Lovely That Black Crow, Grandmother Brought into the Camp
Years later, my grandfather
reached into his pocket for a handkerchief
and extracted my grandmother like a molar from the grave
There’s no exception to the strangeness
Years later, my grandfather
reached into his pocket for a handkerchief
and extracted my grandmother like a molar from the grave
There’s no exception to the strangeness
Who’s astonished by the way
stars smell like communion wafers?
Already the galaxy’s priests
have rounded up the runaways.
A boy with a long stick whacks the air.
What demon does he strike?
Henning has a very elegiac quality to her writing: death, crows, grief and longing. That probably could be said of most poetry, but in this case, there’s also a very subtle sense of self-ironizing awareness. For example, in “Jump-Off Joe Creek,” which examines the story behind the oddly named Oregon stream, Henning takes an inward turn: “but finally, / like Joe on the bridge, you must select / one life and hold it like flint underneath your tongue, / something made in the shape of an arrow.”
The tea pourer’s left hand snores on her lap.
One finger strangely points to the floor
as though downward
were the only refuge for the roughly defined.
In the beginning there was promise.
We lived together in harmony,
When the black bearskin hung from the tree
like a rug drying on the clothesline,
the hunter recounted how he started an incision,
cut upward to the head,
stopped at the mouth’s corners.
A rooster crowed at the first
strike of light, awaking the stone
child who held her own
I wish I could tell you more about the man
bent over the drawing of his daughters
Sofi and Sonia, how like Saint Bartholomew
in Rembrandt’s painting, the man becomes so intent
that his pencil is now another finger,