Wednesday, January 27, 2010

Fin de siècle

When we walk at night, the wind sharp as
cool wood splinters, we see nothing but the ebb
of our shadows from the pacing streetlights when
all at once a great black beast of a shadow
whose approach we did not hear in our study
overcomes us as a steel wire of fear is plucked within,
buzzing until we are a cold shock of edge, and we
watch the bicyclist whisper past. Or else
we do not watch: we are yet clenched in the tightness
of everything lost even though it isn’t, clutching
what we possess into our hearts and digging
our chins into our chest bones. It was warmer
back there, back in the café even though we knew
it was cold outside, or back yesterday, or back
a season ago: yes, then we walked about without socks
and once in a while ran our hands through the grass.
How we would sleep there, never to rise again,
if a single blade would push its way through
the tundra that we knew, we really knew if you pressed
us, was coming. Now there is only ice and the promise
of ice, and the sick lights that carve mirages along
the sidewalks good only for predicting the horrors
we are too frightened to turn and see as only a
bicyclist. Here is where we live, on the cusp of exhale
and the moments we we will not remember in
the peace of continuity, without knowing it because
even if our past has taught us all we will ever need
to know, we will curl beneath the shadow and wait
for the consequence of every sin that is as real
as the end of time, except that when we walk at night
only the wind is sharp, only the lights move
since only we move.

2 comments:

  1. Tim, I think the starting present tense and the action ("we walk...we see..")makes the self-implication in the poem clear. And I think this poem has an element of fear that The Most Important Attempt of All was missing. The sense of movement/pause in this is great, but I think it gets stilted when you move to future tense part starting with "Here is where we live...". I think that moment of pause/stillness/inability is really effective...why not end it at "we are too frightened to turn and see as only a bicyclist"?

    I think the ideas in the "Here is where we live" part have already been said and better put in the beginning of the poem. It's also the part where I felt the most self-removed judgment. There is something very final and inescapable with the use of the future tense in this poem, which is maybe where my "we" issues are starting to spring up again. I guess I prefer the strained moment of waiting, there's more fear there. It reads like there is more at stake (both to move and not to move). I feel like the last part of the poem makes it less strained? More inevitable?

    I do like the last line "only the lights move/ since only we move" a lot though.

    (love this part:

    overcomes us as a steel wire of fear is plucked within,
    buzzing until we are a cold shock of edge, and we
    watch the bicyclist whisper past. Or else
    we do not watch: we are yet clenched in the tightness
    of everything lost even though it isn’t, clutching
    what we possess into our hearts and digging
    our chins into our chest bones.)

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  2. again, thanks so much for the comments. so many good points! I agree that the "Here we stand" part doesn't usher in as strong of writing, but the thoughts in that section are very important to the poem, I think... mainly the inevitability. Just like the end of an age inevitably brings a new one, I wanted the end of this moment of fear to bring this apocalyptic, or at least "things will never be the same, things will never be as good" belief.

    But, I need better language for it. I would really like the poem to match what you say here about it more clearly - a transition from the fear earlier and the fear of indecision, the maybe maybe not idea, to an awful inevitability and impossibility of escape...

    thanks again. i think i'm going to break this into two stanzas (probably after "only a bicyclist") to emphasize more of a tone switch, and rewrite the last stanza. this might, might, also be smashed in with a re-written "Most Important Attempt" in a longer poem... guh

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