by Paul Carroll

Yes, But must
it always, with you,
----------turn sour in the end?
----------Last night,
the talk intense & good as usual:
though even at the start there is
an intimation of November in your voice -
----------bruise of sleet,
----that withering. And also in
----the way your fine-boned hands thrash, talking:
------------------as if you always have to underline
---------------how you've had to traffic
----with other ways of dying
---------------than the body's. Talking,
---------------you seem to take a trip, Joan,
-----back to the roots of why you paint:
---------------the father, whose hands on you
---------------were & always will apparently
---------------be those of a competent surgeon.
-----Mother,
brilliant. But a ghost.
---------------And that old photo of you they keep:
-----the 1940 Brenda Frazier hairdo;
-----but something primitive about the way
--------------those adolescent breasts, that crook of neck
--------------communicate spite,
-----an anger at your innocence. Something primitive too
--------------about the look
--------------brooding on your poodle George.
-------------------Who
--------------------died.
But not the memory of that ecstatic afternoon
you spent with him at Barnes Hole on Long Island:
-----dark wet fur bristly with lights
-----------as he zigzagged in the grass
-----or paddled about the pool:
-----------that barbaric yellow spring
-----you suddenly, there,
-----------discovered in yourself - unique
as an act
of love. And yet,
-----------that afternoon apparently
-----------was good enough
-----------to hurt forever. Joan,
-----I've never seen your New York studio:
-----but I imagine from our talks a girl staring
or slashing at a canvas on the wall -
-----------thrashing hands
-----------delicate & instinctive as a dream.
-----Those hardbitten illuminations
-----in the act of painting - a way,
perhaps, to find the guts to face the fact
-----that love is the name we give our terror.

Posted 8/27/98
George Swimming at Barnes Hole, But It Got Too Cold. © Copyright


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