the umpteenth time pronouncing Elizabeth tolerable
But not handsome enough to tempt him.

They tell me she may have to be put away soon.
Put away, like clean dishes into cabinets
Or put away like old toys into the attic?
She can't see anymore,
So she listens to salacious books on tape,
And every week awaits the snarky denunciation
Of the petticoats, six inches deep in mud
("That awful woman, she'll get hers!")

Gloria, in excelsis, must secretly be seething
Because her son and daughter-in-law
Have to clean her up now almost every night.
It is not just.
She was a woman, a Sicilian matriarch,
But now must assent to other people's hands
On her private parts, and cannot be allowed
Her indignity because it reads as ingratitude.

Gloria says a rosary.
She hums something Sinatra sang.
She says only that her bones hurt
And asks again for Colin Firth.
("Oh yes, he's proud. But just you wait.")

This Butterfly Business

"You leave us crying over postcards from Mexico. Baby, you're never far enough away."

"I take a breath. Take a breath with me, blow by blow. I take a break, take a break from you. You are here to stay. I take my heart out of my chest. I just don't need it anymore."


This Butterfly Business

Remember that time I made some discoveries, which were
somewhat painful but resulted in Personal Growth?
Remember those teachable moments
when I got thoroughly teach-ed?

To get through those times
I carried around a tried-and-true sort of metaphor.

I thought, "I will go through this time of Darkness
And emerge colorful,
with byzantine scars like delicate patterns
on my florid wings.
I will manifest with lepidopteran grace."

But then it so happened that
I cocooned and when I finished cocooning
I emerged, and yes, I was stronger and more
composed and might have been called a butterfly.
But I screwed up again. In almost no time
I was back in Darkness.
I have to say, in none of my elementary school
life science classes did my teacher say, "And then
the butterfly goes back into her cocoon."

At this juncture, there are only two options.

Either I am still a caterpillar, with no
idea about the true magnitude of the trials
I have thus far faced on account of caterpillars
have poor eyesight so maybe I just really
over-dramatized whatever I was going through, and
the real time of darkness is yet to come and
it is probably going to blow my mind when it does,

Or I need to find a new metaphor.