Poetry |

“My Father for the First Time,” “Death, Second Person,” “Summer Wind Up” & “The Tempest”

My Father for the First Time

 

 

I laid my hand beside his

hand. Innate commonalities:

square fingers animating

 

long freckled palms – an ineffable hand-ness so

clearly my inheritance. My sense, at last, of we:

my hand lay beside his hand.

 

It was lunch rush at the Pizza Hut and he

caught my mother up on irresponsibilities

unregretted, the invigoration

 

of foreign oceans. Unnoticed, my hand lay

— a tease! – beside my plate. Unnoticed, it

crept beside his hand.

 

My mother’s fingers, soft-flanged,

drummed while he contrived analogies for

rude redemption.

 

Her eyes narrowed as, in parallel, my hand

attested a new commonality.

I placed my hand beside his hand.

Within my grasp: bland legitimation.

 

 

*     *     *     *     *

 

 

Death, Second Person

 

 

When my father died I realized

I was now in control of his narrative.

Death does that. You follow, you agonize

 

and then – surprise! – it’s you, bite-sized,

calculating losses. Resistance neutralized

when my father died. I recognized

 

our mutual refusal to amortize slights,

the way we let them accrue fictive force.

Life does that. You follow, captive.

 

You ply the oars, fair hopes visualized, until,

blindsided, you accept another’s narrative.

When my father died, I was chastised.

 

He practiced flamboyant grudges, drive-by

destruction. And yet I imagined he’d forgive.

Death can do that. You forget, you reconcile.

 

But he employed death as criticism, denying

me an absolving narrative.

When I heard he’d died, I raged.

Now I begin my revision.

 

 

*     *     *     *     *

 

 

Summer Wind Up

 

 

When the winds shift south from Temperance,

we catch the scent of the chicken plant as we

sit at opposite ends of the couch.

 

Bad smells stretch untemporized into crowing

rants and cutting glances when the wind

shifts south from Temperance.

 

Love becomes a clocking-in, habitual, commonplace.

Third shift begins at the chicken plant.

We stare from our ends of the couch.

 

Unbidden, a flicker of revulsion, and the

desperate urge to flee a trap

when winds shift south from Temperance.

 

It’s changing time in Temperance.

Simmering vats are tipped and broth decanted.

We cluck with disgust from our ends of the couch.

 

Dissolution reeks of impermanence.

A stanky blow, a cage emptied and aslant.

The winds blow south from Temperance.

We brood like hens from our ends of the couch.

 

 

*     *     *     *     *

 

 

The Tempest

 

Since my father died, I’ve co-opted his ball

cap and rough jean jacket.

I feel my maleness. I feel his maleness.

Always, that man like a harpoon, rope

trailing. The key was his stiff legs splitting

the difference or perhaps that was my mother.

In any case, he split.

I made a difference.

Growing like a named tempest. Chippy

he would have called me, a sailor’s

term, and prodigy and accident. I

had many accidents before my father

died, chip off an old Bland. The best

news is that I am alive and he can be

cast away now, harpooned untruth —

or truth: I, too, will die in June,

drowning in the puddle of my own

tragedy. A stiffy like he was.

Contributor
Celia Bland

Celia Bland is the author of three collections of poetry, most recently Cherokee Road Kill (Dr. Cicero Books). With Lea Graham, she co-edited a collection of essays on the work of Maxine Chernoff, A Jar of Air (MadHat Press 2025). She is co-editor, with Martha Collins, of Jane Cooper: A Radiance of Attention (Univ. of Michigan). Her poetry and essays have appeared in Southern Humanities Review, Ethel, Yale Letters, The Cortland Review, American Poetry Review, and Witness and are upcoming in Denver Quarterly. She has published interviews with Galway Kinnell, Marilyn Nelson, Ann Lauterbach, Jean Valentine, and Robert Kelly. She works at Bard College.

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