September 6, 2012

Bryan Walpert

OBJECTIVE CORRELATIVE

Start with a bird.
A petrel. No, a shearwater.
Whatever. You start with a shearwater,
then add a backdrop. An ocean, but not
too close, just close enough to hear it.
Not too much information, but a shearwater,
an ocean, and a house. Who’s in the house?
Two people. Well, one person. The other’s
on the deck, in a chair, writing a poem
about a shearwater, an ocean, a house,
and two people, one of whom is on the deck,
the other coming out to ask him what
he’s writing about. He explains about
the shearwater, the ocean, the house,
the man writing, the woman asking
this question, who is gone before he’s finished
the sentence, gone meaning her eyes are off
toward the ocean, which is fine because he
can get back to writing about a shearwater,
a woman looking out over the ocean at a boat
rising and falling on the surf, a fisherman
out alone under a hat, working in good faith
under a sun that shines in equal measure
on the ocean and house and the man writing
about a woman staring into the distance
of the past, thinking of someone important
she gave up for a house, an ocean,
and this man whom she can see now walking
down the path from the house to the ocean
to take a long run on the sand, as long as his body
will allow him, which is not the body it once was,
the body that drew her to a house near the ocean,
but what that body has become, a familiar
body, and though what is familiar can replace
youth and strength and mystery, it is no
substitute for it, and of course she’s thought
to leave, he thinks as his shoes slap the sand,
a hundred silent decisions in favor of
a commitment she made once to a house
near an ocean and the child that until
now was not going to be in the poem,
is not quite yet in this world, so
of course, she thinks, that explains the run,
and no doubt he’s thinking about the poem
on the pad he left on the chair on the deck
to take the run on the sand to chase a body
he is leaving, little by little, thinking
as he runs that it should be a petrel,
after all, can’t see her pick up the pad
to read about the house and the ocean
and the shearwater that might be a petrel
and the woman, who is not inclined to offer
an opinion on the matter because to live
with someone in a house by the ocean is
to take each suggestion as something more
than what it means, hence it occurs to her
to wonder why the bird at all, why
the fisherman, why alone, wonders as well
for the first time whether a fisherman thinks
about the necessary sacrifices the ocean makes
for his hunger, the generosity of it—she wonders
this as she comes out of the house to watch
the boat bob its way through another afternoon
at the noisy ocean and to listen for a bird
she could identify absent the shushing of the surf,
if the house were somewhere else, would wonder,
too, about the poem’s odd displacement—
she finds his choice of word interesting,
a Freudian word, and a literary one—
of their lives to an ocean, would wonder
this, too, were her mind not already on the dinner
she plans to prepare, a piece of something for herself
and a man walking the last bit up the sandy path
from the ocean to the house, curious
whether she picked up the pad as he’d planned,
whether she understood what he meant by the boat,
the fisherman, whether it might elicit from
the woman a revealing comment, something,
she thinks, they might have split along with
a nice white, were she allowed to drink it,
to open while he ices his knee, while the ice
does what it does, the boat does what it does,
as the house and the woman and the man
(and the wine she can’t drink) breathe
in the salty air wafting through the poem
in the hand of a woman on a deck watching
the fisherman wait patiently beneath his hat
for the fluid world to deliver itself up
as the bountiful flesh, that it might be divided
into equal parts mercy and remorse.

from Rattle #36, Winter 2011
Rattle Poetry Prize Finalist

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