The forearm of spring rests on the window sill      
to the kitchen where I’m boiling opera for pasta.

This branch of spring is a real interloper,
a man’s arm covered in hard yellow blossoms,
No. 2 yellow, like a line of forsythia
in inter-winter-spring. Other sonnet branches
are scattered in the backyard, fourteen limbs
decked out in the darling buds of May.
The man’s branch intrudes through the open
window in early spring, so it’s a line in a poem.  

Those italicized and underlined branches
about timeless beauty, a love w/out physical detail,
maybe the pivot toward writing and the writer,
I’ll have to pick up after them after dinner,

I’ll organize w/ a ladybug red wheelbarrow,
kindling for prose or a Triskelion.

When I was young, my father taught us
how dirt made way for food,
how to turn over soil so it would hold a seed,
an infant bud, how the dark could nurse it
until it broke its green arms out to touch the sun.
In every backyard we’ve ever had, he made a little garden plot
with room for heirloom tomatoes, corn, carrots, 
peppers: jalapeno, bell, and poblano—
okra, eggplant, lemons, collards, broccoli, pole beans,
watermelon, squash, trees filled with fruit and nuts,
brussels sprouts, herbs: basil, mint, parsley, rosemary—
onions, sweet potatoes, cucumber, cantaloupe, cabbage, 
oranges, swiss chard and peaches,
sunflowers tall and straightbacked as soldiers,
lantana, amaryllis, echinacea, 
pansies and roses and bushes bubbling with hydrangeas. 
Every plant with its purpose.
Flowers to bring worms and wasps. How their work matters here. 

This is the work we have always known,
pulling food and flowers from a pile of earth.
The difference, now: my father is not a slave,
not a sharecropper. This land is his and so is this garden,
so is this work. The difference is that he owns this labor.
The work of his own hands for his own belly, 
for his own children’s bellies. We eat because he works. 

This is the legacy of his grandmother, my great-granny.
Ollie Mae Harris and her untouchable flower garden.
Just like her hats, her flowerbeds sprouted something special,
plants and colors the neighbors could only dream of.
He was young when he learned that this beauty is built on work,
the cows and the factories in their stomachs, 
the fertilizer they spewed out—
the stink that brought such fragrance. What you call waste,
I call power. What you call work I make beautiful again.

In his garden, even problems become energy, beauty—
my father has ended many work days in the backyard, 
worries of the firehouse dropping like grain, my father wrist-deep
in soil. I am convinced the earth speaks back to him 
as he feeds it—it is a conversational labor, gardening.
The seeds tell him what they will be, the soil tells seeds how to grow,
my father speaks sun and water into the earth,
we hear him, each harvest, his heartbeat sweet, like fruit. 

I’m in the world but I still want the world.
I’m full of longing and can’t move,
enthralled in the garden. Having died 
all the way back to the root, I grow again 
into a version of the thing I love. I’m her 
and not her, hermaphrodite with a heart 
like a plateful of black flames.
The bees inspect me like doctors. 
All my hard little tears, future selves 
who haven’t grown. Bedclothes swell on the line
while around me giant sunflowers burn
through their masks of radiant desire.

I’m in the world but I still want the world.
I’m full of longing and can’t move,
enthralled in the garden. Having died 
all the way back to the root, I grow again 
into a version of the thing I love. I’m her 
and not her, hermaphrodite with a heart 
like a plateful of black flames.
The bees inspect me like doctors. 
All my hard little tears, future selves 
who haven’t grown. Bedclothes swell on the line
while around me giant sunflowers burn
through their masks of radiant desire.