The Slope
sheers
away beneath my feet, white
as a
page, and despite what I know
of
gravity, I launch myself
over
the lip. To survive,
I must
turn, so I turn.
And
turn again. Wend.
Twine.
Queen
of my
own descent,
greeting
my subjects
on
either side. Adored
by the
wind, I process
down a
spillway
of
broken falls: caught
and
released, caught and
released,
each pivot
and
curve complete and perfect
in the
breath
before
it happens.
I
follow the slope
of the
unpredictable, the nearly
visible
line,
as it
shifts and flows
beneath
my feet. Swivel
and
tilt. A bird
in the
wind, I am lighter
than a
floating ash,
alive
as a tuning fork.
Here is
the shape
of my
passage—what sun
will
melt and new snows
blanket—the
sinuous
line I
have left behind me
in the
snow.
Brisket
Mummied
in dishtowels,
ferried
in crocks, from cousins,
from
neighbors, it came
still
warm from the oven,
puddled
in succulent gravies,
swaddled
in onions, sinewy
and
kosher, dense as grief.
Not brisket again, we groaned,
joking,
for we still could,
taking
into bodies that still
grew
hungry, the generous
funeral
meat. A full moon
hung in
the haunch of sky
like a
pot scrubbed clean
to be
filled and empty and
fill
again and every night
in the
blazing kitchen
we sat down together and
ate.
Jean
Nordhaus was the subject of our Closer Look in Innisfree 13: http://tinyurl.com/JeanNordhaus. Her fourth volume of
poetry, Innocence, won the Charles B. Wheeler Prize and was
published by The Ohio State University Press in 2006. Her other
books include The Porcelain Apes of Moses Mendelssohn (Milkweed
Editions, 2002), My Life in Hiding (Quarterly Review of
Literature, 1991), A Bracelet of Lies (Washington Writers'
Publishing House, 1987) and two chapbooks, A Purchase of Porcelain and A
Language of Hands.
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