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The record of the imperfection of your thoughts
before they administer
anesthetic;
or the anonymity of the crowds in your prayers
and of choosing a balcony to the side of their surges, and
whoever turns
to convince you, you are praying for yourself
and you, unable to move
as if the balcony did not have a room behind it
in which everything you remember
is revealed
by the stent
funneling surgical light
into the shadow of the surgeon’s hand.
In the movie-screen version of your shadow it turns to the audience
with a woman’s face
and calls them
by the names of the people who appear in her scenes;
who else would you cast for the moments you stood in this light and
were no one you knew
and who would mistake your shadow’s hand, for something in the off-
screen
window’s light, and never warn her: and if you should
become
this person
will you remember she’s calling their names
through your
silence?
trenches bridged with eastward dunes
or their
shadows
where you
could cross to your mirages and be tracked
to their
images’
edges: to their shadow-less fronds and
their
foragers
checking your visions for descriptions
of them-
selves
catching their clothes on the bundles
of branches
they
never lit for the snake they cooked with
the
miner’s
fuse;
Christopher Bolin’s collection, Ascension Theory (University of Iowa Press), was a Foreword Reviews “Book of the Year Award” finalist. He has published in jubilat, Lana Turner, Post Road, and other journals. A recipient of fellowships from the MacDowell Colony, Yaddo, and the James A. Michener Foundation, Christopher’s next poetry collection is forthcoming from the University of Iowa Press in 2018. Currently, he teaches at the College of St. Benedict / St. John’s University, in Minnesota.
This originally appeared on December 7, 2017