from The Minotaur's Daughter (Seagull Books)
NAKEDNESS
Nakedness like a white whip snaps about the flat, winged horses and knickers are inapt, there’s just plain and simple nakedness, a bare wall with a shadow. Knees, pale sugar cubes, bait for felt-coated dormice, erupting from the dark. Bras and feathers from peacock and baboon, the honey of an arm. Unhurriedly and completely poured papaya; furs
and dead grapes. Nakedness clicks her teeth, blusters
with embryos and childbirth, with over-ripeness
and emptiness.
A HORSE CAME INTO OUR STREET
That day the air looked like wisps of hay that had fallen from a wagon. It was hay, the kind used to line gift boxes. From the corner of the street the sounds of normal life called, that is, the scream of children, the harangues of the married, yelling of saleswomen. And there was something else, something which I can't remember now.
Come to think of it, maybe it was the words or their portraits. Yes, portraits of words that I preferred to hear. There they were, floating above the blur of dailiness: turned the other way round, walking the other way round, portraits of words emerging from a camera obscura. Normally they wouldn’t be captured, but that day the wisps of hay, falling from the wagon, looked like summer air.
That day was a little bit odd. After walking down the street I stopped in a movement, at one particular moment of getting older. And I sensed it (the moment of getting older) like a scientist over a microscope: the precise, split-second border between the former and the future me. In that borderline, tangible second, I was nothing; only an echo of a former self and the germ of the future, of the old me.
It lasted for only that one moment. Then the air rustled like golden hay and into the street a horse came. Klip-klop, klip-klop, with a face like a lovely icon; he looked at me and put my life back in order: I heard again the sounds of normal life, the scream of children, the harangues of saleswomen, yelling of the married - and over all of that, in the hay-like air, still something else, still something more.
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