Messiah (Christmas Portions)

By Mark Doty b. 1953 Mark Doty
A little heat caught
in gleaming rags,
in shrouds of veil,
   torn and sun-shot swaddlings:

   over the Methodist roof,
two clouds propose a Zion
of their own, blazing
   (colors of tarnish on copper)

   against the steely close
of a coastal afternoon, December,
while under the steeple
   the Choral Society

   prepares to perform
Messiah, pouring, in their best
blacks and whites, onto the raked stage.
   Not steep, really,

   but from here,
the first pew, they’re a looming
cloudbank of familiar angels:
   that neighbor who

   fights operatically
with her girlfriend, for one,
and the friendly bearded clerk
   from the post office

   —tenor trapped
in the body of a baritone? Altos
from the A&P, soprano
   from the T-shirt shop:

   today they’re all poise,
costume and purpose
conveying the right note
   of distance and formality.

   Silence in the hall,
anticipatory, as if we’re all
about to open a gift we’re not sure
   we’ll like;

   how could they
compete with sunset’s burnished
oratorio? Thoughts which vanish,
   when the violins begin.

   Who’d have thought
they’d be so good? Every valley,
proclaims the solo tenor,
   (a sleek blonde

   I’ve seen somewhere before
—the liquor store?) shall be exalted,
and in his handsome mouth the word
   is lifted and opened

   into more syllables
than we could count, central ah
dilated in a baroque melisma,
   liquefied; the pour

   of voice seems
to make the unplaned landscape
the text predicts the Lord
   will heighten and tame.

   This music
demonstrates what it claims:
glory shall be revealed. If art’s
   acceptable evidence,

   mustn’t what lies
behind the world be at least
as beautiful as the human voice?
   The tenors lack confidence,

   and the soloists,
half of them anyway, don’t
have the strength to found
   the mighty kingdoms

   these passages propose
—but the chorus, all together,
equals my burning clouds,
   and seems itself to burn,

   commingled powers
deeded to a larger, centering claim.
These aren’t anyone we know;
   choiring dissolves

   familiarity in an up-
pouring rush which will not
rest, will not, for a moment,
   be still.

   Aren’t we enlarged
by the scale of what we’re able
to desire? Everything,
   the choir insists,

   might flame;
inside these wrappings
burns another, brighter life,
   quickened, now,

   by song: hear how
it cascades, in overlapping,
lapidary waves of praise? Still time.
   Still time to change.

Mark Doty, “Messiah (Christmas Portions),” from Sweet Machine: Poems. Copyright © 1998 by Mark Doty. Reprinted with the permission of HarperCollins Publishers.

Source: Sweet Machine: Poems (HarperCollins Publishers Inc, 1998)

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Poet Mark Doty b. 1953

Subjects Arts & Sciences, Music

Holidays Christmas

 Mark  Doty

Biography

Since the publication of his first volume of verse, Turtle, Swan, in 1987, Mark Doty has been recognized as one of the most accomplished poets in America. Hailed for his elegant, intelligent verse, Doty has often been compared to James Merrill, Walt Whitman and C.P. Cavafy. His syntactically complex and aesthetically profound free verse poems, odes to urban gay life, and quietly brutal elegies to his lover, Wally Roberts, have . . .

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SUBJECT Arts & Sciences, Music

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Originally appeared in Poetry magazine.

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