And I saw it didn't matter / who had loved me or who I loved. I was alone.
Dorianne Laux, from “After Twelve Days of Rain”, What We Carry
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trying to raise the dead by Dorianne Laux
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Ray at 14 - Dorianne Laux
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Dorianne Laux, “I Dare You”
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Facts About the Moon
by Dorianne Laux
The moon is backing away from us
an inch and a half each year. That means
if you’re like me and were born
around fifty years ago the moon
was a full six feet closer to the earth.
What’s a person supposed to do?
I feel the gray cloud of consternation
travel across my face. I begin thinking
about the moon-lit past, how if you go back
far enough you can imagine the breathtaking
hugeness of the moon, prehistoric
solar eclipses when the moon covered the sun
so completely there was no corona, only
a darkness we had no word for.
And future eclipses will look like this: the moon
a small black pupil in the eye of the sun.
But these are bald facts.
What bothers me most is that someday
the moon will spiral right out of orbit
and all land-based life will die.
The moon keeps the oceans from swallowing
the shores, keeps the electromagnetic fields
in check at the polar ends of the earth.
And please don’t tell me
what I already know, that it won’t happen
for a long time. I don’t care. I’m afraid
of what will happen to the moon.
Forget us. We don’t deserve the moon.
Maybe we once did but not now
after all we’ve done. These nights
I harbor a secret pity for the moon, rolling
around alone in space without
her milky planet, her only child, a mother
who’s lost a child, a bad child,
a greedy child or maybe a grown boy
who’s murdered and raped, a mother
can’t help it, she loves that boy
anyway, and in spite of herself
she misses him, and if you sit beside her
on the padded hospital bench
outside the door to his room you can’t not
take her hand, listen to her while she
weeps, telling you how sweet he was,
how blue his eyes, and you know she’s only
romanticizing, that she’s conveniently
forgotten the bruises and booze,
the stolen car, the day he ripped
the phones from the walls, and you want
to slap her back to sanity, remind her
of the truth: he was a leech, a fuckup,
a little shit, and you almost do
until she lifts her pale puffy face, her eyes
two craters and then you can’t help it
either, you know love when you see it,
you can feel its lunar strength, its brutal pull.
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I have always loved too much, or not enough.
Dorianne Laux
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I have always loved too much, or not enough.
Dorianne Laux
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I have always loved too much, or not enough.
Dorianne Laux
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That’s how it is sometimes —
God comes to your window,
all bright light and black wings,
and you’re just too tired to open it.
-Dust, by Dorianne Laux
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When I think of the years he drank, the scars
on his chin, his thinning hair, his eye that still weeps
decades after the blow, my knees weaken with gratitude
for whatever kept him safe, whatever stopped
the glass from cracking and shearing something vital,
the fist from lowering, exploding an artery, pressing
the clot of blood toward the back of his brain.
Now, he sits calmly on the couch, reading,
refusing to wear the glasses I bought him,
holding the open book at arm’s length from his chest.
Behind him the windows are smoky with mist
and the tile floor is pushing its night chill
up through the bare soles of his feet. I like to think
he survived in order to find me, in order
to arrive here, sober, tired from a long night
of tongues and hands and thighs, music
on the radio, coffee– so he could look up and see me,
standing in the kitchen in his torn t-shirt,
the hem of it brushing my knees, but I know
it’s only luck that brought him here, luck
and a love that had nothing to do with me,
except that this is what we sometimes get if we live
long enough, if we are patient with our lives.
“Music in the Morning”, Dorianne Laux
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“I have always loved too much, or not enough.”
— Dorianne Laux, “After Twelve Days of Rain”
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Sometimes, when we're on a long drive,
and we've talked enough and listened
to enough music and stopped twice,
once to eat, once to see the view,
we fall into this rhythm of silence.
It swings back and forth between us
like a rope over a lake.
Maybe it's what we don't say
that saves us.
— Dorianne Laux, Enough Music in "What We Carry (BOA Editions, 1994) (via Regina Rosenfeld)
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death comes to me again, a girl by Dorianne Laux
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I have always loved too much, or not enough.
Dorianne Laux
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I have always loved too much, or not enough.
Dorianne Laux
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Antilamentation
by Dorianne Laux
Regret nothing. Not the cruel novels you read
to the end just to find out who killed the cook.
Not the insipid movies that made you cry in the dark,
in spite of your intelligence, your sophistication.
Not the lover you left quivering in a hotel parking lot,
the one you beat to the punchline, the door, or the one
who left you in your red dress and shoes, the ones
that crimped your toes, don’t regret those.
Not the nights you called god names and cursed
your mother, sunk like a dog in the living room couch,
chewing your nails and crushed by loneliness.
You were meant to inhale those smoky nights
over a bottle of flat beer, to sweep stuck onion rings
across the dirty restaurant floor, to wear the frayed
coat with its loose buttons, its pockets full of struck matches.
You’ve walked those streets a thousand times and still
you end up here. Regret none of it, not one
of the wasted days you wanted to know nothing,
when the lights from the carnival rides
were the only stars you believed in, loving them
for their uselessness, not wanting to be saved.
You’ve traveled this far on the back of every mistake,
ridden in dark-eyed and morose but calm as a house
after the TV set has been pitched out the upstairs
window. Harmless as a broken ax. Emptied
of expectation. Relax. Don’t bother remembering
any of it. Let’s stop here, under the lit sign
on the corner, and watch all the people walk by.
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