I acquire the history of her in each button:
agate and sardius, jacinth and jasper,
emerald, perennial, sapphire, deciduous,
christ and chrysalis clinging to her torso,
entering her in pairs, male and female,
to be reborn from her and generations
of her. Agate (chalcedony) as a worshipper
of silver and the light not yet named
thousands of years prior to a descendant
who would create Jehovah. Jacinth (hyacinth)
I see circling. I choose not to avoid souls
circling; I recite her poetry to them before
bed; I want them to recognize
their mother’s voice.
She is a progression of symbols (enveloped
in velvet and embroidery, read from east to west):
woman and well, a procession of rain, rain
rippling and rattling, words.
There were trees taller than any now, blue as saints
and clouds allowed to arch and cathedral, inspiring
magi, then later artists who would be paid well
to change god.
She is as she was, and their priests and sacrifices
will sometimes be envious.
Before I disperse my bones again to the four corners,
it is time to dispel the ambitious
who would inhabit the vessel of her to participate
in the vessel of us.
If there will be another birth, corinthians (isolated
by multiple stories--and I have been one) must abandon
the azure detailed with child.
Are they attempting again to enter through her? Is that
the trembling of her fingers.
That shadow, for example, is not her, though it appears
confident as it was when it navigated the glassy passages
and narrowing passages as my carcass fell, watching
Another is returning to marble upon a hill of debris.
What are salt and glass to me.
The cunning of a perfect left foot (which may or may not
have taught me to forgive the transience of dusk).
Each window as hesitation.
Rhyme schemes, an ex-wife, her asthmatic son.
But sleep, a beaded talisman. Our hearts working
as rain, fluttering;
this is probably a marriage, possibly
ours (Why else would I have dreamt it in a forest?). The mouths
are ours as the torque attains its circle,
the bloom of wood marking the turning as our poems do now.
A History of Her [#14]
© 2009 Fammerée
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