Tuesday, September 25, 2007

Pierre Bonnard's Nude in a Bathtub


j. a. arrick

Where is the to be or not to be seen?

-the man in the chair to the right of Ophelia.

Her face is not found nor bound hands and feet

rather, Athena’s chiseled figure is entombed

with weather faded stone.

Inferno fired cinderblocks holds

room in dance, and her, like paralysis’

daughter, songless, danceless, unclapped,

floats and therefore seem not to be.

He was not to be no more, but was to dance

In warmth and caress, with hand on side

Arm in air, and step in light, her face to his

The room decrease, their love crescendo

He was to dance. Instead, he is absent.

The room awaits the fiddle and horn,

and poises to tap a vibrant tune,

illuminates with joy and verve;

but there is not to be a dance

the couple is not to be.

nor anymore, Ophelia

1 comment:

Thomas Banks said...

Of the two you posted, this is by far the superior. If I might suggest one thing, the surprise jaggedness of line 6 up to the comma in line 7 would better jive with the rest of what you've got going on here if you smoothed over the syntax. The rest of the piece has a very fluid continuity, and though disruption of that is sometimes called for, in this case I think it's more of a rock that shatters an otherwise calm surface.

Still, Kudos.