- Heart Swathing in Late Summer, and: Calling the Lost, and: I Shovel Into the Heart to Find Its Naked Face, and: Ear to the Night
tree, moonlight, reflection, poetry
spirit, physical, shaman, hide, poetry
nature, leaf, house, spirit, walls, poetry
sleep, sounds, rhythm, street life, poetry
Heart Swathing in Late Summer
In the penumbra of an oak under sculptedMoonlight, we pile the last waking hours
On our faces, breathe the wilderness of dryHeat waiting for fall ventilations. It feels
Later than it is and the air is already mouthingThe date for tomorrow. At least now, our eyes
Can fall into the craters of a waterproofReflection, and we stop for a moment to fill
Ourselves with the kind of light that can onlyBe found in the dark. What is night if not for
It being a repetition of unlit squares gluedJointly, plastered against the thought of midday.
What is not seeing but to echolocate a name.It's how I find your chin when I can't sense
The meaning of your hands. Weeks ago, it wasAstral rebounds, shiny hinges. We harvested
The fertile Perseids posed recumbentIn the back of a flatbed, tallying the mineral
Opulence reserved for those who wait. NotEver so many in return. Now this moon in its
Entirety has never looked so much likeA distant circular kite set ablaze, doused by
The kind of burning a man feels when he hearsThe humming of rain against a woman's bare neck. [End Page 112]
Calling the Lost
Hmong people say one's spirit can run off,Go into hiding underground.
Only the physical stays behind.
To heal, a shaman checks on the spiritBy scraping the earth,Examining the dirt.
If an ant emerges,He takes it inside,
Careful not to crush the ant with his hold,Nor flutter its being into shockWith one exhale.
Sometimes we hide in ants, he says.
He will call for what leftto come back,
and for the foundto never leave. [End Page 113]
I Shovel Into the Heart to Find Its Naked Face
Chambers fall to splinter gravel.Leaf grows from my throat.
Walls forsake the crumpled ground It is meant to hold up.
There is much soA cavity will collect.
I ask to exit from the house: Spirit of paper temple, Spirit of cooking fire,
Sentinel at the door, what keepsWithin the loft.
This burns in heaven withRemembrance of dust:
Spirit of kindling,Inside the gourd.
My pocket keeps the disfiguredOrange years,
Used wooden Matches.
I pin myself to the land-living Slipping surely everborn. [End Page 114]
Ear to the Night
I press my hand to your sleep.
Then I find your spent head under smallwhirling tresses
having digested the clatterof car horns, children
bustling into sweet shops.
This might bethe gift of a street:
drumming Saturdays and a Monday palm of heart.
I've learned that yoursis the chorus of breathing,
a rhythm, forgiving,
that nuzzles the margin within my nature's cratered sigh.
Once, I felt the feetof a canyon collapse within you.
Then I come to eyes,heavy with the tumble of night dew
having collected verdigrisoff the entrance gate.
Never mind the umbrellayou lost on the subway tracks.
The head is an iron jar filled with many swiveling hours.
All day, I listened, a city carved
from the hollows of a wire woven shell. [End Page 115]
Mai Der Vang is the 2016 Walt Whitman Award winner of the Academy of American Poets and author of Afterland (Graywolf, 2017). Her writing has appeared in the Washington Post and elsewhere. She is co-editor of How Do I Begin: A Hmong American Literary Anthology (Heyday, 2011). She has received residencies from Hedgebrook and she is a Kundiman fellow.