Meanwhile the sea moves uneasily, like a man who
suspects what the room reels with as he rises into it
is violation—his own: he touches the bruises at each
shoulder and, on his chest,
the larger bruise, star-shaped,
a flawed star, or hand, though he remembers no hands,
has tried—can't remember . . .
That kind of rhythm to it,
even to the roughest surf there's a rhythm findable,
which is why we keep coming here, to find it, or that's
what we say. We dive in and, as usual,
feels like that swimming the mind does in the wake
of transgression, how the instinct to panic at first
slackens that much more quickly, if you don't
look back. Regret,
like pity, changes nothing really, we
say to ourselves and, less often, to each other, each time
swimming a bit farther,
leaving the shore the way
the water—in its own watered, of course, version
of semaphore–keeps leaving the subject out, flashing
Why should it matter now and Why,
why shouldn 't it,
as the waves beat harder, hard against us, until that's
how we like it, I'll break your heart, break mine.
Carl Phillips, "Radiance Versus Ordinary Light" from Riding Westward. Copyright © 2006 by Carl Phillips. Used by permission of Farrar, Straus & Giroux, LLC, www.fsgbooks.com. All rights reserved.
Caution: Users are warned that this work is protected under copyright laws and downloading is strictly prohibited. The right to reproduce or transfer the work via any medium must be secured with Farrar, Straus and Giroux, LLC.
Source: Riding Westward
(Farrar, Straus and Giroux, 2006)