This strongbox full of ash, this valentine
except what is all
the more transparent for it: fingerprint
over an eye, the eye a last reminder
to look quietly,
as though this hush without a gesture could be
closing your mother’s eyes, or placing
glass pennies over lids to help her see
her way asleep. This is your way
to love. Two years, this box of bone like burnt tears
accumulates a patience like white space
around it near the unused shoehorns.
Two years of unwept dust. She left you nothing
you can reason with, just bone prints
everything would touch: the hedge let go, the hammock
spilled wide to the river that reflects a lazy sky.
In a ravelling of ash, she would leave a world hurriedly
forgiven in the last touch scattered. She would leave you
everywhere, your hands blown empty. In the end,
is there no difference between a son and weather?
In the release of all she is and has
unnamed, the world
is left in a braille of possibilities, her finger
Frannie Lindsay’s work has appeared in American Poetry Review, The Atlantic Monthly, Iowa Review, and elsewhere. Lindsey, who lives in Cambridge, earned her MFA from the Iowa Writer’s Workshop. Her chapbooks are Refusal to Break (Stone Soup), The Horse We Lie Down In (Pikestaff Press), The Harp of the First Day (Nocturnal Canary Press), and The Aerial Tide Coming In (forthcoming from Swamp Press). (1981)