Out there, somewhere,
you are a variable
in the night's equation.
I listen hard
to the hands of smoke
moving beneath the river,
to the abandoned grain elevator
dragging its chains
through the tender blood
of the night.
I listen to the hush
of your name
as it's subtracted
from one darkness
then added to another.
*
I pray to what you are not.
You are the opposite of a horse.
Your hair is not the seven colors
of cemetery grass.
Your mouth is not a dead moon,
nor is it the winter branches
preparing their skeletons
for the wind.
A double thread of darkness
winds through me,
and the night's coarse tongue
scrapes your name
against the trees.
*
I've found a good spot by the river.
The trees line up along either bank
and bend toward the center.
I've been trying to get rid
of that part of myself
that I most despise
but need most to survive—
it rises like wood smoke,
it's shaped like a brass key,
and the hole it looks to enter
can be seen through,
revealing a banquet hall
with one chair
and countless silver trays
piled with rags.
*
Is your voice in the linden
wood of an oar?
Your face in the daily ritual
of the Cooper's hawk?
Is your charity the green rot
of a fence post?
Are you near me
as I clean this ashtray
with my sleeve?
Are you the dead doe's skull
shining from within itself?—
I've been pretending
not to hear it speak to me,
even though I've entered its voice,
hung my coat
from a nail in its pantry
without bumping the table
or creaking the floor
and moved in the utter darkness of it.
*
It's finally late enough
that all sounds
are the sounds of water.
If you die tonight
I'll wash your feet.
I'll remove the batteries
from the clocks.
And the two moths
that drown in the lakes
of your eyes
will manage the rest.
[Michael McGriff ‘Invocation’, from Home Burial]
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