Sonata

 

Violet, by Vasily Kandinsky, 1923, Russian French Expressionist print, lithograph. Geometrical elements, circles, arcs, triangles, straight lines and curves, mix with irregular hand drawn forms in this abstract lithograph (BSLOC_2017_5_148)
1923 / Mary Evans Picture Library

 

 

It starts with a study in curves.

 

Lost in broad daylight, I think in intimate terms

about pencils,

sharpened with grit by a schoolboy

oblivious to Barthes’ empire.

 

Time, the only thing I have not.

 

I shall pray for you she hissed, leaving.

Ashes to ashes I laugh,

turn the machine off, move closer to anger.

 

Hands, metal, ankles, metal, eye. Metal! Nerves.

 

I practise benign indifference.

 

I learn about the human squares and circles,

underline the connective distance

between something lost and something irreplaceable

but the empty-sheets-reality comes back

to haunt me.

 

© Maria Stadnicka, published at Mary Evans Picture Library.

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Witness

At the supermarket’s meat counter,

they sell ropes. Yellow and blue.

Things we need when weather turns bad.

One could never be sure when the boat

needs tying off to a cleat.

At checkout, we talk of hurricane Ursula.

It was in the news, it is now by the docks.

My bottled green sea resting on shelves.

 

Across the aisle, a woman looks out.

Trains deliver milk and morning newspapers;

at the end of his shift, a night watchman

lights a cigarette watching umbrellas running

to shelter. He has nowhere else. His children

sent him a blank telegram. Monochrome winds,

he thinks. Time to repair, to build.

The house he was born in no longer exists.

 

©Maria Stadnicka, 2019

Published in Social Alternatives, Queensland, Vol. 37, No. 3.

Somnia

strange how bones hurt

at times of deep uncertainty

…a poetry master said…

… thinnest shields…

fragile body, when winter hits,

we firstly feel pain

with our teeth

 

 

©Maria Stadnicka, 2018