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CYNTHIA HUNTINGTON
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Our Father


He sits alone in the living room
with a newspaper and the television on,
smoking Camels and coughing.
He has the sound up very loud
so nobody can think. It isn
t thinking
time. He is about five years from his first
heart attack, and there is that small
sharp pain in his stomach. He says:
If thy right hand offend thee...
He is thinking he has done his part:
no more can be asked. They have all
failed him. Pain in his gut he tells himself
is the burn of reheated coffee. Black liquor
of his wrath he drinks. He turns
his face away, like Hades: in myth
the god of no properties. Hades,
who inherits the bones of the dead,
waiting for whatever falls
through the floor of the world.
Who would walk down the hall
with his bathrobe open, his genitals
darkly swinging. Who must kidnap a bride,
who flees into girlhood each time a door opens,
undoing the moment she was his,
denying him to eternity.


 

 


 

 

Bride of the Barbiturate

 

Shes alive! Alive!                                        
Dr. Pretorius,
Bride of Frankenstein            

I. Wake

Wake her at midnightwill she wake?
The damp in her hair, her wince and wild recoil,
her eyes rolled back against electric glare, the shock
of air. The sheet pulled back provokes a sudden chill,
revives the shrouded sleeper, lying there.

She, half-covered, barely breathing lies
intact and cold, beyond you. She will not, she
cannot, you must not, touch, rouse

oh wake her and save her at midnight, beloved,
risen to walk the hallway stiff, her face

crease-stitched with sleep. She jerks
her bird head to the side, spits rage, comes toward
you, sliding one hand down the wall.

Again the stale breath, the terrible thirst.
Claim her then, wanton, ancient and wild,
her face so white and drawn. Now she sees you,
she screams, something in Assyrian: a curse.


II. Necromancer

Make me a nun, the dead mans bride,
in love with gravity: the dead so heavy
their limbs may not resist. That languor
you may take as permission to procede.

I woke up as he was working on me;
he was cleaning me very carefully.
Exquisite thrill, the knife inspects
the mystery of flesh. I kept still
to let him think I didn
t know.
Things went...too far. Finally he had to do
the merciful act: send me back...

Inside the haunted forest hung with moss,
thorns knit the sky dark; hedgerows grow tall.
In swamps, in burned-out cities,
at certain crossroads deserted at dusk,
a judgment hovers...the void
pulls life into itself.

A man on a black horse, a knight
of sorts. I drew that card and held it close.
A boat pitched on black water. Love
is a hand at the throat, a salt kiss. I am
so beautiful dead.


III. Bride of the Barbiturate

She could do what she wanted,

cave them in her hands, hide

them, hoard them, make them

disappear. Dice. Stones. Little bones.

She could say what the doctor ordered,

and how many were left in the bottle

before she started swallowing one

after anotherhow many tonight

he does not knowhis minds

too slow, he cannot gauge,

shes gone beyond him,

skimmed his gaze, now falling

down through dream, shes floated,

riding wafts of air; he takes

her hand, limp tulip drooping

in his grasp, her jaw hung slack,

her eyes flat glass. Now she

will not refuse, he smooths

her hair, no protest there.

He listens at her breast, the slow

heart strong, her breathing

soft, that languor nothing

will deny.

IV. She Saw Him and Began Screaming

in hospital light
ripping the tube
fought gagging up
her hands tied
from her throat
the pills blood
down she kept
the IV she
on her mouth
she bit her
have they seized
darkness gone under
tongue fighting the
her now away
to hear her
hose shrieking why
from that cool
heart gun and
flood to shine
light glaring back
seen the dead
a beam into
through emptied pupils
wakened cursing this
her eyes ghost
have you never
world loathe to
return who ripped
her here fighting
need and fear
her from dark
red with fury
signed orders dialed
earth who brought
whose act whose
for help and
brought her to
and walk her
sleep let them
this wake her
back to us
rot as they
oh wake her
let the dead
are liable let
them rise in
walks the hallway
his face grey
their invisible bodies
glare too bright
hands steady carrying
before God he
for night-spent eyes
clothes from home.



 

 

 

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Masthead

Contents

Poetry

L. N. Allen
Aaron Anstett
Dan Beachy-Quick
David Biespiel
Paula Bohince
Peter Campion
Naomi Feigelson Chase
Julia Cole
Jon Davis
Jonathan Fink
Philip Fried
Ellen Goldstein
Cynthia Huntington
Lesle Lewis
Timothy Liu
Clay Matthews
Steve Mueske
Crawdad Nelson
Michael J. Opperman
Elizabeth Percer
Robert Phillips
John Pursley III
F. Daniel Rzicznek
Ravi Shankar
Peter Jay Shippy
Katherine Soniat
Robert Stark
Jen Tynes
C. Dale Young

Reviews

MATTHEW SPERLING:
Simon Armitage's
The Shout &
Lavinia Greenlaw's
Minsk

ELIZABETH KENNEDY:
Jack Gilbert's
Refusing Heaven


KATHLEEN ROONEY:
Richard Siken's
Crush

MATTHEW SPERLING:
A.R. Ammons's
Bosh and Flapdoodle

MICHAEL C. LEONG:
Dean Young's
Elegy on Toy Piano

STEVEN D. SCHROEDER:
David Wagoner's
Good Morning and Good Night

Artwork

Layne Jackson
Eric Armusik

Contributors

 

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