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Revel in space, yet not darkled, still
the **** and span of things that breeds
airlessness; The trees are evenly cut,
and their overgrowth seems like a forethought.
Where I am from, we eat fish with
our bare hands and our furniture, from bodies
of sandalwood, crushed with the scent of
peregrines. The morning makes you conscious
of space, and altogether the height of trees
syncopates to a nauseating stillness. In the awning
hours, leaves punctuate the ground – the cicada
with its machinistic song prowls, spills like
water from a broken vase toppled by me
years younger, raw, agile, deftly windless,
  wounded in love, lovingly wounded,
perhaps if there is a word for it, then let me
have my way, easily fraught with its meaning:
   a casualty. Sometimes the timeworn folks
would light cigarettes underneath the canopy
of a mango tree to banish ants and send them back
  to their queens – roosters in their wrinkled stations
croon in stasis, a song for the somnolent. I become
what the seasons evict. Constancy. Rearing weight
and gravity from nocturne. Tears are communal.
They make us aware of the weight of the Earth.
Somewhere, a funebre stilts through the silence,
and the jangle of little pieces spells out fortuity,
men in huddles mending pain by the sleight of hand,
a toss of a card, spinning in its imaginary axis: fate,
   feigned and fine-tuned to belief that it is controllable,
a variable, or a tabulation marred by frailty. From where
I am from, people stride through the streets naked,
soldering baskets filled with fruits gossamer from the
harvest, children suckling their mothers, the music of sweeping
metastasizes throughout the afternoon, and the same clouds
contort themselves to afford wry proposition: it is a day tender
with wonder, its allure overwrought, its sheen unremarkable.
  The funebre leaves with a necessary abundance of absence.
All the leaves depart from their mothering boughs,
  collapsing on the dreary back of the loam like penitence.
Like how once when you were young, you tinkered with
the fresh scab of your wound and felt the pain confine
  itself there, a part of you, that has now healed, but is still
      available for the world to break once again.
Laggiù, ad Auschwitz, lontano dalla Vistola,
amore, lungo la pianura nordica,
in un campo di morte: fredda, funebre,
la pioggia sulla ruggine dei pali
e i grovigli di ferro dei recinti:
e non albero o uccelli nell'aria grigia
o su dal nostro pensiero, ma inerzia
e dolore che la memoria lascia
al suo silenzio senza ironia o ira.
Da quell'inferno aperto da una scritta
bianca: " Il lavoro vi renderà liberi "
uscì continuo il fumo
di migliaia di donne spinte fuori
all'alba dai canili contro il muro
del tiro a segno o soffocate urlando
misericordia all'acqua con la bocca
di scheletro sotto le doccie a gas.
Le troverai tu, soldato, nella tua
storia in forme di fiumi, d'animali,
o sei tu pure cenere d'Auschwitz,
medaglia di silenzio?
Restano lunghe trecce chiuse in urne
di vetro ancora strette da amuleti
e ombre infinite di piccole scarpe
e di sciarpe d'ebrei: sono reliquie
d'un tempo di saggezza, di sapienza
dell'uomo che si fa misura d'armi,
sono i miti, le nostre metamorfosi.

Sulle distese dove amore e pianto
marcirono e pietà, sotto la pioggia,
laggiù, batteva un no dentro di noi,
un no alla morte, morta ad Auschwitz,
per non ripetere, da quella buca
di cenere, la morte.
Surely you’ve realized,
Chopin is more than
a late night run
through dark alleys.

It becomes a compromise
to wake up
every single morning
of your life
with a spring.

Relatively speaking,
flowers blooming on
your knitted socks,
and the frenzied
mating of bluebirds.

Regardless of dark
blood-drenched thoughts
traversing the room
it shall feel like
a sun lives there.

Sure there is always
Marche Funebre
but nobody
will notice
a dead body
in such magnificent
weather.

— The End —