in what you are
is there such a thing
as dreaming
or fear
the sudden shock
of birds
a message
are you one
or am i
and the storms
their drums opening
your smile
your silver tooth
of dew
is there laughing
like the one
when the girl
lifts her face
i am always rushing
and you
somewhat still
beside the wall of stones
like a station of trains
or a large post office
where outside
people wait
in lines
for typists to type
résumés and
applications
and letters of who
was born
and who will
not go but
will stay
all through
the war
it seems
you know
so much there
with your field
getting older
with the rain
running through you
your life in one place
your little chair
of dirt upon
which you stand
orphic secret
with fog
it is through you
that the buried grow
a second communication
please show us to that well then
here are three more children
flower whose back
we lay the broken voice across
in rest when we are nothing left
and you carry us still
my flower
describe one formal realization or change you made during the writing of this poem.
I felt increasingly marked by the flower’s ephemerality and by the ways that turning toward it in the poem touched open channels between other life forces and memories. Formally, I was interested in the capillary action of the flower pulling water up through its roots, along with the descent of the rain and of this poem read from top to bottom. Other things: I at first dropped the “my” of “my flower,” not wanting to possess it, but then returned to it for dearness. I hoped that quick turns in the language would keep the flower out of grip. Connected to this and what I hope is an element of multidirectionality created by the unpunctuated lines and units of thought running into others with some fluidity, I grew interested in the proximity of “you” and “us” and “my,” trying as I was toward soft instabilities—of waters, syntactical orientations, and presences.
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