Divorce

You discover a maritime compass in his drawer with the matches

worn smooth with the needle nodding north. The brass smell


reminds you of a story your father used to tell about the war,

young men adrift in boats too small to carry their cargo.


They had to decide who would steer and who would swim

to shore, Channel fog obscuring the only working compass.


It ended badly - it usually does.


You use it as a centerpiece in charcoal sketches, and later

to rescue a blackbird limping on Bowery, feeling the weight


in your pocket as you bandage its wing. Soon the compass

touches everything in your unlit apartment - the leaking loft


the burned lamb chop. Talisman on your ex-husband’s pillow

to ward off specters, navigate old arguments, the red arrow


pointing due south as you work on your anger, swinging

west when you finish the Codeine. You have no expectations


as you ascend into the embrace of a clean morning,

the steel dial exploding with tiny silver stars.


Like most things - it ceases to work after a while.


You melt it down for scrap, change the locks, fix

the roof yourself. No further need for direction.

Letters from Providence, RI, 1976

I.

Funny you should mention the flour. I swept it from the sidewalk

after the Pillsbury truck hit the hydrant on South Main, the block

dusted like a Bavarian village, Roberto shouting up from the bakery

put your damn shoes on & stop day-dreaming! He gave me a broom

& dregs of cold coffee. Later I run my finger through filthy flour

lick the tarmac, flecked with egg whites & milk. Imagine the cake

I’ll make if you write me back - vanilla buttercream, frosted golden

with strands of my hair. Yes, I am alive on this February morning

holding the big hands of the world. I’ll leave the window open

in case you write -


II.

Hands above the stove flame for warmth, I load sticky film

check the floor for knives. I think it’s Wednesday. My body

seethes inside the skirting board. I press glass against my thighs

brush cobwebs from my ribcage, arrange work boots, treads

smudge hungrily against my torso. Half-finished tuna sandwich

the air pale & thin. My camera captures a mousy girl, hair

disheveled & cruel, barely alive. I’m at my worst again.

Dad stares at my clavicle, squeezes limes in my soda, whispering

See how light works? Cannot keep his eyes from the frame

such a long exposure -


III.

In my dream your skin maps routes to the Moshassuck River

clotheslines cajole in an Easter breeze. I know you still love her.

Outrunning grief over the slope of Smith Hill, I lean toward

the camera while you hesitate, my red shirt unbuttoned. Grip

the tripod, you watch me bare teeth, my body bulletproof.

Before you left I reapplied lipstick, mauve fingers smearing

sky. Betrayal in your gait, my cleverness disappearing

at the summit with clouds that plunder then vanish -


 

Rebecca Faulkner is a London-born poet based in Brooklyn. The author of Permit Me to Write My Own Ending, (Write Bloody Press, 2023) her work appears in New York Quarterly, Solstice Magazine, The Maine Review, CALYX Press, Berkeley Poetry Review, and elsewhere. She is a 2023 poetry recipient of the Barbara Deming Memorial Fund for Women, the 2022 winner of Sand Hills Literary Magazine’s National Poetry Contest, and the Grand Prize winner of the 2021 Prometheus Unbound Poetry Competition. Rebecca was a 2021 Poetry Fellow at the Saltonstall Foundation for the Arts. She holds a BA in English Literature & Theatre Studies from the University of Leeds, and a Ph.D. from the University of London. She is currently at work on her second collection of poetry, exploring female identity and artistic endeavor.