Swelling Ribs in a Church Geography
Evening light, like youth, burnishes the hair
of late wedding guests around me.
She is always within a few pews
despite the erratic geography of dreams
that moves whispering bodies and friends
in an intricate social lottery.
Should I describe her dress to you?
Who could resist this desire
to convey the familiar topography
of each breast rising
above a thin receding plain of cotton?
I sometimes wish I could tell you
how at eighteen her ribs swelled
against her skin with each deep breath.
I’ve wanted to count them
pressing into my chest
as I now know I could have,
but this is not that poem.
You see, my wife is in this poem
circulating in the pews,
and she is the reason
I didn’t count those ribs
late, very late one Saturday night
before this other woman and I
left home for different colleges.
My wife glances at me
glancing at this woman.
She raises an eyebrow at me,
and she looks away, patient or bored,
when this other woman
is finally on my lap
staring me in the face
through a torrent
of loose brunette curls
which seem to smolder
in this evening light
in the middle of a wedding
in a church.
From experience I know
I won’t take this woman’s offering,
even within a dream.
I wake below a bank of lush coverings,
confused in the delicate limbs
of my wife. She snores faintly,
unfazed by this dream I’ve had.
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Eric, thanks for taking the time to really help me out with this one. Your comments make a lot of sense. I think there is a sort of discord in this one that doesn't work. The switch away from the dreamy feel is too jarring. I'm not sure if I should break the poem open and pull those bits out or if I should work to make the transitions less awkward.
Great food for thought. |
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Comment by: esknapp - 2008-02-18 10:56
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Kenneth,
I am not sure how to say this, exactly, but it feels to me as if this is parts of two great poems mushed together. I like the concept. I like the setting. I particularly like most of the third stanza, the final stanza,
and some of the other lines, such as the opening line, and the line about the "plain of receding cotton." In my opinion, a couple of the ideas don't mesh well with the feeling I'm trying to get from the poem, anyway. The geography/topography thing is a cool idea, and would work well, but doesn't seem to here, to me - its just a little discordant or distracting. Similarly, the self-referencing lines,
"but this is not that poem.
You see, my wife is in this poem"
also take away from the dreamy, nostalgic (ina good way) flow. The conflict of the narrator is real, and it resounds for me, anyway, as a reader. And the forthright manner in which the narrator is willing to share his pride/shame is becoming.
I really hope this is helpful, or if not, that it will spur you to tell me more about it.
Eric |
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| I enjoyed this. Writing is much better done in ones head than in reality. |
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