Lunar Eclipse

Linda Bierds

Mt. Rainier National Park

We are standing on the access road to Paradise.
Seven miles from the gates.  We are standing
on the centerline, the moon on our faces, the mountain
at our backs. 
Were it less than full, we might see,
in its northwest sector, the Land of Snow
and the Ocean of Storms.  Because it is full, we can see,
just over our shoulders, how the Ramparts climb up
toward the glaciers.
  We might see near the Sea
of Showers, the dark-floored crater of Plato.
How the glaciers, just over our shoulders—
Pyramid, Kautz, Nisqually—shine.  How the spreading
bedrock shines.
  As if we are starting again,
we have placed—there—on the moon’s widening shadow
Kepler, Copernicus, Archimedes, Aristoteles.
And opened a Sea of Fertility.  A Sea of Nectar.
As if we imagine     a harvest.
No sound it seems, on the slopes, in the firs.
Nothing hoots.  Nothing calves.  Although
through Nisqually’s steep moraine, rocks
must be shifting, grasses cinching their eternal grip.

Look, in the blackness, how the moon’s rim glows,
like a ring from an ancient astrolabe. 
We are standing in the roadway.  There is nothing
on our faces but the glow of refracted dust. 
At our backs, the mountain is shifting, aligning itself
with the passing hours.
  First ice. Then stone.
Then the ice-green grasses.  We are standing
on the centerline
     aligning ourselves with the earth.
We are standing on the access road    as if we imagine
an eternal grip.  Look—they are rotating on, now.
Already a pale crescent spreads
past the Known Sea     and the Muir Snowfields—
as if we are starting…—past
the Trail of Shadows,
the ice-green grasses,
the seas of nectar, the craters of rest,
the gardens of     nothing but passing hours.

More by Linda Bierds

Flight

Osseous, aqueous, cardiac, hepatic—
back from bone the echoes stroke, back
from the halved heart, the lungs
three years of weightlessness have cinched to gills.
From a leather chaise, the astronaut’s withered legs
dangle, as back they come, sounds
a beaked percussion hammer startles into shape.
The physician cocks his head and taps—exactly
as a splitter halves his slate, the metamorphic rock
chisel-shocked, then shocked again, halved

and halved, until a roof appears, black as space.
I’m gaining ground, he says, the astronaut,
who knows, from space, earth is just a blue-green glow,
a pilot light he circled once, lifted, swiftly flown
above the rafters and atmospheres, half himself
and half again some metamorphic click, 
extinct as memory.  I’m gaining ground,
he says, and back it comes, his glint
of cloud-crossed world:  a pilot light
or swaddled leaf, green in the season’s infancy.

Burning the Fields

     1.

In the windless late sunlight of August,
my father set fire to a globe of twine. At his back,
the harvested acres of bluegrass and timothy
rippled. I watched from a shallow hill
as the globe, chained to the flank of his pickup truck,
galloped and bucked down a yellow row, arced
at the fire trench, circled back,
arced again, the flames behind
sketching first a C, then closing to O—a word
or wreath, a flapping, slack-based heart,

gradually filling. To me at least. To the mare
beside me, my father dragged a gleaming fence,
some cinch-corral she might have known,
the way the walls moved rhythmically,
in and in. And to the crows, manic
on the thermals? A crescent of their planet,

gone to sudden sun. I watched one stutter
past the fence line, then settle
on a Hereford's tufted nape,
as if to peck some safer grain, as if
the red-cast back it rode
contained no transformations.

     2.

A seepage, then, from the fire's edge: there
and there, the russet flood of rabbits.
Over the sounds of burning, their haunted calls
began, shrill and wavering, as if
their dormant voice strings
had tightened into threads of glass.

In an instant they were gone—the rabbits,
their voices—over the fire trench,
into the fallows. My father walked
near the burn line, waved up to me, and from
that wave, or the rippled film of heat,

I remembered our porch in an August wind,
how he stepped through the weathered doorway,
his hand outstretched with some
book-pressed flower, orchid or lily, withered
to a parchment brown. Here, he said, but
as he spoke it atomized before us—
pulp and stem, the pollened tongue,
dreadful in the dancing air.

     3.

Scummed and boxcar thin,
six glass-walled houses stretched beside our fields.
Inside them, lilies, lilies—

a thousand shades of white, I think.
Eggshell, oyster, parchment, flax.

Far down the black-mulched beds, they seemed
ancestral to me, the fluted heads of
dowagers, their meaty, groping,
silent tongues. They seemed
to form perspective's chain:
cinder, bone, divinity . . .

     4.

My father waved. The crows set down.
By evening, our fields took the texture
of freshened clay, a sleek
and water-bloated sheen, although no water
rested there—just heat and ash
united in a slick mirage. I crossed the fence line,
circled closer, the grasses all around me
collapsing into tufts of smoke. Then as I bent
I saw the shapes, rows and rows of tougher stems—

brittle, black, metallic wisps, like something grown
to echo grass. The soot was warm,
the sky held smoke in a jaundiced wing,
and as a breeze crossed slowly through,
stems glowed—then ebbed—
consecutively. And so revealed a kind of path,
and then a kind of journey.

Windows

When the cow died by the green sapling,
her limp udder splayed on the grass
like something from the sea, we offered
our words in their low calibrations—
which was our fashion—then severed
her horns with a pug-toothed blade
and pounded them out to an amber
transparency, two sheets that became,
in their moth-wing haze, our parlor windows.
They softened our guests with the gauze-light
of the Scriptures, and rendered to us,
on our merriest days, the sensation
of gazing through the feet of a gander.
In time we moved up to the status
of glass—one pane, then two—each
cupping in proof of its purity
a dimple of fault, a form of distortion
enhancing our image. We took the panes
with us from cottage to cottage,
moth-horn and glass, and wedged up
the misfitted gaps with a poultice
of gunny and wax. When woodsmoke
darkened our bricks, we gave
to the windowsills a lacquer
of color—clear blue with a lattice
of yellow: a primary entrance and exit
for light. And often, walking home
from the river and small cheese shop,
we would squint their colors to a sapling
green, and remember the hull
of that early body, the slap of fear
we suffered there, then the little wash
of recovery that is our fashion—how
we stroked to her bones a cadenced droning,
and took back from her absence, our
amber, half-literal method of sight.

Related Poems

The Wind and the Other Moon

A drift of torn cloud, daylight
that’s open and clear.  The grackles
wheeze and groan like old
retired gamblers as they wander
and gather.  A sleeping rhythm
in the day, and then sometimes
the wind comes through and makes 
them lift and fall, the crowds
of leaves that were motionless
and silent until now.
	        In the evening,
the notes of a bird, just one,
calling to a big slow-moving moon.
September evening going on 
and changing into deepest night.
The lights along the streets 
are motionless and steady,
the insects hiding in the grass
pursue their copulation song
relentlessly, a thin white moon
is glowing now in its silence
and a long, dismasted cloud is drifting
slowly by.  Soon the trees that make
these heavy stirring shapes, that sigh
as they gather up and soften
and transpose the dark will strip
themselves (like those old men
who leave their wives and families
to wander naked on the roads)
and then their brittle cast off
leaves will scratch and crawl
along the roads to give the only
sound of winter nights
and then the wind
and the other moon will have
come into their own