This morning,
Annie tumbles from the car
and onto the driveway.
I watch from behind the curtains
as Mother and Father trudge behind,
dragging duffles full of god-knows-what
(sweatshirts, I figure, and a toothbrush, and gallons and jars
of bitter white pills and injections).
“Daddy – keys!” she cries,
and his mouth stretches, baring teeth
(he smiles, he thinks)
as he tosses a jingling cluster.
The latch clacks, and Annie comes home.
I hover in the kitchen –
I never know what to say.
She spots me before even hanging up her jacket and kneels.
“C’mere, mutt,” like she expects me to pretend
I’m happy to see her
eight pounds lighter than last Sunday.
This afternoon,
Annie is tired.
Only I am allowed in her room,
where the angled light shafts and the dust motes
turn the plastic hairs of her wig
into faceted filaments.
She slides it from her skull
and drapes it on the sleeping styrofoam head on the vanity.
She unfastens each button of her bloused, empty shirt
softly, with intermittent fabric pops,
and slips her khakis into a crumple on the floor.
Standing illusionless before the ribbon-framed mirror,
she is a bone-pale butterfly.
I press my nose into the back of her knee.
There I lick a pillowed vanilla scar,
souvenir of the thunderous five-year-old day
when neither I nor training wheels could save her.
Sighting her snow-stretched collarbone,
her eyes begin to water.
I nuzzle her knee, again, again,
until she is persuaded to flop on the comforter.
But not comforted.
So I hop up and paw her down,
and I mold myself to her ribs
and she squirms, tickled,
and I squirm back,
and she laughs.














Comments
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"Art is why I get up in the morning" ~Ani Difranco
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YOU asked US for a gallery visit?
I knew who the speaker was by the title, and was interested automatically.
You say you were just GIVEN words to use and you wrote this?
Beautiful. As ~xxxxxx said, you've nailed it. I can only point out a couple of things that you could use help on, but I'm mostly just blown away at your style of writing and the absolutely original ingenuity of this piece.
One problem that I noticed in reading was the uneasiness of the vocabulary. Perhaps these were the words you were given to use, but you don't have to use them anymore. You wrote a good poem with them, but some of the words seem to pedantic for the speaker. He's a dog worried about a little girl who's a cancer patient (I think cancer?), he wouldn't be using words like "filaments" and "intermittent", would he? Then again, I've never spoken to a canine. (Unless you count the anthros here on DA but that's a whole different story)
Also, I noticed a few good line breaks where you moved into another thought in keeping with a thought a line above. However, I think that there are many instances throughout the poem where you could have done that more and we all know how pleasing those are to the mind and to the eye.
One last tip before I go...Trim the fat on every poem you write. Take care of getting rid of superfluous words and repeating yourself unless you absolutely have to. You don't want to bore the reader into not reading an incredible poem.
Amazing job, I'm truly truly impressed. That takes a lot.
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The second time I paid closer attention to the individual images and this time I didn’t smile, this time it slowly dawned on me what this was about, but it took me until the third reading until I finally understood (this makes me sound really slow, but I had to stop thinking in a critical sense to get the meaning). I guess also the first or so readings usually just involve you drinking in the language and getting contextualised.
What is so fantastic about this is how it seems like it could be a happy enough poem, the language that you use supports this, but there is that twist, which is almost unnoticeable (at least at first). That shock of realisation was unbelievable.
The first stanza had me confused at first, but it was entirely clarified by the end – very clever indeed.
The only thing about this that I didn’t like quite so much was the ending because I found it too repetitive and/or long, detracting from the power that was built up throughout the piece. I like the idea of the ending, but I think it could do with a little bit of work.
And as said before “I never know what to say” doesn’t seem suitable because dogs can’t talk.
Enough of my rambling,
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Days of wine and roses, days of wine and roses
All the artists flew in and all the arseholes flew out in '72
<`MinorKey> and don't drink so much that you remember having fun...
I see what you mean about the ending. I need to pare down the whole poem, particularly concentrating on that.
"And as said before 'I never know what to say' doesn’t seem suitable because dogs can’t talk."
^
I made the dog as human as possible to contrast him with the parents, who are briefly portrayed as somewhat savage (not quite the right word, but you get the idea). Maybe I overdid the human-ness.
Anyhow, thank you for your comment. You consistently point things out about my poems that I hadn't noticed. And thank you for the +fav!
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This signature is a figment of your imagination.
You ought to visit ~suture and *onewordatatime before your sanity has vanished completely.
I'll revise, one of these days, with your suggestions in mind, though I think I'm keeping the dog as sophisticated and human as possible. (Actually, the "pedantic" words were my own. The words I was given were snow, shirt, watch, scar, pound, tumble, pillow, and vanilla. Getting them in was easy -- I didn’t even mean to use "pound" or "tumble.")
Again, thank you for commenting. Keep up the good work!
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This signature is a figment of your imagination.
You ought to visit ~suture and *onewordatatime before your sanity has vanished completely.
and yay I'm consistent!
Keep writing.... you're very very good
--
Days of wine and roses, days of wine and roses
All the artists flew in and all the arseholes flew out in '72
<`MinorKey> and don't drink so much that you remember having fun...
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