Her attempt to weld boxed
all of us in. Hinges that wouldn’t
swing in unison
when she wanted
to hide from the future
litany of failures. Mysterious
groin pull
but no limp. She walks on.
Her father didn’t make furniture,
didn’t have time
to collect tools. Inherited gold
apprentices with modern moves
and names. Could be it’s all
in her head.
Behind a picture frame, buried
in the sand beneath
handmade cedar shingle
swings, above
the dunes, floating on
the surface of a disturbingly calm
bay, I might discover
my new obsession.
That she could define the sacred place inside her architecture of breathing,
that she could steal her father’s Old Head cave—naturally programmed
with thick Irish grass to cushion vistas of the Irish Sea—
that she could claim even one piece of rock as her own
to build a chapel for her own non-conformity,
would be her attention to structure,
would be her proposal to the world,
would be her physical presence
inside a hallowed ground where there are
no lines, no dimensions, only
the exquisite knowing of a spot
where she, like seamen before her,
would go. She would go
to rest her body, to forget it, to uncover
in the rubble of Earth’s design,
souls lost, souls renewed,
a storm pushing so many
waves into the cave, etching
its remarkably evolved design
no human hand could replicate.
She wails when he plays
it. If only those bellows were paper,
she might forgive
her father this disturbance.
Her mother says
he’s a little off
key—she should know. But
that’s not it. Her distress
is buried in the mechanics
of what we inherit.
Night & Day Poems of Amy Nash 