Poetry |

“The Guardian” and “In a Minute”

The Guardian

 

All of a sudden the gravity in the room changed.

Some woman was controlling some device.

 

A purple parachute came down

and we stopped drawing breath.

 

We smiled. We couldn’t stop smiling

past one another

as we floated down and up

 

with the pitched fabric

to ride the room and all

 

my displaced relationships:

my husband, my new son,

even my own loosened body.

 

The lights were starting to blink

warning either that she was about to start

loving us or we were about to blow out.

 

Everyone I had lost

was becoming too young

to offer me wisdom;

 

she bowed over the device

and I flew easily, winded.

 

Then my son said he would go with her

and pointed until his finger

floated away,

 

his face still roving without his intentions

while I stood there

grinning and hopeless about his first sentence.

 

Soon his limbs grayed as his face reddened.

Then his face grayed as his laughter

bleached the room, his eyes

 

trembled in their sockets

and lost purpose.

 

The woman at the motherboard

with all the silver switches

was kneeling now in a flowery dress

and beckoning him

 

to take his first steps which he did

while we watched from above,

outraged but kind enough

 

as if his body responding

to the woman’s voice

was an acceptance of our mortality.

 

Instead of falling or getting hurt ever again

he dislodged from the back of her knee

some sharp blue-black arrow

 

I used to take as free will,

before I knew it was hazardous

 

and a lie, and as I had no breath

to hold nor weight to reach down to remove it

 

he grated the arrow against the device

called family.

 

 *    *    *    *    *    *

 

In a Minute

 

I will leave this room

at 6am in gold and

if I am still wearing sequins

for a party continuously

postponed

they will fly off

and become the ugliest

fish.

I will leave my keys.

I will remember at the last

second my body

but the life will have locked

behind me.

Likewise someone I loved

will have turned out

on the threshold

to be a fiction.

A beetle will be bold

and tell my foot

it is rotting before

the arch ever falls.

It will be okay though,

my flesh,

my children real

and imagined

child that is almost me.

The cramp I invented

in my invisible side

since I was

dimensional & self-

conscious comes back

and I can say

painlessness is bullshit

now that I’m gone

and beauty is still

the great aim

but the measure of it

is a starched martial arts

uniform. The awe

we know of gods

comes expected and without

object. Like water boiling

on a flame, it

stays forever whether or not

you believe.

The soul system is more

like a necklace

someone you admired

shed outside their own funeral

and you found it,

beauteous loser.

The competition here

is a counterpoint:

who gets to keep their days?

The party is thrown for me

by me.

Backlit.

Bachelorette.

It involves mosquitoes

performing butler duties

and a cold cold death wish

like ceviche

in a martini glass

I keep passing

around myself: hors d’oeuvres

for the new decade.

I am the tower-for-now,

the done doorbell,

the temperamental blue

animal

shut in the guest room

of my first family,

hearing humans

I made and will make,

getting domestic.

Contributor
Elizabeth Metzger

Elizabeth Metzger is the author of The Spirit Papers (University of Massachusetts Press, 2017), winner of the Juniper Prize for Poetry, and the chapbook The Nutshell Studies of Unexplained Death (Horsethief Books, 2017). Her poems have recently appeared in The New Yorker, Poetry Magazine, American Poetry Review, and The Nation among other places. Her essays have recently appeared in Lit Hub, Guernica, Boston Review, and PN Review. She is a poetry editor of The Los Angeles Review of Books Quarterly Journal. 

 

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