“I Cannot Be Quiet an Hour”
to talk to violets.
Tears fall into my soup
and I drink them.
Sooner or later
everyone donates something.
I carry wood, stone, and
hay in my head.
The eyes of the violets
grow very wide.
At the end of the day
I reglue the broken foot
of the china shepherd
who has put up with me.
Next door, in the house
of the clock-repairer,
a hundred clocks tick
at once. He and his wife
go about their business
sleeping peacefully at night.
by Mary Ruefle (1952-)
I find myself drawn to this poem by the Cuban American poet Silvia Curbelo (1955-) for a variety of reasons, not the least of which is the Tampa Bay setting, a landscape I spent many years of my life and that I don’t often encounter in poems.
“Tonight I Can Almost Hear the Singing”
There is a music to this sadness.
In a room somewhere two people dance.
I do not mean to say desire is everything.
A cup half empty is simply half a cup.
How many times have we been there and not there?
I have seen waitresses slip a night’s
worth of tips into the jukebox, their eyes
saying yes to nothing in particular.
Desire is not the point.
Tonight your name is a small thing
falling through sadness. We wake alone
in houses of sticks, of straw, of wind.
How long have we stood at the end of the pier
watching that water going?
In the distance the lights curve along
Tampa Bay, a wishbone ready to snap
and the night riding on that half promise,
a half moon to light the whole damned sky.
This is the way things are with us.
Sometimes we love almost enough.
We say I can do this, I can do
more than this and faith feeds
on its own version of the facts.
In the end the heart turns on itself
like hunger to a spoon.
We make a wish in a vanishing landscape.
Sadness is one more reference point
like music in the distance.
Two people rise from a kitchen table
as if to dance. What do they know
from The Secret History of Water