Poem About A Story
In his poem from Deaf Republic, Ilya Kaminsky begins: Such is the story made of stubborness, and a little air/ a story sung by those who
His poem then proceeds by describing who is singing or telling the story (without really telling the story) and lets us suppose some of its elements. The poem follows, but this option involves writing a poem that imagines a story not told, but only hinted at (with small and sometimes large and abstract clues). So the reader delights in imagining the rest. Here is the poem by Ilya:
from Deaf Republic: 1
Such is the story made of stubbornness and a little air,
a story sung by those who danced before the Lord in quiet.
Who whirled and leapt. Giving voice to consonants that rise
with no protection but each other’s ears.
We are on our bellies in this silence, Lord.
Let us wash our faces in the wind and forget the strict shapes of affection.
Let the pregnant woman hold something of clay in her hand.
For the secret of patience is his wife’s patience
Let her man kneel on the roof, clearing his throat,
he who loved roofs, tonight and tonight, making love to her and her forgetting,
a man with a fast heartbeat, a woman dancing with a broom, uneven breath.
Let them borrow the light from the blind.
Let them kiss your forehead, approached from every angle.
What is silence? Something of the sky in us.
There will be evidence, there will be evidence.
Let them speak of air and its necessities. Whatever they will open, will open.
______
Other poems that might be considered poems "about stories," that is, one could piece together the back-story from what is written, but the story itself is not told in the poem.
Childhood Ideogram
I lay my head sideways on the desk,
My fingers interlocked under my cheekbones,
My eyes closed. It was a three-room schoolhouse,
White, with a small bell tower, an oak tree.
From where I sat, on still days, I’d watch
The oak, the prisoner of that sky, or read
The desk carved with adults’ names: Marietta
Martin, Truman Finnell, Marjorie Elm;
The wood hacked or lovingly hollowed, the flies
Settling on the obsolete & built-in inkwells.
I remember, tonight, only details, how
Mrs. Avery, now gone, was standing then
In her beige dress, its quiet, gazelle print
Still dark with lines of perspiration from
The day before; how Gracie Chin had just
Shown me how to draw, with chalk, a Chinese
Ideogram. Where did she go, white thigh
With one still freckle, lost in silk?
No one would say for sure, so that I’d know,
So that all shapes, for days after, seemed
Brushstrokes in Chinese: countries on maps
That shifted, changed colors, or disappeared:
Lithuania, Prussia, Bessarabia;
The numbers four & seven; the question mark.
That year, I ate almost nothing.
I thought my parents weren’t my real parents,
I thought there’d been some terrible mistake.
At recess I would sit alone, seeing
In the print of each leaf shadow, an ideogram—
Still, indecipherable, beneath the green sound
The bell still made, even after it had faded,
When the dust-covered leaves of the oak tree
Quivered, slightly, if I looked up in time.
And my father, so distant in those days,
Where did he go, that autumn, when he chose
The chaste, faint ideogram of ash, & I had
To leave him there, white bones in a puzzle
By a plum tree, the sun rising over
The Sierras? It is not Chinese, but English—
When the past tense, when you first learn to use it
As a child, throws all the verbs in the language
Into the long, flat shade of houses you
Ride past, & into town. Your father’s driving.
On winter evenings, the lights would come on earlier.
People would be shopping for Christmas. Each hand,
With the one whorl of its fingerprints, with twenty
Delicate bones inside it, reaching up
To touch some bolt of cloth, or choose a gift,
A little different from any other hand.
You know how the past tense turns a sentence dark,
But leaves names, lovers, places showing through:
Gracie Chin, my father, Lithuania;
A beige dress where dark gazelles hold still?
Outside, it’s snowing, cold, & a New Year.
The trees & streets are turning white.
I always thought he would come back like this.
I always thought he wouldn’t dare be seen.
From a Bridge
I saw my mother standing there below me
On the narrow bank just looking out over the river
Looking at something just beyond the taut middle rope
Of the braided swirling currents
Then she looked up quite suddenly to the far bank
Where the densely twined limbs of the cypress
Twisted violently toward the storm-struck sky
There are some things we know before we know
Also some things we wish we would not ever know
Even if as children we already knew & so
Standing above her on that bridge that shuddered
Each time the river ripped at its wooden pilings
I knew I could never even fate willing ever
Get to her in time
Still Life in Landscape
It was night, it had rained, there were pieces of cars and
half-cars strewn, it was still, and bright,
a woman was lying on the highway, on her back,
with her head curled back and tucked under her shoulders
so the back of her head touched her spine
between her shoulder-blades, her clothes
mostly accidented off, and her
leg gone, a long bone
sticking out of the stub of her thigh—
this was her her abandoned matter,
my mother grabbed my head and turned it and
clamped it into her chest, between
her breasts. My father was driving—not sober
but not in this accident, we’d approached it out of
neutral twilight, broken glass
on wet black macadam, like an underlying
midnight abristle with stars. This was
the world—maybe the only one.
The dead woman was not the person
my father had recently almost run over,
who had suddenly leapt away from our family
car, jerking back from death,
she was not I, she was not my mother,
but maybe she was a model of the mortal,
the elements ranged around her on the tar—
glass, bone, metal, flesh, and the family.
The Gift
To pull the metal splinter from my palm
my father recited a story in a low voice.
I watched his lovely face and not the blade.
Before the story ended, he’d removed
the iron sliver I thought I’d die from.
I can’t remember the tale,
but hear his voice still, a well
of dark water, a prayer.
And I recall his hands,
two measures of tenderness
he laid against my face,
the flames of discipline
he raised above my head.
Had you entered that afternoon
you would have thought you saw a man
planting something in a boy’s palm,
a silver tear, a tiny flame.
Had you followed that boy
you would have arrived here,
where I bend over my wife’s right hand.
Look how I shave her thumbnail down
so carefully she feels no pain.
Watch as I lift the splinter out.
I was seven when my father
took my hand like this,
and I did not hold that shard
between my fingers and think,
Metal that will bury me,
christen it Little Assassin,
Ore Going Deep for My Heart.
And I did not lift up my wound and cry,
Death visited here!
I did what a child does
when he’s given something to keep.
I kissed my father.
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