15¢ Futures

- 1946-

Epiphany Davis, 1825

I set up my cash box and my bones and cards
on Broadway, most days, offering what I see
of what’s to come. For a donation, words
fall from my mouth, surprising even me.

Uncle Epiphany doesn’t forecast death
or illness worse than gout or a broken bone.
The sailors stop. They listen with caught breath
as I tell them some girl’s heart is still theirs alone.

(… or not. Young love is such a butterfly.)
Girls come, arms linked, giggling behind their fans.
The sad come. Uncle Epiphany does not lie.
I close shop, and come back up here to my land.

It’s a new world up here, of beggar millionaires:
neighbors who know how we all scrimped and saved
to own this stony swamp with its fetid air,
to claim the dream for dreamers yet enslaved.

I’m Epiphany Davis. I am a conjure-man.
I see glimpses. Glass towers … A horseless vehicle …
An American President who is half African …
Until you pay me, that’s all I’m going to tell.

More by Marilyn Nelson

Dusting

Thank you for these tiny
particles of ocean salt,
pearl-necklace viruses,
winged protozoans:
for the infinite,
intricate shapes
of submicroscopic
living things.

For algae spores
and fungus spores,
bonded by vital
mutual genetic cooperation,
spreading their
inseparable lives
from equator to pole.

My hand, my arm,
make sweeping circles.
Dust climbs the ladder of light.
For this infernal, endless chore,
for these eternal seeds of rain:
Thank you. For dust.

The House on Moscow Street

It's the ragged source of memory,
a tarpaper-shingled bungalow
whose floors tilt toward the porch,
whose back yard ends abruptly
in a weedy ravine. Nothing special:
a chain of three bedrooms
and a long side porch turned parlor
where my great-grandfather, Pomp, smoked
every evening over the news,
a long sunny kitchen
where Annie, his wife,
measured cornmeal,
dreaming through the window
across the ravine and up to Shelby Hill
where she had borne their spirited,
high-yellow brood.

In the middle bedroom's hard,
high antique double bed,
the ghost of Aunt Jane,
the laundress
who bought the house in 1872,
though I call with all my voices,
does not appear.
Nor does Pomp's ghost,
with whom one of my cousins believes
she once had a long and intimate
unspoken midnight talk.
He told her, though they'd never met,
that he loved her; promised
her raw widowhood would heal
without leaving a scar.

The conveniences in an enclosed corner
of the slant-floored back side porch
were the first indoor plumbing in town.
Aunt Jane put them in,
incurring the wrath of the woman
who lived in the big house next door.
Aunt Jane left the house
to Annie, whose mother she had known
as a slave on the plantation,
so Annie and Pomp could move their children
into town, down off Shelby Hill.
My grandmother, her brother, and five sisters
watched their faces change slowly
in the oval mirror on the wall outside the door
into teachers' faces, golden with respect.
Here Geneva, the randy sister,
damned their colleges,
daubing her quicksilver breasts
with gifts of perfume.

As much as love,
as much as a visit
to the grave of a known ancestor,
the homeplace moves me not to silence
but the righteous, praise Jesus song:

Oh, catfish and turnip greens,
hot-water cornbread and grits.
Oh, musty, much-underlined Bibles;
generations lost to be found,
to be found.

Mama's Promise

I have no answer to the blank inequity
of a four-year-old dying of cancer.
I saw her on TV and wept
with my mouth full of meatloaf.

I constantly flash on disasters now;
red lights shout Warning. Danger.
everywhere I look.
I buckle him in, but what if a car
with a grille like a sharkbite
roared up out of the road?
I feed him square meals,
but what if the fist of his heart 
should simply fall open?
I carried him safely
as long as I could,
but now he's a runaway
on the dangerous highway.
Warning. Danger.
I've started to pray.

But the dangerous highway
curves through blue evenings
when I hold his yielding hand
and snip his minuscule nails
with my vicious-looking scissors.
I carry him around
like an egg in a spoon,
and I remember a porcelain fawn,
a best friend's trust,
my broken faith in myself.
It's not my grace that keeps me erect
as the sidewalk clatters downhill
under my rollerskate wheels.

Sometimes I lie awake
troubled by this thought:
It's not so simple to give a child birth;
you also have to give it death,
the jealous fairy's christening gift.

I've always pictured my own death
as a closed door,
a black room,
a breathless leap from the mountaintop
with time to throw out my arms, lift my head,
and see, in the instant my heart stops,
a whole galaxy of blue.
I imagined I'd forget,
in the cessation of feeling,
while the guilt of my lifetime floated away
like a nylon nightgown,
and that I'd fall into clean, fresh forgiveness.

Ah, but the death I've given away
is more mine than the one I've kept:
from my hands the poisoned apple,
from my bow the mistletoe dart.

Then I think of Mama,
her bountiful breasts.
When I was a child, I really swear,
Mama's kisses could heal.
I remember her promise,
and whisper it over my sweet son's sleep:

         When you float to the bottom, child,
         like a mote down a sunbeam,
         you'll see me from a trillion miles away:
         my eyes looking up to you,
         my arms outstretched for you like night.