July 2023
Bio Note: Our recycling center is long closed, but I used to love going there and seeing all the amazing things people were discarding, but which might indeed be reused in some way. There’s an unusual type of recycling going on in “Three Elegies for the White Mare,” and isn’t memory the ultimate recycling? My latest book is The Gambler’s Daughter (The Orchard Street Press, 2022), and my manuscript No Angels will be published in 2023 by Kelsay Press.
At the Recycling Center
Next door at the Humane Society the dogs are barking. Our town has made a New York channel with the story: dogs confiscated from an owner who now wants them back. The trial's dragged on for months, and till it's settled, the dogs can't be adopted by new owners. Hauling a plastic bag of trash, I climb the rickety metal stairs to the landing, upend the bag and shake its contents into the open hatch of the paper and catalog trailer, larger than my kitchen, almost full. Sliding down the hill of paper is the last Sears catalog, which I was tempted to save. As long as they kept coming, they were of no value, but last things appreciate. It's Tuesday, I'm the only one here, so I can linger gazing down into that huge bin of correspondence. A sheaf of bright coupons catches my eye, as it is made to do, and redeems a lost word: rotogravure. The surprising rhyme for you're in "Easter Parade." Today the rotary press itself is obsolete, like the name the process gave to the newspaper supplement. Now the remembered lines of the song yield Easter bonnets and the parade, which survives as a parody of itself. At least the sonnet has not disappeared. I've crumpled or shredded to confetti receipts with our VISA number and ripped into quarters even unclaimed student papers, so no one can reuse their words. Though each semester "from the beginning of time" and "let us hope in the future" keep creeping back. This heap is so high I can still read the lists I've discarded—house repairs, friends invited to the party and dishes they'll bring. Paint back porch stairs, wash windows, prune roses, take recycling, and here I am a month later, one more item to check off the new list at home. I wonder if we should reuse the same list: do laundry, check car, get groceries, and the grocery lists, too, which resemble variations on a theme. Afraid to leave evidence of our lives within easy reach, I push our trash out toward the edges. This exposes someone else's recycling, an unfamiliar script, and leaves of notebook paper, a child's homework. The blue lines filled with textbook letters remind me of our sons' first printing and the merge of letters into cursive, leaning into a distinctive style. This bin must be run through with such laborious practice, the alphabet we need for this volume of words. Beyond the homework lies a pack of letters tied with a faded ribbon. Tradition dictates what they are, yet who would discard them whole? Burning's preferred, both thorough and symbolic. What is dead? Both lovers? Love? And who decided they should end at this communal site? Less and less needs to be hoarded, as it all comes back, though sometimes in another form, like those stymied poems I've shredded and discarded. Up through recycled paper old words rise in new configurations, as even now the stars are shifting Cassiopeia and Orion. And here a postcard shows no earthly destination, but a huge full moon. I need not turn it over to know its news. Always waxing and waning, its white face making the dogs lift their muzzles and howl for a new master, any one.
Originally published in Traction (Ashland Poetry Press, 2011)
Three Elegies for the White Mare
Buried in the far pasture, the white mare I used to pass as I walked. No matter how I called or whistled, she seldom looked up. The snow melts and the grass grows long in the field where the mare grazed. After the birds and leaves have gone, my neighbor finds a nest lined with a riddle in its hollow of fine, dark twigs: white coil of hair from her mare’s tail. The woman carries the nest inside, sets it near her drawings, sculptures of shells, wings, bones. For weeks she lives with the nest that recalls the tail flicking flies, twitch of flesh beneath the curry brush. And on her palm, the inquiring lips. One day with pencil and paper twig by twig she weaves a nest. Strand by strand she braids the hair. She props the nest she has made beside the other. I carry the images home: coil of white hair, artist, drawing, nest, mare I never rode, or even touched. How long inside its shell the poem stirs and changes, then taps its way out. Still, the absence we pass in the field will not look up.
Originally published in Traction (Ashland Poetry Press, 2011)
©2023 Mary Makofske
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