Poetry |

“Five Ways of Being Alone,” “Sunday Morning, March 13, 2022” & “Rules for the Dance”

Five Ways of Being Alone

 

 

[ 1 ]

 

Blessed are those who entrust their lives

to no one. So

 

Fernando Pessoa wrote, alone

in his apartamento

 

in a quiet bairro in Lisbon,

between the wars.

 

 

[ 2 ]

 

In the laundry he discovered

      one of his teenage sons’

old t-shirts, child size 6,

      pale yellow, with a duck

and a rabbit on the front.

      The duck leaned

his clean white head

      against the rabbit’s chest

and smiled, if a duck

      can be said to smile.

 

 

[ 3 ]

 

On their first date, she told him that she doesn’t

read. But I’m a writer, he said. There followed

an awkward silence into which the waiter

delivered the starters: tilefish crudo and

squid-ink rice on separate plates. The pale white fish,

the night-black rice. Do you like movies, he asked,

trying to be polite. No, she said, I don’t

watch movies. He studied her as her glance moved

around the dining room, not coming to rest.

How could he be with someone who doesn’t read?

He could see the timer ticking in her face.

Later, at home, with a bottle of malbec

and a single glass, he streamed Luis Buñuel’s

Los Olvidados for — what? the thirteenth time?

until he fell asleep on the couch, the glass

almost slipping from his nerveless hand, and dreamed

of finding a white cave on a hillside black

with broken stones and cinders. He probed inside

its opened mouth: first a chamber crammed with quartz,

and then a shore against which licked the waters

of a cold black lake. He pushed the rowboat out.

 

 

[ 4 ]

 

He could go anywhere,

           whenever he wanted,

                     down there.

 

 

[ 5 ]

 

He dreamed a headland

and a great gray sea.

 

He dreamed a keening

and a thin insinuating wind

whipping knifelike,

sideways.

 

Oystercatchers feathered

into sawgrass nests,

the boardwalk’s long

sawn planks half

hidden in the sand.

 

Scurried cloud shreds,

fog threads,

the tide’s relentless

basso profundo.

He took the wind-knife

in his dry right hand.

He could have sliced the sky.

 

 

*     *     *     *     *

 

 

Sunday Morning, March 13, 2022

 

 

The heads of last year’s dead hydrangeas

                                                       say no to one another in the wind,

                                                say no, say no.

           They’ve made dried effigies

                         of their own gone blooms.

 

    The jays and finches in the pine are trying to retreat,

                                    but there is only one way open to the darkness.

 

               Inch by inch the blinding lawn becomes

                                                     a plaid of shadows.

 

                                    The robins’ eyes surveil me

                              and the finches feed.

                           They are death’s bright bodies.

 

    I want a body such as those.

           The heads say no.

                              I burn alone.

 

 

*     *     *     *     *

 

 

Rules for the Dance

 

 

[ 1 ]

 

He felt helpless and didn’t receive

the help he needed. Now

he enacts helplessness

 

to get people to help him

with the help he never received.

But this help is not that help.

 

He can never get the help

that would help him feel

the help that he never received.

 

And therefore he

is beyond help.

 

 

[ 2 ]

 

He feels misunderstood because

she gets mad at him

 

when he misunderstands her.

If she understood me, he thinks,

 

she would never get mad at me.

If he loved me, she thinks,

 

he would never misunderstand me.

She’s always getting mad at him because

 

she believes he doesn’t love her.

But that is her misunderstanding.

 

He doesn’t love her because

she’s always getting mad at him.

Contributor
Jonathan Weinert

Jonathan Weinert’s third and most recent book of poems is A Slow Green Sleep (Saturnalia, 2021). He is co-editor of and contributor to Until Everything Is Continuous Again: American Poets on the Recent Work of W. S. Merwin (2012). Recent work appears or is forthcoming in Blackbird, Harvard Review, and Good River Review.

Posted in Poetry

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