Arts+Culture

Arts+Culture

We Are the Eighth Day, © Melanie Weidner

Poetry

Ash Wednesday

no bicep, no bone, no lung
and no cheek, so lean, not
even breath not even earth—
humus, placental—nothing
but dust nothing but ash
burnt up consumed—
not the predominant water
no song and no sound
no taste and no touch no hunger
not even age-lame or deaf
not even tomb-bound and rotting
no pain yes but also no feeling
no hope and no hunger
the end of I and I think
not I hurt or even am nothing
no cross on the forehead
no forehead no
thing at all.
Poetry

Lessons in prayer, from a dog

He assumes his still posture
two feet from the table.
He is not grabby,
his tongue is not hanging out,
he is quiet.

He wants to leap,
he wants to snap up
meat and blood.
You can tell.
But what he does is sit
as the gods
his masters and mistresses
fork steak and potatoes
into their mouths.

He is expectant
but not presumptuous.
He can wait.
He can live with disappointment.
He can abide frustration
and suffer suspense.

He watches
for signals,
he listens for calls
of his name from above.

At hints that
he may be gifted
with a morsel,
he intensifies his
already rapt concentration,
he looks his god
in the eye,
but humbly,
sure of his innocence
in his need,
if his need only.

On the (often rare) occasions
when gifts are laid on his tongue,
he takes them whole,
then instantly resumes
the posture of attention,
beseeching, listening, alert,
the posture of hard-won faith
that will take no for an answer,
yet ever and again hopefully
return to the questioning.









Film

There Will Be Blood

I often tell screenwriting students not to avoid the difficult scene. By “difficult scene” I mean one involving a serious confrontation, a declaration of love or infidelity, or a confession of sin or weakness. These are scenes that lesser writers try to work around, since they are so difficult to write. But these scenes are the cornerstones of a meaningful story.
Poetry

John the Baptist at a country tent meeting, Jesus comes

Can you tell me what to want now? I can’t
go on, no turning back. We’d sing, “Jesus
on the main line, tell him what you want. Just
call him up, tell him what you want, what you want.”
But these six months, they came to me, I tell you—
tire tracks and footsteps flattened the grass ’round
the green tent—my words made such sound
toward the crowd—they bent, repented. But I knew
I was nothing, I just stalled in the river’s flow.
I waited for you, tensed as a dog’s hind leg
crouching before bread crusts and melon rinds.
Miz Black yowls “Call him up, call him up now!”
But you’re here, and I’m blown, a cattail’s sag,
I am birds dispersed—pepper in the wind.
Poetry

Stone work

I know the one I want when I find it.
Turning them over, like tortoises,
rubbing their ridged underbellies, their curves,
their pocked histories of love and grief,

I palm the one that speaks my other name,
the one whom I become this still moment,
lead-light, soft as chalk, right as spring
after weeks of needling sleet, the dumb tomb.

I run my tongue along its edges, taste
the sharp consonants, the gush of vowel,
the salt that grits the honest surface,
telling its years in the still pool of tears.

A stone in a heart made of sorrow,
a node in a kidney (gorgeous agony),
a missile thrown to break the martyr’s skull,
a stranger at the gates of the body’s love.

I press it down hard in the good dirt
next to the one I loved best yesterday,
assembling the poem, stone by sudden stone,
faithful as flesh to its house of bone.