“Imagine,” he went on,
“your mother says just one thing in your life,
and what she says is,
It’s beautiful.
You see?
But there was more. This morning I understood
how lucky I was. First I saw my mother move,
half a century after it couldn’t happen.
And then my daughter. I got to see her move—
the child you know I feared I’d never have
because I married late—and in a way
I saw her outside her lifespan, like my mother.
And all within the space of twenty-four hours.
On two TV screens! Nothing more banal.
I’d looked in my past and future crystal ball.”
Our soup had come. Meanwhile, unwatched, the screen-
saver of the laptop I’d left on
at home was open, a window onto icons
of windows flying forward endlessly
like long-dead stars still seeking by their light
and at the speed of light a match in words.
“What do you think?” he asked. “Is it too neat
to write about? Would anyone believe it?”
“Probably not,” I said, dipping a spoon
into the cosmos of my egg-drop soup,
and inhaling, as I leaned down, the aroma
of the moment’s vapor. “Still. It’s beautiful.”
Evening, four weeks later.
The next jet from the nearby Air Force base
repeats its shuddering exercise
closer and closer overhead.
A full moon lifts again in the fragile sky,
with every minute taking on
more light from the grounded sun, until
it’s bright enough to read the reported
facts of this morning’s paper by—
finally, a moon that glows
so brilliantly it might persuade us
that out there
somebody knows.
A comfort once—the omniscience
of Mother, Father, TV, moon.
Later, in the long afternoon
of adolescence, I lay on the grass
and philosophized with a friend:
would we choose to learn our death date
(some eighty years from now, of course)?
Did it exist yet? And if so,
did we believe in fate?
(What
we
thought: to the growing
narcissist, that was the thing to know.)
Above our heads, the clouds kept drifting,
uncountable, unrecountable,
like a dreamer’s game of chess
in which, it seemed, one hand alone
moved all the pieces, all of them white,
and in the hand they changed
liquidly and at once into
shapes we almost—no,
we couldn’t name.
But if there were one force
greater than we, had I ever really
doubted that he or she
or it would be literate?
Would see into the world’s own heart?
To know all is to forgive all—
(now, where had I read that?).
Evil would be the opposite, yes?—
scattershot and obtuse:
what hates you, what you hate
hidden in cockpits, caves, motel rooms;
too many of them to love
or, anyway, too late.
By now I’ve raided thousands
of stories in the paper for
thinkable categories:
unlettered schoolboys with one Book
learned by heresy and hearsay;
girls never sent to school;
men’s eyes fixed on the cause;
living women draped in shrouds,
eyes behind prison-grilles of gauze.
Mine, behind reading glasses
(updated yearly, to lend no greater
clarity than the illusion
that one can stay in place),
look up and guess what the moon
means by its blurred expression.
Something to do with grief
that grief now seems old-fashioned—
a gesture that the past
gave the past for being lost—
and that the future is newly lost
to an unfocused dread
of what may never happen
and nobody can stop.
Not tired yet, wound-up, almost
too glad to be alive—as if
this too were dangerous—
I imagine the synchronized operations
across the neighborhood:
putting the children to bed;
laying out clean clothes;
checking that the clock radio
is set for six o’clock tomorrow,
to alarm ourselves with news.
for Agha Shahid Ali (1949–2001
)
I saw your father make a book,
instinctively, from upturned palms;
as prayers began
in a language I don’t understand,
I saw he didn’t need to look.
Your brother, sisters, others read
from lines in their own empty hands
that you were dead,
or so it seemed to one who had
nothing by heart yet but the snow.
For days now, I’ve kept seeing how
the volume of your coffin sank
into the sole
dark place in all that whiteness—like
your newest book of poems, blank
to you in your last weeks because
a tumor in your brain had blurred
more than your eyes;
prompting your memory, a friend
had helped you tape it word by word.
After, at your brother’s house,
I asked your father: “What does it mean
when you pray with open
hands? Are they a kind of Koran?”
He smiled, and said I was mistaken:
he’d cupped hands to receive God’s blessings.
Nothing about the Book at all;
but since I’d asked,
here was the finest English version
(plucked up from the coffee table—
tattered cover, thick but small
as a deck of cards), translated by
an unbeliever,
a scholar who’d found consolation
in it when he lost his son.
That was the closest the old man
would come to telling me how he feels.
I think of him
when in my head a tape unreels
again your coffin’s agonized
slow-motion lowering upon
four straps, incongruously green;
and then that snap—
like Allah’s blessings falling through
fingers that wished to keep you.
Thanks to the editors of the following magazines, where poems in this book first appeared, sometimes in slightly different form: “The Reader” and “After September” in
The American Scholar;
“Discovery” in
The Atlanta Review;
“A Morris Dance” in
The Atlantic Monthly;
“Advent” in
Harvard Divinity Bulletin;
“Trompe l’Oeil” in
The Kenyon Review;
“Hare” and “In the Guesthouse” in
The New Criterion;
“Midsummer, Georgia Avenue” in
The New Republic;
“Deliveries Only” and “Peonies” in
The New Yorker;
“Glasses” and “Florida Fauna” in
Profile, Full Face;
“Shadow” in
The Southwest Review;
“The Accordionist” and “For Emily at Fifteen” in
Stand;
“TWA 800” in
Upstairs at Duroc;
“The Newspaper Room” and “Another Session” in
The Yale Review;
“Office Hours” and “The Big Sleep” in
Columbia: A Journal of Literature and Art.
“On the Wing” was first published in the anthology
Ravishing DisUnities: Real Ghazals in English.
I am grateful to the MacDowell Colony and to the Bogliasco Foundation for residencies that enabled me to complete this book. Madeleine Blais, Daniel Hall, Ann Hulbert, Brad Leithauser, Peggy O’Brien, Cynthia Zarin, and my editor, Ann Close, gave much-appreciated help.
“Peonies” is dedicated to Ellen Berek; “The Newspaper Room” to Isaac Cates; “Discovery” to the memory of Amy Clampitt; “After September” to Anne Fadiman and George Colt; “TWA 800” to Claire and David Fox; “A Morris Dance” to the memory of Harold Korn; “Shadow” to the Kundl family; “Trompe l’Oeil” to Mark and Bryan Leithauser; “Crystal Ball” to the Lyon family; “Office Hours” to Amanda Maciel and Diane Rainson; “Midsummer, Georgia Avenue” to Wyatt Prunty; “Erasers” to Albert Salter; “The Reader” to Marty Townsend.
Mary Jo Salter was born in Grand Rapids, Michigan, and grew up in Detroit and Baltimore. She was educated at Harvard and Cambridge Universities and worked as a staff editor at
The Atlantic Monthly
and as Poetry Editor of
The New Republic.
Her awards include fellowships from the Ingram Merrill and Guggenheim Foundations. A vice president of the Poetry Society of America, she is also a co-editor of
The Norton Anthology of Poetry.
In addition to her five poetry collections, she is the author of a children’s book,
The Moon Comes Home.
She is Emily Dickinson Senior Lecturer in the Humanities at Mount Holyoke College and lives with her family in Amherst, Massachusetts.
Poems
A Kiss in Space
(1999)
Sunday Skaters
(1994)
Unfinished Painting
(1989)
Henry Purcell in Japan
(1985)
For Children
The Moon Comes Home
(1989)