Poetry |

“I tremble sometimes when I remember what that quilt knows” & “What Women Say Only in Quilts”

I tremble sometimes when I remember what that quilt knows

 

 

The tomato thrown in one fight.

Fist through sheetrock in another fight.

 

Cracked wrist, a hairline, missed in the first

x-ray. Easy to miss whispered the nurse. Fight

 

of words and words — circling, jabbing,

right cross, left hook — fight

 

as my fingers work the stitches, sharp

needle drawing blood with each stitch. Fight

 

of cold-eyed stares, sorry, silence, make up sex.

Nights and nights at the wooden frame fighting

 

sleep to finish that quilt — a gift for a couple

whose marriage would last — I fight

 

for ours, appliqué hope, appliqué forgiveness,

appliqué my fault until I run out of fight.

 

 

[This poem’s title is a line from the poem “Rose of Sharon,” by Jane Wilson Joyce.]

 

 

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What Women Say Only in Quilts

 

There are three quilts a woman should make before she is married.

Grace Marks (Alias Grace, Margaret Atwood)

 

Flower Basket

 

Every woman has a willow basket to fill and empty

fill and empty — eggs, fruit, vegetables, flowers. Whole

cloth with appliqué and needlework — peonies, roses,

 

vines, birds — or pieced blocks of half-square triangles

set on point with rectangles and one square. A catalog

of her coming labors. A basket to collect and bring

 

to and from kitchen, barn, neighbors, root cellar, garden,

town, cemetery. The geometry of a housewife’s duties

both warning and expectation that she will carry.

 

 

Pandora’s Box

 

Sewn from squares and sixty-degree diamonds

the blocks are stacked, angled with a dark side

and light side creating dimension and disorder

 

like a mind with two sides that coexist. Towers

of precarious boxes steadied by the bite of the needle,

each stitch a message for the bride —

 

here are boxes for what cannot be said. Blind

stitch the edges with the strongest thread —

buttonhole, darning, carpet, upholstery.

 

 

Tree of Paradise

 

Triangles in patterned blocks placed on point alternating

with solid blocks. Light and dark fabric, right sides

together, scant quarter inch seams pressed to the darkest side.

 

Tall, majestic, fruited, one tree in each square pieced

right side up then upside down, mirror images — a

second I, a way to survive. Not the Tree of Knowledge,

 

but a healing tree, cure for parasites, fevers, anemia,

an astringent for wounds to stop the bleeding. Border

of snaking vines with yellow pinprick eyes.

Contributor
Cindy Veach

Cindy Veach‘s three poetry collections are Monster Galaxy (MoonPath Press, 2025), Her Kind (CavanKerry Press, 2021), and Gloved Against Blood (CavanKerry Press, 2017). Her poems have appeared in the Academy of American Poets Poem-a-Day, AGNI, Michigan Quarterly Review, North American Review, Poet Lore, Nimrod International Journal and elsewhere. She is the recipient of the Philip Booth Prize and Samuel Allen Washington Prize, and is co-poetry editor of MER.

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