with design by Anthony Cody
Copyright © 2020 by Juan Felipe Herrera. Design by Anthony Cody. Originally published with the Shelter in Poems initiative on poets.org.
Copper and ginger, the plentiful
mass of it bound, half loosed, and
bound again in lavish
disregard as though such heaping up
were a thing indifferent, surfeit from
the table of the gods, who do
not give a thought to fairness, no,
who throw their bounty in a single
lap. The chipped enamel—blue—on her nails.
The lashes sticky with sunlight. You would
swear she hadn’t a thought in her head
except for her buttermilk waffle and
its just proportion of jam. But while
she laughs and chews, half singing
with the lyrics on the radio, half
shrugging out of her bathrobe in the
kitchen warmth, she doesn’t quite
complete the last part, one of the
sleeves—as though, you’d swear, she
couldn’t be bothered—still covers
her arm. Which means you do not
see the cuts. Girls of an age—
fifteen for example—still bearing
the traces of when-they-were-
new, of when-the-breasts-had-not-
been-thought-of, when-the-troublesome-
cleft-was-smooth, are anchored
on a faultline, it’s a wonder they
survive at all. This ginger-haired
darling isn’t one of my own, if
own is ever the way to put it, but
I’ve known her since her heart could still
be seen at work beneath
the fontanelles. Her skin
was almost otherworldly, touch
so silken it seemed another kind
of sight, a subtler
boundary than obtains for all
the rest of us, though ordinary
mortals bear some remnant too,
consider the loved one’s fine-
grained inner arm. And so
it’s there, from wrist to
elbow, that she cuts. She takes
her scissors to that perfect page, she’s good,
she isn’t stupid, she can see that we
who are children of plenty have no
excuse for suffering we
should be ashamed and so she is
and so she has produced this many-
layered hieroglyphic, channels
raw, half healed, reopened
before the healing gains momentum, she
has taken for her copy-text the very
cogs and wheels of time. And as for
her other body, says the plainsong
on the morning news, the hole
in the ozone, the fish in the sea,
you were thinking what exactly? You
were thinking a comfortable
breakfast would help? I think
I thought we’d deal with that tomorrow.
Then you’ll have to think again.
From Prodigal: New and Selected Poems, 1976–2014 (Mariner Books, 2015). Copyright © 2015 by Linda Gregerson. Used with permission of Houghton Mifflin Harcourt.
It was like this:
you were happy, then you were sad,
then happy again, then not.
It went on.
You were innocent or you were guilty.
Actions were taken, or not.
At times you spoke, at other times you were silent.
Mostly, it seems you were silent—what could you say?
Now it is almost over.
Like a lover, your life bends down and kisses your life.
It does this not in forgiveness—
between you, there is nothing to forgive—
but with the simple nod of a baker at the moment
he sees the bread is finished with transformation.
Eating, too, is a thing now only for others.
It doesn’t matter what they will make of you
or your days: they will be wrong,
they will miss the wrong woman, miss the wrong man,
all the stories they tell will be tales of their own invention.
Your story was this: you were happy, then you were sad,
you slept, you awakened.
Sometimes you ate roasted chestnuts, sometimes persimmons.
—2002
Originally published in After (HarperCollins, 2006); all rights reserved. Copyright © by Jane Hirshfield. Reprinted with the permission of the author.