Jennifer Gilllespie
Driving Back With No Map
Now we’re cross-hatched as gibberish on the airwaves, vapor skids on sky, new graffiti over old.
The bad hotels, the long mornings we’ve liked each other, rolled off the husk of talk, late check out, the buffet pecked over.
Lone pastille of a voice on the radio, a woman tells of lighthouses in Italy. When I hear a stranger speak of details far away, I’m much calmer, aren’t you?
I spy the last boulevard of Memphis, the moth of light on your wrist as you steer us back to the one home we have, the calamitous city, its high old stars never wasted on those who re-enter.
Luminous Monotony
How coarse were those few days:
the bird claw outside the Cuban place, perfectly detached, dark yellow, unloved ornament. A bit of tuft left. The girls more entranced than the boys.
Esther was the one to first look, to wander into the dark laughter.
.
I commented on the pink, opening sky, long past the woman’s breasts too exposed
at the bank, changing our work day into papery keys, unlocking more; no eye contact. Her breasts, swinging and pale, bothered you;
decorum, I suppose. Or maybe dumb desire.
There is always a vein in the sky that waits to burst.
.
Why I knew you loved me in that second, out of all our lucid flesh and word transactions: the way you jotted a helpline number in a kind of casual music, looking at me with a kind of helplessly steady light. Your plain gaze on anyone’s tears, inquisitive touch on public sculpture. And I would not for the life of me return that look.
You are someone who pours a glass of water perfectly, without spilling, in the dark.
.
In the bath, cuffs of warm silver encircle our wrists, insects shiver on the sill above.
.
Deep in the parked car, deep beyond the torn fog of the roads. Your chest a light amber, exposed, unhurrying, changing into ski clothes in the front seat. The square of pink light on your face as if you’d been projected, just then, Upon a wave I’d plotted, curved upward, unshadowed, strung to all the hands of air for my endless taking.
Murketiden
I come home early from work. I like rigor when it finds me.
But seeing the end of daylight seemed necessary today.
Someone’s nailed a small painting, a flat heron on wood, on the streetlamp.
The mailwoman’s teenage daughter joins her on her route, murmurs to her
while she tends to strangers’ affairs. Maybe she understands,
maybe the daughter does too, who quietly steers her mother’s cart—
the secrecy, the magnitude of these systematic offerings.
That they could slay the day for some, or coax into delight.
Somewhere in this neighborhood, my friend peddles geodes
her father scraped for her from the mines. The one she gave me, a purpled knotted pool,
a slate for the myriad romances between elements, a fig
unchecked by weathering. A purple like a healthy blood.
Jennifer Gillespie
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