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.