By Tomás Q. Morín Tomas Q. Morin
Because in medieval Italian it meant “room”
I tied the curtains at their elbows with
what could have been honor cords or worse
yet, a belt from the 60s, so hideous were the
tassels that were dancing a little tarantella
after I had propped the windows and the wind
had carried in the song the rubbing trees
were making, without any accompaniment,
mind you, from a tambourine, although the bells
of   the occasional sleigh played that part,
while I waited for the vixen and their shameless
yelping to follow the music and the cold
and the night inside where I sat half man,
half snow, to investigate my squeaking
pencil and the flapping of the bird-white page
I couldn’t seem to catch in those years when I
lugged around a frozen heart and was infatuated
with whiteness, since I had read somewhere it was
the absence of color, which could not be true
since I had once loved a pure white duck with
a white bill and feet and I had even torn its white
flesh with my teeth that were still then white,
which should have been all the proof anyone needed
to debunk our outdated theories of absence.

Source: Poetry (December 2013).


This poem originally appeared in the December 2013 issue of Poetry magazine

December 2013
 Tomás Q. Morín


Tomás Q. Morín is the author of A Larger Country, winner of the APR/Honickman Prize, and translator of The Heights of Macchu Picchu by Pablo Neruda. With Mari L’Esperance, he co-edited Coming Close: Forty Essays on Philip Levine.

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Poem Categorization

SUBJECT Arts & Sciences, Poetry & Poets

POET’S REGION U.S., Southwestern

Poetic Terms Free Verse

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Originally appeared in Poetry magazine.

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