24
" Weeping WillowWeeping willow, how your elongated leaves dangle in the mist of the air, you bring such true comfort into the needful eye.How your leaves sway from left to right, providing your own intricate dance so divine.Weeping willow, you provide the most comforting shade upon your layer of leaves making me feel encircled with love and safety.Weeping willow, as I lay under your silvery leaves, I look up for a helping hand, I see strength within your structure, can you help me?Weeping willow, as I climb upon you will you make sure I won't fall, will you catch me if I do?Weeping willow, as I sit upon you looking to the sky through your rustling leaves, will you hear my pain? Can I overcome such things? The weeping willows long leafed branches sway back and forth providing the gentlest of winds across one's face. The eyes close so slowly, a sigh escapes one's mouth.As one sits on the branch they feel if there is someone watching over them, comfort arises as the branches nestle one's sorrows. A tear slowly slides down their cheek as if all emotion was escaping them. The wind starts to slowly blow, once again the elongated leaved branches sway back and forth against the song of the wind, creating one's smile to appear slowly but surely. The long silvery leaves brush against ones cheek, as if it was the hand of comfort, wiping the sadness away. Weeping willow, I will climb down now, I have heard what you have had to say... The one steps down and walks around to the back of the willow tree as it faces such gleaming waters. They look at the carving at the back of the tree, something that has been carved there for years upon the dark bark. Their body slumps to the ground as their back presses against the bark, fingers reaching up to trace the well known loved one. The carved initials of a beloved memory. The one whispers, " Thank you for hearing me, Dad. "
27
" Give me the strongest cheese, the one that stinks best;
and I want the good wine, the swirl in crystal
surrendering the bruised scent of blackberries,
or cherries, the rich spurt in the back
of the throat, the holding it there before swallowing.
Give me the lover who yanks open the door
of his house and presses me to the wall
in the dim hallway, and keeps me there until I’m drenched
and shaking, whose kisses arrive by the boatload
and begin their delicious diaspora
through the cities and small towns of my body.
To hell with the saints, with martyrs
of my childhood meant to instruct me
in the power of endurance and faith,
to hell with the next world and its pallid angels
swooning and sighing like Victorian girls.
I want this world. I want to walk into
the ocean and feel it trying to drag me along
like I’m nothing but a broken bit of scratched glass,
and I want to resist it. I want to go
staggering and flailing my way
through the bars and back rooms,
through the gleaming hotels and weedy
lots of abandoned sunflowers and the parks
where dogs are let off their leashes
in spite of the signs, where they sniff each
other and roll together in the grass, I want to
lie down somewhere and suffer for love until
it nearly kills me, and then I want to get up again
and put on that little black dress and wait
for you, yes you, to come over here
and get down on your knees and tell me
just how fucking good I look.
- “For Desire "
― Kim Addonizio
37
" There is much: recognition of the fact that human beings live indeterminate and incomplete lives; recognition of the power exerted over and upon us by our own habits and memories; recognition of the ways in which the world presses in on all of us, for it is an intractable place where many things go awry and go astray, where one may all-too-easily lose one’s very self. The epistemological argument is framed by faith, but it stands on its own as an account of willing, nilling, memory, language, signs, affections, delight, the power and the limits of minds and bodies. To the extent that a prideful philosophy refuses to accept these, Augustine would argue, to that extent philosophy hates the human condition itself. "
― Jean Bethke Elshtain , Augustine and the Limits of Politics
38
" How can it be described? How can any of it be described? The trip and the story of the trip are always two different things. The narrator is the one who has stayed home, but then, afterward, presses her mouth upon the traveler’s mouth, in order to make the mouth work, to make the mouth say, say, say. One cannot go to a place and speak of it; one cannot both see and say, not really. One can go, and upon returning make a lot of hand motions and indications with the arms. The mouth itself, working at the speed of light, at the eye’s instructions, is necessarily struck still; so fast, so much to report, it hangs open and dumb as a gutted bell. All that unsayable life! That’s where the narrator comes in. The narrator comes with her kisses and mimicry and tidying up. The narrator comes and makes a slow, fake song of the mouth’s eager devastation. "
― Lorrie Moore , Birds of America: Stories