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Published: 2013-05-16 05:01:30 +0000 UTC; Views: 768; Favourites: 10; Downloads: 0
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i.I heard him first through the fog off the ocean,
edged by salmon sunrise and singing the rhyme
my sailor father taught me about red skies in the morning.
I didn’t think he saw me, watching
as he swung his driftwood sword two-handed
through fog-wraiths and stamping night mares,
but when they lay defeated, dissipating into the tossed sand,
he sheathed his sword in the loops of his faded blue jeans
and footprinted to me, half-hiding in the beach grass susurrus.
He was shirtless, and the fragile bellows of his ribcage
brought to mind the anoles my brothers caught,
their terrible tenderness trapped in careful palms,
but his smile was wide and crooked,
white teeth all crowding for the front row behind his lips,
and his hazel eyes were gold and alive,
so I didn’t think he might be breakable.
He stuck out one browned and salty hand
and didn’t mind the damp sand I got on his fingers.
ii.
School was hard for him, easy for me.
Some days I would see him in the corner of my eye
biting ragged fingertips and slipping callused feet from shoes,
flexing his toes to stretch the webbing between them.
I knew when a teacher yelled at him
for not paying attention, or an older boy
yanked his long oak-and-sunshine hair
and called him a fag so quietly no one could reprimand.
These days he would take me to our salt marsh
on the handlebars of his creaking bike, and
I would hide our shoes in the bushes.
As we squelched untalking through the low-tide mud,
scuttling crabs and avoiding the sharpened mouths of oysters,
I would watch the twitch, shift, and slide of his back muscles,
trusting his feet to pick our way through the cord grass
to our island, little jut of live oak forest
where some spiritual one had built a wooden clapboard chapel
then abandoned it to nature and whatever gods they believed in.
It was the only place he sang anymore, voice strong and rhythmic
like the waves falling against the shore in the dark midnight,
or high and broken like the keening wail of a seagull.
iii.
When he fell in love with a girl who wanted his eyes
to look at herself, his voice to sing for her alone,
I splinted his disjointed parts with driftwood and red wine
in our chapel and he borrowed my kisses,
forgetting until morning I was not the one he wanted.
I would count the notches in his spine
until he fell asleep, and think of the night he told me
about a baleen whale who sang on a frequency
no other whales could hear, her singular voice
bouncing around the ocean meaninglessly,
growing deeper each unresponsive year.
We were watching stars, waiting for them to fall,
and I reminded him that scientists heard her calls,
but he said they didn’t count, they weren’t whales
and could never love her back. I guess he was right.
I followed her across the oceans,
and when she died from “lack of socialization,”
I never told him why I was crying.
iv.
The sky was in flames the morning he disappeared.
We’d spent one last summer night on our island
before fall froze the mud, frightened away the birds
and sent me two hours from my ocean and him.
In the inferno of sunrise, he went sailing,
his departure a foggy memory of waves crashing,
sleepy mumbling that he shouldn’t test the weather,
and his laughter, promises to be back before I woke.
He wasn’t when I woke up late to pounding
and, searching through the driving rain,
I found only absence of color on the small beach
where I should have seen his green-and-gold sails,
no matter how far I ran, kicking wet sand, yelling his name.
Later, his boat was found, crunching gently against the rocks, sails ripped,
but never his body, and after two months of morbid beachcombing,
they stopped seeing him in every lump of driftwood.
I still murmur his name to the cranes and the crabs,
remembering stories from my mother about men who were not men:
He came to me from the mist and the sea, hair dark and slick,
running against the wind on broad flat feet.
I had him for seven years of marsh-mudfights
and guarding turtle nests, seven years cradling the ferocity
of the ocean in my two small arms,
but there was always a song I could not hear,
one beneath his human skin, and looking back,
I would never loop the knot and tie him to my dry sand
once he heard her call in his salty blood.
Related content
Comments: 17
oracle-of-nonsense In reply to transient-daughter [2013-12-11 03:46:07 +0000 UTC]
Because of this one?
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transient-daughter In reply to oracle-of-nonsense [2013-12-11 09:47:31 +0000 UTC]
This one and many others, yes. The imagery is palpable, and I'm a junkie for emotional responses. This one made me feel things; more than you intended, probably. It's an interesting wave to ride.
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oracle-of-nonsense In reply to transient-daughter [2013-12-12 03:16:47 +0000 UTC]
What did it make you feel?
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transient-daughter In reply to oracle-of-nonsense [2013-12-12 07:02:25 +0000 UTC]
Me? An unabashed longing for something adventurous in my past. It made me feel as if I was living at the beach again, content to ride my bike up and down the street until dinner was ready, every day. We had rescued a shy, abandoned cat which I loved more and more until the day she died. She was my best friend for a long time.
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oracle-of-nonsense In reply to transient-daughter [2014-01-10 05:08:18 +0000 UTC]
It makes me feel that too. I think he is some sort of symbol for my longing for the beach, for adventure, for magic. Glad the poem could bring you back to that place.
I am sorry about the cat dying, but glad you had her for a while at least.
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ozzla [2013-05-28 02:17:33 +0000 UTC]
That first sentence really hooked me into the piece. Even at times where there was that Middle Ages slant Middle Ages themes no, they're too much of a cliche for me to bare lol, I remembered that first part to get through. And I'm glad I did! I found more bits that I loved, like the one I've included in the feature here on tWR surprise!.
Now, to answer your questions: I'd say the last stanza got too prosey from line 7. Perhaps you're trying to explain too much in one go, so I'd think the way to go is to think about how to be more succinct. This would also serve to make what's occuring more dramatic too.
Hard to follow bits were the "Middle Ages slant" as I call them
It might just be that I personally don't see the need to call him an "elfkin" and referring to the "faeries".
Regarding the story, characters, relationship, etc, that's perfect for me - it's what I like about the piece.
The song you've referred to complements this piece very well. I found that when I read this piece again I had a different interpretation from my initial; that I understand this piece better than without it.
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oracle-of-nonsense In reply to ozzla [2013-05-28 08:05:08 +0000 UTC]
Yeah, the last stanza is the one that I've struggled over the most, trying to get the story across without being confusing. I plan on going through it and cutting out some of the more prosey, explain-y parts.
I was going to use 'wraith' instead of 'elfkin' to describe the narrator in that part, but then I realized that I used it later. The faeries were there to bring out the surrealism in the end a bit more, and also to get across that the narrator is still young and imaginative.
Great!
I'm glad you listened to the song, and that it works so well with the piece. I really loved it, and it was a huge inspiration.
Thank you so much for this, you were really helpful. And thanks for choosing to feature my piece!
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glossolalias [2013-05-22 05:22:15 +0000 UTC]
gorgeous. the opening was my favorite. i will say the section beginning with "he fell in love with girls..." was very trite and less hard-hitting than the others simply because it relied on imagery i've seen many times before. the rest of it was very bright and novel, which really made that stick out.
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oracle-of-nonsense In reply to glossolalias [2013-05-28 08:05:56 +0000 UTC]
I definitely need to work on that part. Was it just those first couple of lines, or the section as a whole? Thank you!
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glossolalias In reply to oracle-of-nonsense [2013-06-04 04:19:23 +0000 UTC]
the section as a whole.
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Michel-le-fou [2013-05-16 16:46:15 +0000 UTC]
Michel here for #poeticalcondition.
By way of my customary starter, I will say that several features have grabbed my attention.First is that the lines are longer than many poems I have reviewed, but seem to be my length and meter.The second is that each stanza is or seems to be Classical format. Altogether it was a worthy submission. Carry on like this.
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oracle-of-nonsense In reply to Michel-le-fou [2013-05-16 18:17:51 +0000 UTC]
The lines are a lot longer than normal. I'm not sure if I want to keep them the way they are, or find a way to shorten some of the longer ones. I didn't really have any particular format in mind when I was writing this, but if it ended up in one, that's great. Thank you!
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Michel-le-fou In reply to oracle-of-nonsense [2013-05-17 03:37:35 +0000 UTC]
come to think of't, Sanskrit verse was that way too. Do as you feel, and if you really feel that they can change.
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oracle-of-nonsense In reply to Michel-le-fou [2013-05-17 04:10:37 +0000 UTC]
It does tend toward that. Thank you
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IHaveNoPseudonym [2013-05-16 05:12:01 +0000 UTC]
Wow. That was amazing! I'm actually a bit jealous that I didn't write that (and I don't say that about a whole lot of poetry). I thought that evolution of the relationship between the characters was very subtle, but after a few lines you would realize that it had changed in a big way. Your imagery is stunning and it paints a very unique picture in my mind. Once again, great job and I how that you post more work in the future.
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oracle-of-nonsense In reply to IHaveNoPseudonym [2013-05-16 05:18:44 +0000 UTC]
Wow, thank you! I'm really glad their relationship worked the way I wanted it to. I will be sure to post more, thank you again.
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