The man had on a collared green shirt, leaning
elbows-down upon the wooden porch
rail when you first ran into him. His son,
a balded little bean, had eyes that shone
like bottle glass, like kelp beneath the water,
like that shirt.
You didn’t know he had a son. Not then.
You knew he had a tired smile, sturdy
shoulders, soft eyes. And then you knew the feel
of his back beneath your palm as you walked past,
bestowing half a second of your hand
to rally him to join you with the others,
to depart the porch for wider plains.
Instead he stood there scrambling, quietly,
to make a record of your finger prints,
prolong their indentations in his skin,
delay their fading into songs whose notes
you can’t dredge up but which have settled in
you somewhere, you can tell, because you feel
that same old pull within your abdomen,
the spot where they once burrowed when they played.
You both made sure to walk a line.
To always thread
your needle back around the eyehole
from the distant land of Wrong,
in all its sweetness and its song,
back through to Right, or Righteousness—
whatever name they gave the ground
that itched the bottoms of your feet,
that made your bones throb
when you sat too still upon return.
You never lingered long in Wrong.
Unless to bask within each other, side-
by-side and silently, is wrong. If wrong
is measuring each day by the particulars
of one another. Aching for each other
He claimed a famous tune, recorded years
ago, was his creation, that he wrote
the words about his love for you.
You knew you’d hear it differently
from that point on.
Though looking back, you know
he couldn’t possibly have penned it years
before he knew you. Looking back, the strange,
slow warbling—like an aging man would sing
as day began to drain behind his bloodshot eyes—
could not have been a love song. But it didn’t
matter to you then. Nor did all
the other details that began to fall
in odd formations, all the little rips
in what seemed real.
When finally you’re forced apart, when all
the careful calculations that allowed
you both to have each other in a way
that couldn’t be contested but within
the confines of your heart are all contested
ultimately, by that woman he
could never love, or leave, you’re left alone
to say whatever words you think could bridge
the space of years to come.
He kisses you atop your head—
avoiding every other surface—and you reach
your hand for his, finding pouring rain
and glass separating you.
Finding your palm pressed to the glass
of the window pane above your bed.
Finding yourself awake.
We encounter sudden, unexpected deaths
in dreams much as we do in waking life:
we go about our days without a premonition,
thinking of ourselves in present tense,
as figures bloomed in oils upon a canvas
who will always sit upon that space once dried,
or beams that form the buttress of a building,
crucial to its standing, never rotting
or removed on second thought by its designer.
But when we find ourselves, or those among us,
junked or turpentined without a warning,
we then scramble, quietly, to make a record
of our mother’s laugh—like simmering
molasses, rolling slowly to a boil, a burst—
a photograph of how the cigarette hung
at exactly ninety-three degrees
from the edge of our old roommate’s mouth,
an imprint of the way Fernando’s fur felt
as it ran in orange rivulets between our fingers.
If we can pull them out and hear them,
see them, feel them as we did the day
we molded them, then we don’t have to think
or speak of them in past tense yet.
They aren’t written as addendums to
our prologues, the events that pass off-stage,
unseen, before the curtain rises on
the actors, who must now play out the scenes
to come as if they’re all that’s real. They are.
So we return to sleep.
We fool ourselves to thinking that we’d hear
our mom or roommate’s voices if we called
them (after all, the world looks just the same
today as it had always looked when this were true),
convince ourselves the cat is just beyond
our view, between the bushes and the fence
where he can leisurely dissect his kill
without the prying eyes of hawks, or humans,
hum that warbly tune as if we weren’t
forgetting how it went. As if, because
we know we’re dreaming, we can conjure something
that we haven’t let ourselves believe was never ours.
And then we wake, because we always do.
The song becomes the rain that splatters
on the outer layer of storm window,
the radio alarm that sounds at seven-thirty.
The face we held to ours so short a time
ago, the eyes, the nose, the patchy
beard, that shirt,
become a blur of imprecision,
a distorted mass of colored lines.
The pulsing that we knew meant blood
in veins, a heart that pushed and pulled
it through, and beat for us,
fades out, becomes the beating
of the heart that lies beside us,
tangled in the blue
* * * * *
Shenan Hahn is a poet living and working in the Washington, DC area.She has been writing poetry for over 10 years, and graduated in 2010 with her Master of Arts degree in creative writing from Johns Hopkins University. Her work has most recently appeared in journals such as Slow Trains, PigeonBike, and Lines + Stars.
Her other contributions to Snake-Oil Cure can be found here.