Poetry

Cicada
by John Blair

A youngest brother turns seventeen with a click as good as a roar,
finds the door and is gone.
You listen for that small sound, hear a memory.
The air-raid sirens howled of summer tornadoes, the sound

thrown back against the scattered thumbs
of grain silos and the open Oklahoma plains
like the warning wail of insects.
Repudiation is fast like a whirlwind.

Only children don't know that all you live is leaving.
Yes, the first knowledge that counts is that everything stops.
Even in the bible-belt, second comings are promises
you never really believed;

so you turn and walk into the embrace of the world
as you would to a woman, an arrant
an orphic movement as shocking as the subtle
animal pulse of a flower opening, palm up.

We are all so helpless.
I can look at my wife's full form now
and hope for children,
picture her figured by the weight of babies.

Only, it's still so much like trying to find something
once lost. My brother felt the fullness of his years, the pull
in the gut that's almost sickness. His white
smooth face is gone into living and fierce illusion,

a journey dissolute and as immutable
as the whining heat of summer.
Soon enough, too soon, momentum just isn't enough.
Our tragedy is to live in a world

that doesn't invite us back.
We slow, find ourselves sitting in a room that shifts so slightly
we can only imagine the difference.
I want to tell him to listen.

I want to tell him what it is to crave darkness,
to want to crawl headfirst into a dirt-warm womb
to sleep, to wait seventeen years,
to emerge again.

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Charlotte Brontë in Leeds Point
  by Stephen Dunn	

From her window marshland stretched for miles.
If not for egrets and gulls, it reminded her of the moors
behind the parsonage, how the fog often hovered
and descended as if sheltering some sweet compulsion
the age was not ready to see. On clear days the jagged
skyline of Atlantic City was visible—Atlantic City,
where all compulsions had a home.

"Everything's too easy now," she said to her neighbor,
"nothing resisted, nothing gained." Once, at eighteen,
she dreamed of London's proud salons glowing
with brilliant fires and dazzling chandeliers.
Already her own person—passionate, assertive—
soon she'd create a governess insistent on rights equal
to those above her rank. "The dangerous picture

of a natural heart," one offended critic carped.
She'd failed, he said, to let religion reign
over the passions and, worse, she was a woman.
Now she was amazed at what women had,
doubly amazed at what they didn't.
But she hadn't come back to complain or haunt.
Her house on the bay was modest, adequate.

It need not accommodate brilliant sisters
or dissolute brothers, spirits lost or fallen.
Feminists would pay homage, praise her honesty
and courage. Rarely was she pleased. After all,
she was an artist; to speak of honesty in art,
she knew, was somewhat beside the point.
And she had married, had even learned to respect

the weakness in men, those qualities they called
their strengths. Whatever the struggle, she wanted men
included. Charlotte missed reading chapters to Emily, 
Emily reading chapters to her. As ever, though, she'd try
to convert present into presence, something unsung
sung, some uprush of desire frankly acknowledged,
even in this, her new excuse for a body.

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