Lamb’s Ear
Who would ask to host a flourishing
without end? Could you lift up
your head, you’d see the rain
on the secondary parking lot
and yellowed hill beyond. Mercy
in the mechanical and the frozen,
now the sun and two half-drawn
curtains, vacuumed fruit, cup of straws,
and blue plastic lifting to orange
food. Was that the air of grace
the cart of trays pulled with it,
pain dulled through your chest,
crumpled monument, announcers
coming through a tinny remote among
the caretakers and the catheters?
Sprig
Lost within the decline
of his grandmother, Proust
finds the body to be a sea
creature “for which our words
can have no more meaning
than the sound of the tides,
and with which we should
be appalled to find ourselves
condemned to live.” Strange
companion beating and rising
not within us but as us, better
to play a game of make believe
than curse its ill movements:
a hundred painted lines
turned into a children’s web
—toy cars stuck on yellow,
last station before the body
pours out like water, bones
counted and told to relent
or become marbled clouds.
A gift of holly grown full
from a small spray of leaves
and berries next to the bird
feeders in the backyard.
Sentience
The illusion of one’s train moving
when in fact another a track over
is just pulling out—applied to a life
rolling in reverse—near an empty
station far from home but near
a river at rest, obscured in part
by quiet rows of trees. Is this
the crawling away to die, body
shrinking into itself, beyond words
and sustenance, beyond light
and warmth, casting off time
as it becomes a closed path:
is this how one bows out
to a new idiom of dust, turning
away from the taste of salt
on the wind? Tired genius
of the mountain, are you more
grand now when fractured
and in decline? And in falling off
is the magic elevated, blurring
into its stark backdrop, aura
shifting into green apostrophe?
Set Upon
A small wonder, light
below the pyramid,
the practice of sitting
in a room somehow
alive, a pamphlet
on rising: blessed be
the weight that does
not floor the bearer
even if it cannot
be held above
in glory.
Host
Bedridden yet
kept from slum-
ber, a narrow
counter full
of summer’s last
flowers. It’s no
small thing your
body hasn’t
already crept
away, folding
into the linens
until there is
nothing—we
would say she
couldn’t even
remember the
desolating pain,
mind so rid-
dled with efflor-
esence, whose
voice holds
the shape of
an empty
room—
Miniature
A shadow of smoke
held by stained glass
and brickwork on an
opposing façade:
the high-noon sun cast
in a downward flare
so the window admits
not a view but a knowledge
of brightness emerging.
A woman with her arms
in her hands adjusts
her weight to one side,
won’t acknowledge
the camera: the light
cannot obscure the ex-
pression on her face
but does well to hide
the freshly sculpted
hydrangea, dough still
rising on the window-
sill, the trail of salt
and its shaker overturned.
Aloud
Many-petaled flower
split in half, the pill
or the paper cup, juice
or water, the blue
mantle removed
took with it a piece
of who was beneath.
Shrouded in the quiet
of turned-off TVs, night
settled before dinner
could be pushed away
untouched: soup
for another room,
clock for another time,
clothes for another self.
Turn up the music
of these moments without
sound, be worn away
until the last layer
of shining stone.
Patrick Delorey is an artist whose work gives form to time-dependent processes. He recently completed an artist residency at Autodesk’s Pier 9 in San Francisco, and is now a member of NEW INC at the New Museum in New York City. More of his work can be seen at patrickdelorey.com. He lives in Brooklyn.
Ben Pease is a board member of the Ruth Stone Foundation and an editor of Monk Books. His first full-length collection of poems, Chateau Wichman, is forthcoming from Big Lucks Books, and more work can be found online at fugitivesofspeech.tumblr.com/works. He lives in Brooklyn with his wife, the poet and artist Bianca Stone.