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Editor’s Note

Dear Reader,

I regret to announce that this issue (18.1) will be the final issue of Literary Matters under my editorship. It has been an honor and a privilege to serve as Editor-in-Chief, and it is with a heavy heart that I find my time coming to an end. Alas, nothing is forever.

I am grateful to the ALSCW, especially Ernest Suarez, for the opportunity to work on LM.

I am grateful to the editorial team, without whom my tenure would have been impossible. Special thanks to Poetry Editor, Matthew Buckley Smith; Interviews Editor, Caitlin Doyle; Translations Editor, Chris Childers; Associate Poetry Editor, Cameron Clark; Contributing Editor, Alexis Sears; Editor Emeritus, Ryan Wilson; and Production Editor, Jeffrey Peters.

I am grateful to the contributors. Whatever LM has managed to accomplish in the past year is entirely because of you. Thank you for sharing your work.

I am grateful most of all to you, dear reader. Thank you for your generous support.

I hope you will help me welcome the new Editor-in-Chief, Emily Grace, who will also be replacing me as the Office Manager of the ALSCW.

Emily Grace was born and raised in Southern Maryland. She earned a B.A. in English Literature with a Minor in Music from the University of Maryland, Baltimore County in 2018, and an M.A. in English Language and Literature from The Catholic University of America in 2021. She is currently a Ph.D. candidate at The Catholic University of America, and her research focuses on the intersections between modernist literature and music in the work of James Joyce, Djuna Barnes, Ralph Ellison, and Toni Morrison. She also works as a Professorial Lecturer in University Writing at George Washington University. In the past, she has worked as a poetry editor and content manager for The Loch Raven Review, and an assistant editor for Brick House Books, a Baltimore-based publishing house. Her creative work has appeared in such venues as Ghost City Press and Bartleby, among others. Emily has delivered papers at conferences of various professional societies including the Association of Literary Scholars, Critics, and Writers, the American Literature Association, the College English Association, and the Robert Penn Warren Circle. In 2025, she received the Capstone Award for Excellence in Teaching by a Graduate Student, and in 2023, she received the Eleanor Clark Award from the Robert Penn Warren Circle.

Not fare well, but fare forward.

Gratefully yours,

JMS

Le Vierge (from the French of Stéphane Mallarmé)

The virgin, the lively and the beautiful today
Will it tear from us with a drunken wingbeat’s blow
This hard lost lake a limpid glacier down below
The frost haunts with the flights that never flew away!

A swan of other times remembers that it’s he
Magnificent but with no hope to be spared pains
For having never sung the kingdom where life reigns
When sterile winter lends a glisten to ennui.

His whole neck will shake off this blank agon that space
Inflicts upon the bird denying it, but not
The horror of the earth in which his plumes are caught.

Phantom whose own pure radiance assigns this place,
He is immobilized in the cold dream of scorn
That by the Swan is through his useless exile worn.

 

Stéphane Mallarmé: Le vierge, le vivace, et le bel aujourd’hui

Le vierge, le vivace et le bel aujourd’hui
Va-t-il nous déchirer avec un coup d’aile ivre
Ce lac dur oublié que hante sous le givre
Le transparent glacier des vols qui n’ont pas fuit !

Un cygne d’autrefois se souvient que c’est lui
Magnifique mais qui sans espoir se délivre
Pour n’avoir pas chanté la région où vivre
Quand du stérile hiver a resplendi l’ennui.

Tout son col secouera cette blanche agonie
Par l’espace infligé à l’oiseau qui le nie,
Mais non l’horreur du sol où le plumage est pris.

Fantôme qu’à ce lieu son pur éclat assigne,
Il s’immobilise au songe froid de mépris
Que vêt parmi l’exil inutile le Cygne.

The Swan (from the German of Rainer Maria Rilke)

This struggle, through all that is still undone
Proceeding heavily and as if bound,
Is like the graceless waddle of the swan.

And dying, comprehension letting go
Of that on which we daily stand, the ground,
His anxious letting-himself-down below—:

Into the water, gently welcoming
Him, and itself a last and happy thing,
Which underneath him, wave by wave, is gone;
Meanwhile he, infinitely calm and sure
And with the kingly poise of the mature
Deigns at his leisure to keep gliding on.

 

Rainer Maria Rilke: Der Schwan

Diese Mühsal, durch noch Ungetanes
schwer und wie gebunden hinzugehn,
gleicht dem ungeschaffen Gang des Schwanes.

Und das Sterben, dieses Nichtmehrfassen
jenes Grunds, auf dem wir täglich stehn,
seinem ängstlichen Sich-Niederlassen—:

in die Wasser, die ihn sanft empfangen
und die sich, wie glücklich und vergangen,
unter ihm zurückziehn, Flut um Flut;
während er unendlich still und sicher
immer mündiger und königlicher
und gelassener zu ziehn geruht.

Ode I.5 (from the Latin of Horace)

Which svelte young dreamboat, Pyrrha, on a bed of roses
Down in your grotto, dripping with colognes, takes hold
……..Of you and pleasantly reposes?
……..For whom have you tied back your gold

Locks, cosmopolitanly plain? Oh, but he’ll cry
At how you and the gods alter your loyalties,
……..And, thunderstruck, marveling, eye
……..The dark storms ruffling restless seas,

Who savors unsuspectingly your sun-gilt hair
Now, hoping always you will always love him true,
……..Not knowing how soft gusts of air
……..Can mask a squall. They’re sunk, those who,

Poor lubbers, think you’re fair. For me: on the façade
Of his shrine proof hangs that I gave—a votive scroll—
……..My sopping slicker to the god
……..Who holds the seas in his control.

 

Horace: Ode i.5

Quis multa gracilis te puer in rosa
perfusus liquidis urget odoribus
grato, Pyrrha, sub antro?
……..Cui flavam religas comam

simplex munditiis? Heu quotiens fidem
mutatosque deos felbit et aspera
nigris aequora ventis
……..emirabitur insolens,

qui nunc te fruitur credulous aurea,
qui semper vacuam, semper amabilem
sperat, nescius aurae
……..fallacis! Miseri, quibus

intemptata nites! Me tabula sacer
votiva paries indicat uvida
suspendisse potenti
……..vestimenta maris deo.

Death and the Maiden (from the German of Matthias Claudius)

……..The Maiden:

Pass over, oh, pass over,
Wild man of bones: away!
I am still young. Go, lover,
And touch me not today.

……..Death:

Give me your hand, you frail and lovely child!
I am your friend and bring no vengeful harms.
Be of good cheer! I am not wild!
Soft shall you sleep within my arms!

 

Matthias Claudius: Der Tod Und Das Mädchen

……..Das Mädchen:

Vorüber, ach vorüber
geh, wilder Knochenmann!
Ich bin noch jung! Geh, Lieber,
und rühre mich nicht an!

……..Der Tod:

Gib deine Hand, du schön und zart Gebild!
Bin Freund und komme nicht zu strafen.
Sei gutes Mut! Ich bin nicht wild!
Sollst sanft in meinen Armen schlafen!

Ecclesiastes (from the French of Leconte de Lisle)

Ecclesiastes said: a living dog
is better than a lion dead; that save
for food and drink, all things are smoke and fog;
that nothingness of life fills up the grave.

On ancient nights, his face to heaven’s face,
atop his tower, silent and alone,
his eyes suspended over depths of space,
he dreamt of darkness on his ivory throne.

Old lover of the sun, who railed at God,
know too that death is also a facade.
What joy to truly die– no thoughts, no seeing!

But no. Instead I hear, eternally,
drunk on the dread of immortality,
the endless roar of everlasting Being.

 

L’Ecclésiaste

by Leconte de Lisle

L’Ecclésiaste a dit : Un chien vivant vaut mieux
Qu’un lion mort. Hormis, certes, manger et boire,
Tout n’est qu’ombre et fumée. Et le monde est très vieux,
Et le néant de vivre emplit la tombe noire.

Par les antiques nuits, à la face des cieux,
Du sommet de sa tour comme d’un promontoire,
Dans le silence, au loin laissant planer ses yeux,
Sombre, tel il songeait sur son siège d’ivoire.

Vieil amant du soleil, qui gémissais ainsi,
L’irrévocable mort est un mensonge aussi.
Heureux qui d’un seul bond s’engloutirait en elle !

Moi, toujours, à jamais, j’écoute, épouvanté,
Dans l’ivresse et l’horreur de l’immortalité,
Le long rugissement de la Vie éternelle.

Anguish (from the French of Stéphane Mallarmé)

I have not come to use your body, beast,
which bears the people’s sins, nor rake my nails
through your soiled tresses like a wretched tempest–
through all my kisses, chronic boredom wails.

Beneath these sheets stained by remorseless thighs,
it’s just for dreamless sleep I want your bed–
the same you savor after your false sighs.
Of nothingness, you know more than the dead.

For Vice has gnawed away my born nobility,
and marked me, like yourself, with her sterility.
But while your breast houses a heart of stone

the fangs of crime are powerless to eat,
I flee, pale, haunted by my winding sheet,
afraid of dying when I sleep alone.

 

Angoisse

by Stéphane Mallarmé

Je ne viens pas ce soir vaincre ton corps, ô bête
En qui vont les péchés d’un peuple, ni creuser
Dans tes cheveux impurs une triste tempête
Sous l’incurable ennui que verse mon baiser:

Je demande à ton lit le lourd sommeil sans songes
Planant sous les rideaux inconnus du remords,
Et que tu peux goûter après tes noirs mensonges,
Toi qui sur le néant en sais plus que les morts:

Car le Vice, rongeant ma native noblesse,
M’a comme toi marqué de sa stérilité,
Mais tandis que ton sein de pierre est habité

Par un coeur que la dent d’aucun crime ne blesse,
Je fuis, pâle, défait, hanté par mon linceul,
Ayant peur de mourir lorsque je couche seul.

Along the Boulevard (from the Italian of Virgilio Giotti)

We look, my daughter and I,
At our shadows upon the gravel;
Small shadows, of a tint
Between rose-pink and purple.
We look above, and “Oh!”

My daughter cries with joy.
For just today have sprouted
On the branches little buds,
Some opening up in flowers,
Some shut in verdant rows.

She laughs; and her toddler’s laughter
Blends with the bright green hues
Born into being above us
This morning—and blends, too,
With the shadows down below.

 

Sul vial

Vardemo, mi e mia fia,
le ombre su la giarina:
pice ombre de ’na tinta
tra rosa e zelestina.
Vardemo in suso; e un Oh!

ela la fa contenta.
Vignude apena fora
ghe xe le foietine
sui rami, averte ancora
una sì una no.

La ridi: e quel su’ rìder
de fiola se combina
col verde che xe nato
là suso stamatina,
co’ ’ste ombre qua zo.

 

In six volumes of verse Virgilio Giotti (1887–1957) fashioned an utterly unique voice within the Italian literary landscape. Born in Trieste when the city was part of the Austro-Hungarian empire, Giotti chose to write in a refined variant of his local dialect rather than in standard literary Italian. This allowed him to sidestep the bookish and oratorical aspects of the Italian tradition and to tap into the stream of popular European lyric running from archaic Greece to German Lieder. Giotti added to this an acute visual sensibility all his own and an interest in contemporary aesthetic debates. Although his use of dialect has rendered his work less well-known than it ought to be, Giotti has been celebrated by the likes of E. Montale and P. P. Pasolini and is the object of increasing interest from Italian scholars and critics. His natural peers are lyricists like Sappho, Heine, and Hardy.

The Wind (from the Italian of Virgilio Giotti)

The wind, the fresh new wind
Of March, it shakes it shakes,
Beneath the ashen clouds,
The boughs beyond the wall.

The wind, the wind still cold, —
With just March-hints of warmth, —
It blusters and it blusters,
Racks shutters, doors, and halls.

The wind, the madcap wind
Of March, it flits about
The temples, tousles, on
One’s forehead, hairs gone gray.

It whispers in our ears:
Things we no longer want
To know, to hear, it loves
To tell, it loves to say.

 

Vento

El vento novo, el vento
de marzo, el scassa el scassa
soto el ziel color zènere,
i rami drio d’i muri.

El vento ancora fredo,
za tèpido de marzo,
el scantina el scantina,
el crùzzia porte e scuri.

El vento, el vento strambo
de marzo, el ne scarufa
su le tèmpie, el ne svèntola
in fronte i cavei grisi.

El ne parla in orècia:
robe che no’ volemo
più saver, più sintir
el ne conta, el ne disi.

 

In six volumes of verse Virgilio Giotti (1887–1957) fashioned an utterly unique voice within the Italian literary landscape. Born in Trieste when the city was part of the Austro-Hungarian empire, Giotti chose to write in a refined variant of his local dialect rather than in standard literary Italian. This allowed him to sidestep the bookish and oratorical aspects of the Italian tradition and to tap into the stream of popular European lyric running from archaic Greece to German Lieder. Giotti added to this an acute visual sensibility all his own and an interest in contemporary aesthetic debates. Although his use of dialect has rendered his work less well-known than it ought to be, Giotti has been celebrated by the likes of E. Montale and P. P. Pasolini and is the object of increasing interest from Italian scholars and critics. His natural peers are lyricists like Sappho, Heine, and Hardy.

The Cicada (from the French of Paul-Jean Toulet)

When we were off the paths, where land
……..is rosy-scarlet dust —
Aline in fits of laughter, just
……..from having touched my hand —

the woodland echo laughed. The ground
……..made every footfall knell.
Aline went still; the empty dell
……..was filled with eerie sound….

But you, Cicada, from on high,
……..where perching, drunk with dew —
not sleepy, not lymphatic — threw
……..your sad, vermillion cry.

XXX: La cigale
by Paul-Jean Toulet

Quand nous fûmes hors des chemins
……..Où la poussière est rose,
Aline, qui riait sans cause
……..En me touchant les mains ; –

L’Écho du bois riait. La terre
……..Sonna creux au talon.
Aline se tut : le vallon
……..Etait plein de mystère…

Mais toi, sans lymphe ni sommeil,
……..Cigale en haut posée,
Tu jetais, ivre de rosée,
……..Ton cri triste et vermeil.

 

Declaring himself both Mauritian Creole and Béarnese, Paul-Jean Toulet (1867–1920) credited the place-fascination in his poems and novels to his two childhood homes — the picturesque Béarn region in the Pyrenees of southern France, and the tropical Indian Ocean island of Mauritius. Toulet invented the contrerime quatrain seen here, whose alternating verses of eight and six syllables (disregarding the final, unstressed syllables of feminine line-ends) are rhymed ABBA. In 1914, these and Toulet’s poems in other forms were gathered into the collection Les contrerimes, but production difficulties following World War I delayed publication until a few months after the poet’s death.

This poem’s reference to paths where the dust is rose-colored evokes le Sentier des Ocres (the Ocher Trail), a woodland hiking area that wends through former quarries for Provence’s pink terra cotta tile industry. While also conveying the tirelessly-singing cicada’s lack of sluggishness, the phrase “without lymph” in the French echoes the Hellenistic-period Greek Anacreontea 34’s description of the cicada as lacking blood; however, “not lymphatic” seemed a more literally meaningful English rendering. Note that the French word for cicada (cigale) is grammatically feminine, although the insect’s mating calls are made only by male cicadas.

To the Cicada (from the Greek of Meleager of Gadara)

Echo-producing cicada, you make yourself tipsy on dewdrops,
……..belting your back-country song; wilderness warbles along.
Perching up high in the leaves with your serrated legs, you play music —
……..brown (as if toasted by fire) skin making sounds like a lyre.
Go and perform some new melody, though, for the Nymphs of the wood, dear.
……..Partner with pipe-playing Pan, thereby permitting my plan:
briefly escaping from Eros, I’ll slip into slumber at midday,
……..taking my ease where I’ve stayed — under your sycamore’s shade.

Untitled (Greek Anthology 7.196)
by Meleager of Gadara

Ἀχήεις τέττιξ, δροσεραῖς σταγόνεσσι μεθυσθείς,
……..ἀγρονόμαν μέλπεις μοῦσαν ἐρημολάλον·
ἄκρα δ᾽ ἐφεζόμενος πετάλοις πριονώδεσι κώλοις
……..αἰθίοπι κλάζεις χρωτὶ μέλισμα λύρας.
ἀλλά, φίλος, φθέγγου τι νέον δενδρώδεσι Νύμφαις
……..παίγνιον, ἀντῳδὸν Πανὶ κρέκων κέλαδον,
ὄφρα φυγὼν τὸν Ἔρωτα μεσημβρινὸν ὕπνον ἀγρεύσω,
……..ἐνθάδ᾽ ὑπὸ σκιερῇ κεκλιμένος πλατάνῳ.

Born in an ancient Syrian city whose ruins lie near modern Umm Qais, Jordan, Meleager of Gadara lived during the second and first century BCE (ca. 140–70). He spent most of his career in the Phoenician city of Tyre (in modern Lebanon), then retired to the Greek island of Kos/Cos, off the coast of modern Türkiye/Turkey. His anthology The Garland, which originally included about 4,000 lines from at least 46 lyric poets, formed an important basis for what today is known as the Greek Anthology. 134 of Meleager’s own epigrams survive.

Although at least one scholar titles this poem “The Cricket to the Cicada” (and its immediate predecessor in the Anthology “The Cicada to the Cricket”), this translation preserves the possibility that the narrator is human. The original’s elegiac couplets do not use rhyme, but in this English translation, internal rhyme emphasizes the even-numbered lines’s caesurae. Note that the Ancient Greek word for cicada (τέττιξ) is grammatically masculine.

Left-Handed Sonnet for My Future Absence

After Ravel’s Concerto for the Left Hand,
composed for Paul Wittgenstein, who lost
his right arm in war.

A reader, as abstracted as a star,
detects rewards a secret bard erases:
cadaver, tattered bearers, bearded faces,
affected vertebrae set ever far.
A beggar feasts; a starved stargazer sees,
refracted as a desert tear—a raft,
a scattered seaweed sestet, severed draft,
sweet water terrace, eager treeward bees.
As fear, regret, dread, rage reverberate,
a ravager regards a fated crest—
a stage, a braggart’s target, a daft test—
as sacred art creates a cedar gate.
A reader reads deft verses as exact,
as faceted as Frege’s tesseract.

From First Fall and Other Dreams

First Fall

The whole world between my hands
comes to a quivering lull,
and as I catch you, my skull
compresses and understands

the waves lashing at the sands
of its weathered shores have tried
to nudge me to step aside.
You learn to walk, and to be,
close to the edge of the sea,
this sea you carry inside.

Afternoon

The little one’s eyelids deep
in their quarrel with the mind,
the sky caressing each blind
is fading, falling asleep.

I keep pretending I reap
pages of poetry (right)
but my hand is feeling light
and icy toward what it’s spun.
I bundle up with my son
as day dissolves into night.

Sled

“We climbed together the hill
and reached the top, as I said,
and then you hopped in the sled
and left me there, standing still.”

He huddled close in the chill.
I turned away, bleary-eyed.
“It was just a dream,” I lied,
hoping he’d let the dream go,
but winter tracked what I know.

The sled stopped. I stepped aside.

Odysseus’ Last Return to Ithaca

“[Y]ou have to go away and take an oar
to people with no knowledge of the sea,
who do not salt their food. They never saw
a ship’s red prow, nor oars, the wings of boats”

– Odyssey, Book XI, trans. Emily Wilson

Though in this final trip of Nobody
a saffron polish saturates the dawn
illuminating fair Penelope,
it matters not, Eumaeus, if you’re gone.

Nor does it matter that there’s poetry
about bruised cloudscapes blanketing the year
and people who don’t know Poseidon’s sea,
if you, who cared for Argos, are not here.

The bard declaiming stories matters not,
no matter how prodigious or how keen,
no matter that Athena wove the plot.

Wine burns the throat, and Homer’s spell is broken,
without you, patient swineherd, who have been
the one to whom the poem was always spoken.

The End of the Age of Singing

What routine nights. The house in steady dark,
we pile the dishes, lay tomorrow’s shirts.
Wine is uncorked and left to sit. We talk
in hushed tones, as though shy in a public place,
a waiting room, or deck of a moving ship.
Before, all this would wait, until we met
in his room, by his bed – and we would sing
not loud or well, but tuned enough for him
to fall asleep, assured that he was loved.
Life’s small and sung-out height. We have slipped past
the heyday of its church. Its windows broken,
the tiny silent grief of those old stars
in its holed roof. Its organ at the back
that might still play or break if it were touched.

Narcissus

The reader must be carried to the point where he should conclude
that the work is an accident, and the author a peculiarity.
—Paul Valéry

*

When I was young, I spit
into the pool, then watched
the tepid foam-of-me
dissolve and cool and ripple
outward from my self’s
cold calm reflection.

Grown into my desire,
in later years I rigged
a mirror system, reflecting
my reflection from behind.
By then, I knew my eyes,
but not my nape, my skull.

Now, I seldom stare,
or strain to catch a glimpse
in glass or puddled water.
But in the dark, I hold
my many selves as one—
the one I will relinquish.

*

When I was young, I spit into the pool
and marked that tepid foam-of-me a fool,

too swiftly cooled, too soon dispersed—dissolving
in the rings of ripples round my gaze revolving.

Full-grown into that gaze, in later years,
I blinked at frontal hopes.
……………………………………….Yet, nether fears! —

I studied them in mirrored mirrored mirrors,
and verified the darkened side of spheres.

My eyes are weary now, averse to glare.
Likewise, to knife-edged focus. I’ve stripped them bare

of all reflection in the dark that breeds them
and where, erased, I shall no longer need them.

*

I watched my gob of phlegm drip down
the polished glass that held my image
and I did not flinch, I faced my face, my own,
the thief and the reflector, both thrower and thrown.

I did not drown, but bathed my burning eyes
in time. The architect, the sculptor of my gaze,
time turned them, turned them on its wheel, its lathe,
to cradle, skull and bowl—to empty grave

where gather now the ghosts of all my faces,
camera-less, without obsessed reflection,
each fly’s eye calmed by cyclopean graces
of looming dark, which focuses, erases.

*

On recent shoreside visits, I still mark
…………..that rundown old motel,

that dreary room atop a single flight
…………..of creaky wooden steps,

and that battered bathroom mirror where I spit
…………..at my bemused reflection—

before I ventured out to cruise the bars,
…………..to seek the eyes of others.

It took some years to lose that tired textbook
…………..sense of self-contempt,

to clarify my self-to-self’s rude gesture.
…………..That single splash of spit

was the impatient boat by means of which
…………..I crossed my first abyss:

the distance, clear as glass, that lies between
…………..the seer and the seen.

I went exploring then, around and through,
…………..ahead and far behind—.

By now these eyes of mine, as mind, have mined
…………..ten thousand times

ten thousand selves, a shimmering collection
…………..of shades of seeing being.

The lamps have cooled, the current rises
…………..to scar the silvered surface

that carries all my faces out to sea,
…………..to where I am not me.

*

Slashed with spit, lost youth all bespattered in fragments;
pooled no more, my gaze, become re-definer;
eyes ashift through cisterns of bar-lit shadow—
…………..witness, collector!

Overcrowded lens! Soon re-polished by absence,
filled with eyeless skulls, with a vigil grown vatic!
Eye of mine, your pool once again awaits you,
…………..dry now, and blinded.

Focused face to no face with an empty place,
every vision, every snapshot is shrinking
from eye to inner eye to its closing lid—
…………..being un-manned.

*

My heart of spit lies scattered on a glass
which the fire in my soul can’t understand.
My colder self just dries its brow and laughs.
The mirror becomes pool. My eyes expand.

The pool is in my eye now. And what’s outside
will dive or float, will sink or splash or swim,
will share the naked truths, the brazen lies—
ten thousand are the ways to enter men!

I turn my face back to my refugee,
my poor self mired in riches. I close my eyes.
The many now are one. —Is one too many?
Ears scour the dark for vision’s vacant sighs.

I think I hear faint strains of Orphic flute.
When will the questioner fall senseless, mute?

*

There was a young faggot, self-schooled,
who’d studied his face in a pool.
When he glimpsed his own ass
in a cracked whiskey glass,
well, he knew he’d been played for a fool.

*

And also the recognition of the pure or absolute Me,
the Me = Zero which is identical in us all, rejects all, is opposed to all.

And yet is the nexus of sensibility and “consciousness”.
—Paul Valery

Crowd Control

Watching the Macy’s Thanksgiving Day parade,
I cleared the year’s caches over morning coffee.
The floats, like malign overlords,
Trailed their regalia and sponsor names.

I cleared the year’s caches over morning coffee.
All those accretions of absent thought
Trailed their regalia and sponsor names.
Nothing is pure. It’s been contaminated—

All those accretions of absent thought
Amounting to a sinister presence.
Nothing is pure. It’s been contaminated
With marbled swaths of turkey gravy.

Amounting to a sinister presence,
The relatives who shook our hands and left
With marbled swaths of turkey gravy
Across their muzzles are with us yet.

The relatives who shook our hands and left
Now occupy a screen. The frozen smiles
Across their muzzles are with us, yet
We’re riveted as cartoon characters

Now occupy a screen. Those frozen smiles!
Watching the Macy’s Thanksgiving Day parade,
We’re riveted to cartoon characters:
The floats, our malign overlords.

Out of the Box

The foreman, a woman in a bubble
jacket (the room was cold)
asked if we’d heard enough.

We could rewind the tape
or paw the evidence bags
ourselves, could grip the gun
through plastic, or even file
a clarifying question

with the monitor for whom
we were no exception
to the rules of confinement:
the boredom that succeeds
surprise upon learning the show

can entertain, if briefly.
Out of the box, we agreed
the prosecution had flair—
a crisply bearded Latino
who sprang up near the end

with a sudden reversal
in his closing argument.
This felt like no kink
in the yarn he fed us, rather
a jolt to make it taut.

The court-appointed lawyer
sniffed through it all, not
from spite, but from a cold.
Now and then he’d collect
corners of a handkerchief,

find a spot and blow.
His closing was a PowerPoint.
An occasional whisper
to the defendant, a Black
male in his 20s who stood

respectfully and smiled
whenever we came in, was
the depth of their communion.
Though who knows what passed
between them and their opposite

number, or perhaps the judge
while they all waited? We
didn’t keep them long.
First, silence. Then tentative
conclusions slid across

the folding table, so
like one at home. How
we parsed the adjective
in “beyond a reasonable
doubt”! I was myself

called out between sips
of bottled water by
a Potomac (Md.) mom
who argued that my doubt
was not in hailing distance.

She wouldn’t let her child
arrive at this pretty pass.
The admission of a world
outside the windowless room
started a subtle riot.

We paused to ask each other
about travel, deadlines,
and daycare options.
How long would this continue?
It was up to us.

The bud of contingency
bloomed, sending forth
its doctrine in ruddy
shoots. We could agree
not to disagree.

Ninety minutes on,
the face of the accused
hardened. No need to pretend
to us he had a chance.
We thought the counsel wept

but it was just the sniffles.
Grabbing our things later,
we saw the judge, de-robed,
enter our jury room.
So we sat back down.

“I’d like to take some time
to answer any questions
and learn how it went for you.
I do this twice a year.
We’re grateful for your service.”

The silence that followed was like
the one that had begun
when the foreman had asked us if
anyone wanted to start.
Now, as then, I spoke.

“How much do you think he’ll get?”
The judge waved, parting
an invisible curtain, or
batting a fly away.
“The minimum is twenty.”

As we went underground
to our separate parking spots,
taking our leave forever,
I couldn’t help but wonder
how things might change if only

we could rewind the tape
or paw the evidence bags
ourselves, could grip the gun
through plastic, or even file
a clarifying question.

Assurances

We often claim to know what we would do
if, when we least expected it, the attic
door burst and Gestapo special agents came.
We tell ourselves it wouldn’t be the same.
Our outrage would compel an automatic
response—one brutal and effective, too.

How would we behave if on a flight
diverted to a grisly martyrdom
or grounded while the world negotiates?
No matter which alternative awaits—
a nullifying fear or tedium—
we’re certain we’d pull out of it all right.

Just so, we are assured that when extreme
contingencies arise, they will present
no challenge our resourcefulness can’t match—
no nightmare that our cunning won’t dispatch—
as if the tortures others underwent
were trials our wish fulfillment could redeem.