Poetry |

“Provenance,” “Fugue” & “Fin du Monde”

Provenance

 

I was born tiny, pink, and shrieking

from neonatal nicotine in the womb,

head encased by an auspicious caul.

Was supposed to be a boy, Luke.

Upon emerging, did they frown?

I grew up in a small Ohio suburb

that used to be a summer cottage

resort, and prior to that, was land

that belonged to the Erie Indians.

I had a doll, Debbie, I carried everywhere,

then in middle school, an invisible friend

I named Priscilla. I encouraged others

to believe in her: some did, in the way

certain children are willing to invest

in fantasy in order to remain alive.

A small house with little privacy,

I lived behind the couch, reading

with my cat, occasionally coming

out for meals that I poked at or fed,

sans observation, to the hungry dog.

I couldn’t wrap my mind around

numbers, formulae, or geography,

preferring biographies of people

who blazed trails in their fields.

Adolescence hit like a meteor:

I became haunted and numb.

Decades later, I still feel I

have no recourse to forces

that railroad me without

my volition or consent.

I didn’t ask to be born

I screamed at my mom,

when she called me out

for any minor infraction

turned major, with time.

Had I known now what

I couldn’t know then, I

would have repeated it,

with theatrical aplomb.

The difference between

then and now is that now,

my life — mistake erased,

slipknot untied — is mine.

 

 

*     *     *     *     *

 

 

Fugue 

 

It’s been 212 days since you left this earth,

love, to enter the medieval ring of paradise.

Outside, the pothos shoots its alien blooms,

trees leak sap from their pulmonary veins.

You’re unrivaled, undefeated, as the one

who will never stop breaking my heart.

I wanted your death to never transpire,

or if it did, be an epiphany in the night.

The diminution of the objective world

condensed into an object on the floor,

cried holy, behold that square of light.

You were my prize, my high romance.

Draft after draft of my life hurried by:

cold excision, sheet music in the wind.

Until you arrived, a wayfaring vagrant

seeing shelter, like my umbilical twin.

We knew joy together, an infinity pool.

Your play toys, now artifacts of grief.

I want it to be conceptual, but it’s not

conceptual. When you lose your mind,

you never really get it back. In truth, I

don’t know who I am, why I am here,

but would suffer it all again for you.

To vouchsafe your existence, touch

your musky fur, feel your breathing

alter the planets — in your absence,

I call your name into the darkness.

Dead is dead, I discipline myself.

Consciousness sluicing through.

 

 

*     *     *     *     *

 

 

Fin du monde

 

A sea of faces incites nausea: they look like

baby birds waiting for their mother’s worm.

Flies buzz around me, thinking I’m carnage,

or enjoying my Bois de Balincourt perfume.

I sit and observe friends networked to death,

as if people watching at the Tate or Louvre.

Theirs, a brief effusion, brief as these words:

experience, memory, perception, exchanged

for chronic interconnectedness, surveillance,

former democratic rule turned demagoguery.

The ice outside forms into glittery stalactites,

like stilettos hung from trees. Perforce I must

be plain: there exist angels at the intersection,

angels at the stoplight, angels in cyclonic rain.

Angels fortify ramparts, defending the queen,

on the ceremonial parade grounds of mystery.

I saw one at a flower stall in Poland: another

at Souk Des Teinturiers, a Marrakesh bazaar.

They throng the Lord, interceding as ghosts

or thieves. Why did I cry today for an hour,

with my whole body, the way babies cry?

Because I saw how beings more innocent

than babies are tortured, all the world over:

animals that once swam, ran, and breathed.

It feels criminal to turn from this suffering:

a fate beyond language, worse than death.

Outside my window, a destroyed birch’s

trunk mimics a ballerina in first position,

when in truth that’s a weather-beaten tree.

As for those who seek recognition: they have

their reward. It is finished, the forestalled end.

At last I’ll see my hunger for meaning go free.

Contributor
Virginia Konchan

Virginia Konchan is the author of five books of poetry, Requiem (Carnegie Mellon University Press, 2025); Bel Canto (Carnegie Mellon, 2022); Hallelujah Time (Véhicule Press, 2021); Any God Will Do (Carnegie Mellon, 2020); and The End of Spectacle (Carnegie Mellon, 2018), as well as a short story collection, Anatomical Gift. Coeditor of Marbles on the Floor: How to Assemble a Book of Poems (University of Akron Press, 2023). Her poems have appeared in The New Yorker, The New Republic, The Atlantic, and The Believer.

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