The Bell Zygmunt

- 1953-

For fertility, a new bride is lifted to touch it with her left hand,
or possibly kiss it.
The sound close in, my friend told me later, is almost silent.

At ten kilometers, even those who have never heard it know what it is.

If you stand near during thunder, she said,
you will hear a reply.

Six weeks and six days from the phone’s small ringing,
replying was over.

She who cooked lamb and loved wine and wild mushroom pastas.
She who when I saw her last was silent as the great Zygmunt mostly is,
a ventilator’s clapper between her dry lips.

Because I could, I spoke. She laid her palm on my cheek to answer.
And soon again, to say it was time to leave.

I put my lips near the place a tube went into
the back of one hand.
The kiss—as if it knew what I did not yet—both full and formal.

As one would kiss the ring of a cardinal, or the rim
of that cold iron bell, whose speech can mean “Great joy,”
or—equally—“The city is burning. Come.”

More by Jane Hirshfield

A Hand

A hand is not four fingers and a thumb.

Nor is it palm and knuckles,
not ligaments or the fat's yellow pillow,
not tendons, star of the wristbone, meander of veins.

A hand is not the thick thatch of its lines
with their infinite dramas,
nor what it has written,
not on the page,
not on the ecstatic body.

Nor is the hand its meadows of holding, of shaping—
not sponge of rising yeast-bread,
not rotor pin's smoothness,
not ink.

The maple's green hands do not cup
the proliferant rain.
What empties itself falls into the place that is open.

A hand turned upward holds only a single, transparent question.

Unanswerable, humming like bees, it rises, swarms, departs.

Waking the Morning Dreamless After Long Sleep

But with the sentence: "Use your failures for paper." Meaning, I understood, the backs of failed poems, but also my life. Whose far side I begin now to enter— A book imprinted without seeming season, each blank day bearing on its reverse, in random order, the mad-set type of another. December 12, 1960. April 4, 1981. 13th of August, 1974— Certain words bleed through to the unwritten pages. To call this memory offers no solace. "Even in sleep, the heavy millstones turning." I do not know where the words come from, what the millstones, where the turning may lead. I, a woman forty-five, beginning to gray at the temples, putting pages of ruined paper into a basket, pulling them out again.

Late Self-Portrait by Rembrandt

The dog, dead for years, keeps coming back in the dream.
We look at each other there with the old joy.
It was always her gift to bring me into the present—

Which sleeps, changes, awakens, dresses, leaves.

Happiness and unhappiness
differ as a bucket hammered from gold differs from one of pressed tin,
this painting proposes.

Each carries the same water, it says.