July 23, 2011

Courtney Kampa

THE MISCARRIAGE

What I remember is how my mother used her entire body
to yank the gear of our red jeep into park, and then turned

around in her seat to say she’d only be a minute; wait quietly.
She rolled my window down, but forgot to close her door

which made the dashboard complain in beeps and bells,
and this upset me. Her coffee was left in the holder, hanging

its adult smell over the car like a shadow. She ran
across the grass to where her friend was heaped

on the front steps in a white linen dress—very loose—rumpled
and twisted as bed sheets emptied of arms and legs. I remember

it was the woman who let me wear her wedding ring
whenever I sat on her lap; who’d kiss the top of my head, telling me

the only thing strong enough to cut such a perfect stone
was another just like it. There on the bricks, she shook

so hard I thought that diamond must have cut her. It was the kind
of sob where no real noise comes out,

sputtering only one word—one I’d never
heard before: lucy-lucy-lucy-
lucy. I didn’t know what a lucy-lucy-lucy-lucy was

but I grew light-headed from its sound. It reminded me
of air slapping against cement, again and again,

on the flower-bothered basketball courts down the street.
It had a rhythm like the rosary or brushing teeth: that quiet, swishing,

frenzied grasp and drag. I won’t describe it; I don’t want
to describe it. All anyone should know is that the two sat

as hot and damp and helpless as the rest of July. That
eventually even the sun caught on, growing red-rimmed

around the eyes. It finally sank, sensing there was nothing
to be done but hang its head. All night the yellow jackets,

in their tiny waists, whirred themselves hoarse with lament.

from Rattle #34, Winter 2010
Rattle Poetry Prize Honorable Mention

__________

Courtney Kampa: “Being 22 years old, I have little to offer in the way of a substantial bio, but will keep you posted.” (website)

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July 22, 2011

Courtney Kampa

AVANT-GARDE

A man slouches before a uni-colored canvas
with the perplexity of a stumped technician
gaping at the unremittingly blank screen
of a television. He adjusts his stance,
a double antenna, in search for reception.
Its artist has spread the blackest paint—probably
in fistfuls with her bare hands—until every inch
was filled, or emptied, with dark. “A negation
of art,” spouts a museum curator, but by now our guy
has stopped listening. Maybe the artist felt a wound
deserves a close-up. The threaded color
of sutures—dark stitches laid down like train tracks
across a forehead. Maybe she wants answers
but isn’t getting any. She’s in the tomb on Good Friday, before
the stone’s rolled back. Or maybe it’s feminine—
like pantyhose, or the womb. Something about birth.
Or death—that dark hound curled up at her feet.
Could be she has a black lab, and just really likes
her dog. Or it’s the view from inside a chamber
of the heart that has sealed itself off. Or it’s cancer.
Maybe she’s ruptured, and knows first hand
what a rip looks like, having watched the hole of herself
stretching even wider. It’s possible she’s been jilted
and has an axe to grind, and that this is a portrait
of her ex, that anatomical hole, himself.
Perhaps it’s a memory of being kissed—kissed well.
The lashes on a smolder-eyed man. Maybe it’s motherhood:
the charred casserole, smudges across the leather
in the back seat of her car, a sugary space a first-lost
tooth creates. Maybe the money’s gone
and she’s got kids in college. Maybe she’s divorced
and this is the hue of lost custody. Maybe it’s the bald-spot
in the ozone, and she wants her climate back. What if
she’s painted sacrifice: the gap plowed into Adam’s side
to create a second life; the rib removed from a girl named Eve
to create a wasp-like waist. Maybe it’s an un-filled cavity,
or the huge, open pores on her dentist’s nose.
Perhaps something very personal occurred here.
Steam-rolled asphalt. A star-scrubbed sky.
Either she wants to say nothing, or say too much.
Either her world keeps ending, or it’s always beginning.
Whatever it is, the man’s face awakens with what looks like an answer.
Taking two steps back in his trainers, he reaches
into his jeans for a ballpoint pen—a moment of light
before this work?—and inks onto his hand:
                        buy eggs.

from Rattle #34, Winter 2010
Rattle Poetry Prize Honorable Mention

__________

Courtney Kampa: “Being 22 years old, I have little to offer in the way of a substantial bio, but will keep you posted.” (web)

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