Chapters (67)
- Cover
- Note to Reader
- Dedication
- I
- Murano
- Bubbles
- Vessels
- A Peacock in a Cage
- At the Fishhouses
- When It Is Over, It Will Be Over
- Letter from the Pribilofs
- II. Go West
- You’re
- Mae West: Advice
- Marriage
- Censored
- Freedom
- Go West
- The New Woman
- Mae West: On Aging
- “Celebrity” Striptease at Southern X-Posure
- Confessional
- Self-Portrait as Mae West One-Liner
- Never
- Prayer
- Envoi
- III
- W.C. Fields Takes a Walk
- Philip Larkin’s Koan
- Once
- Saturdays at Reynolds Work Release
- Olive Oatman in Texas
- Assemblage of Ruined Plane Parts, Vietnam Military Museum, Hanoi
- IV. Shooting the Skulls: A Wartime Devotional
- Portrait of F19: Male, 42 Years Old
- Portrait of D6: Male, 38 Years Old
- F21: Male, 37 Years Old
- Devotional
- Devotional
- Portrait of F11: Female, 39 Years Old
- F20: Male, 29 Years Old
- Portrait of D19: Male, 41 Years Old
- Portrait of D17: Female, 37 Years Old
- C18: Male, 36 Years Old
- Devotional
- Devotional
- Portrait of E4: Male, 34 Years Old
- Devotional
- Devotional
- C2: Male, 42 Years Old
- Portrait of E20: Female, 32 Years Old
- C11: Female, 54 Years Old
- Portrait of B4: Female, 34 Years Old
- Portrait of C8: Male, 32 Years Old
- V
- Baucis and Philemon
- Rhetoric
- Irises
- Monticello Vase
- Birthday Poem
- Mortal Love
- The History of Paisley
- Notes
- About the Author
- Also by Paisley Rekdal
- Acknowledgments
- Special Thanks
Their son has started up a business tutoring
high-school students, he said he’s found
some sort of group, gone back to school,
and it’s true they rarely see him anymore,
which is why it is so startling
to find him now asleep in the guest room
which used to be his sister’s—
there are still pictures from a horse camp
framed on the wall—his black jacket neatly
folded over a chair. His white shirt
is half rolled up his stomach,
like a child’s: she can see bruises
dappling his ribs and arms, and this—rather
than making her shake him awake—keeps her
peering at him, watching the thin chest
rise and fall, the sink of his stomach
like that of some starved animal,
though the more she looks, the more she thinks
it is her husband’s face she sees there.
There is his slack and opened mouth, the shut eyes
that flinch in sleep. The large,
almost ugly hands are her husband’s,
as are the long legs sprawled atop the sheet
embroidered with birds. For a moment,
it is her husband’s death she sees
in him, and knows, suddenly, whether
out of fear or love, how much
she does not want to survive this. All those years
together guarding the boy against his moods,
depressions at school; at home, violent
outbursts against his sister. What new
erosions of his mind would they now
be witness to? And what will be
her own future, she wonders, picturing herself
and husband twined like snakes
in a field, or dissolved inside a cloud of smoke:
a thunderclap of embroidered birds.
To disappear like this together is what
she most wants, neither one left behind, alone
with their son. Unfathomable, his anger
from which she has no defense, so never confesses
the rifled car, the shed’s smashed
lock, whatever trespasses only she
discovers, their son’s voice on the phone
demanding to know why the two of them
have never loved him. She looks at her son’s body
splayed on the coverlet. The long
and tattooed ankles. The waxy,
thin skin of his lids. Not like you love each other,
he’d accused her, as if it were her marriage
that had come between them, the guilt
that drove her now to leave small stacks
of cash for him to find secreted
inside a drawer. Her son lolls in sleep.
She stands and watches him till she hears a voice
calling by the door. It’s her husband
home from work. He’s about to mount the stairs
and find them together, and so she hurries down.
She wants to let her son sleep off
whatever he is sleeping off. To give him
time to wake, make his way into their bedroom
and find—if this is in fact what he has come for—
the newest small apology she’s left him.
She wants to go for a walk, she tells her husband,