I Stop Writing the Poem - Tess Gallagher - USA
to fold the clothes. No matter who lives
or who dies, I’m still a woman.
I’ll always have plenty to do.
I bring the arms of his shirt
together. Nothing can stop
our tenderness. I’ll get back
to the poem. I’ll get back to being
a woman. But for now
there’s a shirt, a giant shirt
in my hands, and somewhere a small girl
standing next to her mother
watching to see how it’s done.
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I step outside to get a clear view
of the night's first stars, but something
urgent and full of an ancient, inexplicable pain
is aloft in the darkness of the hemlocks.
Again and again it makes its shrill cry of panic
that is a plea and a question.
One bird after dark. What has befallen
its nest, its wing, its sun?
So little to tell. Not even the word "tomorrow"
is world enough to offer myself
hearing it.
To whom can I offer my Heart? by Tess Gallagher
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That’s why I love most the moment when you take your lips away.
Sometimes the dawn sky clings
to itself like that
in the moment just after multitudes of stars
have faded. That’s why I love most
the moment when you take your lips away.
— Tess Gallagher, from “His Moment,” Portable Kisses (Graywolf Press, 1994) (via The Vale of Soul Making)
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Choices By Tess Gallagher
I go to the mountain side
of the house to cut saplings,
and clear a view to snow
on the mountain. But when I look up,
saw in hand, I see a nest clutched in
the uppermost branches.
I don’t cut that one.
I don’t cut the others either.
Suddenly, in every tree,
an unseen nest
where a mountain
would be.
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Then she was quiet with him. And he
with her. The world hummed
with crickets, bees nudging the lupines.
It is like that when the earth counts
its riches--noisy with desire,
even when desire has strengthened our bodies
and moved us into the soak of harmony.
from ‘Urgent Story’, Tess Gallagher in Dear Ghosts
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Instructions to the Double
- Tess Gallagher
So now it’s your turn,
little mother of silences, little
father of half-belief. Take up
this face, these daily rounds
with a cabbage under each arm
convincing the multitudes
that a well-made-anything
could save them. Take up
most of all, these hands
trained to an ornate piano
in a house on the other side
of the country.
I’m staying here
without music, without
applause. I’m not going
to wait up for you. Take
your time. Take mine
too. Get into some trouble
I’ll have to account for. Walk
into some bars alone
with a slit in your skirt. Let
the men follow you on the street
with their clumsy propositions, their
loud hatreds of this and that. Keep
walking. Keep your head
up. They are calling to you–slut, mother,
virgin, whore, daughter, adultress, lover,
mistress, bitch, wife, cunt, harlot,
betrothed, Jezebel, Messalina, Diana,
Bethsheba, Rebecca, Lucretia, Mary,
Magdelena, Ruth, you–Niobe,
woman of the tombs.
Don’t stop for anything, not
a caress or a promise. Go
to the temple of the poets, not
the one like a run-down country club,
but the one on fire
with so much it wants
to be done with. Say all the last words
and the first: hello, goodbye, yes,
I, no, please, always, never.
If anyone from the country club
asks if you write poems, say
your name is Lizzie Borden.
Show him your axe, the one
they gave you with a silver
blade, your name engraved there
like a whisper of their own.
If anyone calls you a witch,
burn for him; if anyone calls you
less or more than you are
let him burn for you.
It’s a dangerous mission. You
could die out there. You
could live forever.
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No matter who lives
or who dies, I'm still a woman.
I'll always have plenty to do.
—Tess Gallagher, I Stop Writing the Poem
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