Satellite
I look up from the book I am reading.
How many times in my life
have I felt the hard and painful love
I am feeling now? I don’t know where he is
but I can see him. Helping his uncle
clear the disorder from a part
of their land, strumming his guitar
with the handle of a worn paintbrush.
On a wall near me is a photograph
of the young monk, his back to us, looking
over a temple’s balcony to the parched
valley below. His robes are red,
like a cardinal. The mountains
in the background are half in clouds,
a border between realms. In the book
I am reading, the old artist
is at her own border: seeing her grandsons
walk through the exhibit of her
work, the column of each saturated
sculpture like an abstract totem pole,
and thinking of her ancestor,
an 18-year-old who captained a cargo boat
up and down the coast, dashing
in her imagination and mine. How many
men have I lost my life to,
each bit of losing a kind of willed spite
towards my own weakness? Days ago
we stood at the dark coast
and listened to the low waves
meeting the shore. In the dark, how near
he was felt like a small force
at my shoulder, as though we were held
in the scoop of a nest. To the left
was the half-moon, casting a gold track
on the ocean. To the right, higher
above, the stars that made the Big Dipper,
the only thing we knew
to recognize, unclear on what was star,
what was planet, what was satellite.
Rick Barot’s most recent book of poems is Moving the Bones, published by Milkweed Editions in 2024. His previous collection, The Galleons, was longlisted for the National Book Award. His work has appeared in numerous publications, including Poetry, The New Republic, The Adroit Journal, and The New Yorker. He has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and Stanford University. He lives in Tacoma, Washington, and directs The Rainier Writing Workshop, the low-residency MFA program in creative writing at Pacific Lutheran University.
Innisfree 40
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