Sylvia Plath Leaves Lemonade
When Plath stuck her head in the oven, the sad pie
was cooked, the owl had stopped questioning,
the rat in the wall no longer squealed.
The fire marshal had taken off his brass badge
and gone to bed. Each morning we look into the mirror
for the world’s defeats the newsboy
delivers whether or not trees are loosing their leaves,
cameras of night continuing surveillance.
If all the rocks in fields turned to candy,
the grass wouldn’t care, the rooster with its little red
flame
burning its head would still strut through dust proclaiming
its gender.
Sylvia Plath forgot the recipe for lemonade.
When the furnace was bursting at its seams billowing smoke
and the oven was hissing like a snake because it wasn’t
heating
Plath should have come up for air and tended her children
asleep in the next room, dreaming of ponies.
She should have paid attention to shadows
calling across the kitchen trying to tell her
there were more poems to be written, more men
she should have given the boot.
Machines
I grant this machine that holds my devotion
is less powerful or artistic than volcanoes
with operatic voices pitching fire into the air.
The rumble of my Harley down avenues
is heard only by street lights glittering by.
And its cylinders flash through time never
to be recovered, unless time too is a cycle.
I’ve rolled so long below amorphous clouds
passing the sun burning in its pit of sky
and under the whispers and shouts of night,
I ask little of coming miles, counting
my wounds and scars blessings, veritable
tattoos. All my regrets have burst like blisters.
I’ll arrive early or late at the corner of here
or there, where all may come to nothing
more than a spill of blood and a seep of oil
to be rumbled away by the motor of sun,
that once warmed me, or blown away by the fan
of wind that chilled. The machinery of forests
goes on leafing, fields rise up from seeds,
and seasons pass by like speeding wheels.
William Page’s third collection of poems, Bodies Not Our
Own (Memphis State
University Press), was awarded a Walter R. Smith Distinguished
Book Award. His collection, William Page’s Greatest Hits: 1970-2000, was
from Pudding House Publications. His poems have appeared widely in such
journals as The Innisfree Poetry Journal, The Southern Review,
Sewanee Review, North American Review, Southwest Review, Rattle, Ploughshares,
Literary Review, American Literary Review, Southern Poetry Review, Valparaiso
Poetry Review, The Midwest Quarterly, Pedestal Magazine, North Dakota Quarterly, Wisconsin Review, South Carolina Review,
and in numerous anthologies, most recently in The Southern Poetry Anthology Volume VI: Tennessee. He is founding
editor of The Pinch.
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