You’re beautiful, sister, eat more fruit,
said the attendant every time my mother
pulled into the 76 off Ashby Avenue.
We never knew why. She didn’t ask
and he didn’t explain. My brother and I
would look at each other sideways
in the back seat, eyebrows raised—
though, lord knows, we’d lived in Berkeley
long enough. He smiled when he said it,
then wiped the windows and pumped the gas.
I liked the little ritual. Always the same
order of events. Same lack of discussion.
Could he sense something? Attune to an absence
of vitamin C? Or was it just a kind of flirting—
a way of tossing her an apple, a peach?

It’s true my mother had a hidden ailment
of which she seldom spoke, and true
she never thought herself a beauty,
since in those days, you had to choose
between smart and beautiful, and beauty
was not the obvious choice for a skinny
bookish girl, especially in Barbados.
No wonder she became devout,
forsaking nearly everything but God
and science. And later she suffered
at the hands of my father, whom she loved,
and who’d somehow lost control
of his right fist and his conscience.
Whose sister was she, then? Sister
of the Early Rise, the Five-O’Clock Commute,
the Centrifuge? Sister of Burnt Dreams?

But didn’t her savior speak in parables?
Isn’t that the language of the holy?
Why wouldn’t he come to her like this,
with a kind face and dark, grease-smeared arms,
to lean over the windshield of her silver Ford sedan,
and bring tidings of her unclaimed loveliness,
as he filled the car with fuel, and told her—
as a brother—to go ahead,
partake of the garden, and eat of it.

In those days, there was a woman in our circle
who was known, not only for her beauty,
but for taking off all her clothes and singing opera.
And sure enough, as the night wore on and the stars
emerged to stare at their reflections on the sea,
and everyone had drunk a little wine,
she began to disrobe, loose her great bosom,
and the tender belly, pale in the moonlight,
the Viking hips, and to let her torn raiment
fall to the sand as we looked up from the flames.
And then a voice lifted into the dark, high and clear
as a flock of blackbirds. And everything was very still,
the way the congregation quiets when the priest
prays over the incense, and the smoke wafts
up into the rafters. I wanted to be that free
inside the body, the doors of pleasure
opening, one after the next, an arpeggio
climbing the ladder of sky. And all the while
she was singing and wading into the water
until it rose up to her waist and then lapped
at the underside of her breasts, and the aria
drifted over us, her soprano spare and sharp
in the night air. And even though I was young,
somehow, in that moment, I heard it,
the song inside the song, and I knew then
that this was not the hymn of promise
but the body’s bright wailing against its limits.
A bird caught in a cathedral—the way it tries
to escape by throwing itself, again and again,
against the stained glass.

Fearless riders of the gale,
In your bleak eyes is the memory
Of sinking ships:
Desire, unsatisfied,
Droops from your wings.

You lie at dusk
In the sea’s ebbing cradles,
Unresponsive to its mood;
Or hover and swoop,
Snatching your food and rising again,
Greedy,
Unthinking.

You veer and steer your callous course,
Unloved of other birds;
And in your soulless cry
Is the mocking echo
Of woman’s weeping in the night.

For Peggy Munson

That you must accept
what you cannot prevent.  That fear inverts
the meaning of success.  That you can be fearless

when fear is all you have.
That fear is all you have.
That you aren’t alone in loneliness,

there’s a whole world here,
a pregnant, fascinating glimpse,
all stomach and hips,

of the life-creating love
you’re finally sick enough to feel.
That that glimpse can't stop you from melting

into the futures you fear
you will and will not have.
That you have, you still have,

everything you need to live:
night, ice, plums, a lap and a laptop, a name, a parent,
whipped cream, gossip, steaming plates

of life and death. 
That this is the end of the world.
That you will survive it.

When Hades decided he loved this girl
he built for her a duplicate of earth,
everything the same, down to the meadow,
but with a bed added.

Everything the same, including sunlight,
because it would be hard on a young girl
to go so quickly from bright light to utter darkness

Gradually, he thought, he'd introduce the night,
first as the shadows of fluttering leaves.
Then moon, then stars. Then no moon, no stars.
Let Persephone get used to it slowly.
In the end, he thought, she'd find it comforting.

A replica of earth
except there was love here.
Doesn't everyone want love?

He waited many years,
building a world, watching
Persephone in the meadow.
Persephone, a smeller, a taster.
If you have one appetite, he thought,
you have them all.

Doesn't everyone want to feel in the night
the beloved body, compass, polestar,
to hear the quiet breathing that says
I am alive, that means also
you are alive, because you hear me,
you are here with me. And when one turns,
the other turns—

That's what he felt, the lord of darkness,
looking at the world he had
constructed for Persephone. It never crossed his mind
that there'd be no more smelling here,
certainly no more eating.

Guilt? Terror? The fear of love?
These things he couldn't imagine;
no lover ever imagines them.

He dreams, he wonders what to call this place.
First he thinks: The New Hell. Then: The Garden.
In the end, he decides to name it
Persephone's Girlhood.

A soft light rising above the level meadow,
behind the bed. He takes her in his arms.
He wants to say I love you, nothing can hurt you

but he thinks
this is a lie, so he says in the end
you're dead, nothing can hurt you
which seems to him
a more promising beginning, more true.