the image of a horse leaning over the water
may be more than a horse leaning over the water.
One must be aware
of all of the possible connotations
of the word father. A complete knowledge
is impossible but the desire towards it, admirable.
The words "I love you" may be out of place,
the way a backpack left in an airport is also out of place.
A poem about my father may require further reading,
a Biblical scholar, whole cities of interpreters.
It is perhaps better done in a painting
or in the language that a fire speaks.
Certainly the image of a man reading to his son is safe?
Father, mother, brother, and sisó
in a poem about my father,
I have fallen from a horse leaning over the water.
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Issue 60
-
Editor's Note
-
Poetry
- Dara Barnat
- Jason Barry
- Robin Chapman
- Geraldine Connolly
- Matt Daly
- Elizabeth Burke
- Liz Dolan
- Thomas Dooley
- Lisa Hiton
- John McKernan
- Dave Nielsen
- Sheila Joy Packa
- Jack Powers
- Brook J. Sadler
- Amy Small-McKinney
- Danez Smith
- Karen Steinmetz
- John Tangney
- Ryan Teitman
- Davide Trame
- G.C. Waldrep
- Sarah Wangler
- Charles Harper Webb
- Mary-Sherman Willis
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Fiction
Issue > Poetry
Unfinished Figures
In Frederic Bazille's "The Terrace at Meric,"
the outline of a woman
sitting on a bench:
ghost-like, in the shade
of a very straight trunked tree:
you get the picture
it is the outline of a dream.
And the shade of the tree is dark,
in contrast to the hot sun
on the oleander bushes,
so that the woman becomes
a dark thought.
And there, in the window,
at the far back of the world,
in the window of the big house,
another outline,
this one not as sharp, so that it seems
there was one ghost the artist was sure of,
and then one that he wasn't.
the outline of a woman
sitting on a bench:
ghost-like, in the shade
of a very straight trunked tree:
you get the picture
it is the outline of a dream.
And the shade of the tree is dark,
in contrast to the hot sun
on the oleander bushes,
so that the woman becomes
a dark thought.
And there, in the window,
at the far back of the world,
in the window of the big house,
another outline,
this one not as sharp, so that it seems
there was one ghost the artist was sure of,
and then one that he wasn't.