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Strange You Never Knew
Strange You Never Knew
Strange You Never Knew
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Strange You Never Knew

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The thematic motif found within these poems is one of "knowing," the desire to know the mystery of love of different types and on different levels—touching earth and pushing off, flesh and spirit, the life of the senses complementing the spiritual, the dream life of the imagination, desire for the word that speaks light from darkness, the ethereal within the mundane. This "knowing" is contained by our daily living, the sensuous world with which we interact, mostly unaware of its spiritual dimension. The book’s four-section poem sequence is one of immersion into the paradoxical life, the life we come to know and spend a lifetime comprehending its inexplicable beauty. The poems examine our lives of displacement from family, love, ourselves; displacement, however, does not necessarily mean despair. We may discover that our mundane lives transpire in an austere and holy place peopled with angels unaware, and that faith can exist in a place of stone, absolution is available daily, and redemption is found in strange places we never knew.

LanguageEnglish
PublisherWings Press
Release dateJun 1, 2013
ISBN9781609403034
Strange You Never Knew

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    Book preview

    Strange You Never Knew - Robert A. Fink

    Author

    I.

    Thin Places

    Thin Places

    Heaven and earth are only three feet apart,

    but in the thin places, that distance is even smaller.

    —Celtic saying

    This desiring isn’t indiscriminate,

    nor quickly satiated, surprised how skin

    pressed to skin can regulate its fever,

    cooling to apology for pushing through

    a crowd toward memory’s blue and white print,

    cotton flannel dress, handfuls of auburn hair

    lifting and falling as I call a name

    and stretch to touch a shoulder,

    and the woman, almost whom I expected,

    turns and smiles.

    It must be the desire of angels for angels

    or God for the mother of his child.

    Only in dreams may I press my fingers

    to the cupping just above your hips

    taut and quivering, your lovely, lower back

    arching. Only in dreams…

    no end to touching

    the thin places, almost translucent

    skin on skin,

    heaven and earth.

    Robert Henri’s The Old Model

    Oil on canvas, circa 1912

    She has gathered about her

    a shawl of bleeding colors,

    shades of Iberia and Egypt,

    warm and cool sands sliding

    into, easing beyond each hue

    as a drop of oil, the feathers

    of a raven, contain the mystery

    of purple and what seems at first

    black, then Pyrenees green,

    flash of a Parisienne

    summer dress, the rippling Seine,

    Eden’s palette, plumage of

    jungle birds, the shades of blood

    woven in a matador’s cape,

    the agitated skirts

    of flamenco dancers

    swishing the darkness.

    She is regal, the shawl her cloak

    of royalty dictating a presence

    she has garnered for such a sitting.

    Her eyes, the ebony of polished marble,

    absorb all colors, the only relief

    two pin points of white that hold us

    mute and obeisant before her,

    as it was for Henri, his brushstrokes

    trembling, that indelicate nose,

    those cheekbones, like the eyebrows,

    built high and hard, against which

    a lover would break asunder

    and tumble to the blood-full lips

    no Leonardo could paint,

    her feline smile that of a lioness

    fixed upon the artist’s heart.

    Daphne

    after Steve Neves’ painting Strange You Never Knew

    Not yet the lead arrow, not yet the gold,

    young Eros stringing his bow only for minor poets

    and minstrels, adolescent boys flexing before mirrors,

    fantasizing sixth-grade girls tall as their mothers.

    Daphne is safe, Apollo busy revving up his chariot,

    its flames, for now, stylized. She is inviolate

    as the bay laurel leaves teasing down to touch

    her hair, her cheek, hint of eucalyptol,

    Mediterranean breeze.

    Soon she will transform into skin-slick bark

    and lithesome limbs, spear-tipped glossy leaves,

    forever green, pale flowers paired, the only fruit—

    small, shining, dark-purple berries.

    She will need no tending. No spurned lover’s ax

    can fell her, each blow regenerating, healing

    heedless of the slow turn of seasons—winter to spring.

    Hers is no fanfare resurrection. For no man

    she dies and rises anew from his bed.

    It is only men who paint her, sculpt her soft lines

    into marble, smooth, cold to the touch,

    the best they can know. Eros is petulant

    and unforgiving, his arrows irony-tipped,

    mightier than chariots and music, the feeble poetry

    of middle aged men at writing tables cleared of

    all but a lined tablet, a soft-lead pencil, gooseneck lamp—

    forty watts against the dark of 4:00 a.m.

    And yet, even now, a young man steeped in the classics,

    the poetry of having loved unknown, poetry of dying

    the far, far better death, dreams his Daphne

    in repose, seated before an open doorway, demure,

    eyes pensive, the note unfolded in her lap.

    Her long, auburn hair, her olive skin,

    Grecian nose, pomegranate lips ever so slightly parted.

    He believes the note she reads is his, shy, secret lines

    to hold her, virginal, the only way he can.

    Coming of Age

    How can he know, being

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