The Vocative Case
Not everyone agrees
on which man
of the seven
in the painting
called The Calling
of Saint Matthew
is Matthew.
Who’s doing
the calling is open
and shut: white stripe
distinguishing
the head, weird
shimmer on the crag
of bone under
the eye. A wrist
raised in quotation
of the first man
meeting God.
To rip whose
life to ribbons?
Revolution,
love’s severe
recruitment
find us equally
unready.
A moment
before, they had
been counting
coins, believers
in the world of questions
able to be solved.
Light draws
us to the one
who thinks he’s been
selected, singled
out, whose self-
directed index may
also be pointing
left in disbelief: who,
him? A burning
cheek, set
jaw, one eye
darkened by
fear is all there is
of the face
we’re last to see.
Bent deeper than
the rest, holding
with both
hands to his last
certainties.
Campo dei Fiori
Around the feet
of the man stripped
and set on fire for thinking
differently, disposable-
gloved
fingers undress
artichokes
with knives.
The smell of frying
skin rose
in this square.
Naked to the secrets
of their hearts,
they convalesce
in acid pools.
It’s bad for you to picture
many suns,
to say the universe is nothing
like an onion.
Uncarapaced, no longer
sovereign
globes, they are reduced
to something better:
to be like and among
unique, uniquely
wounded others.
Envoy
After the century, he drags
a line through questions, notes
to self about a prophet known
for nothing, for his trick of turning
nothing into bread.
I still don’t believe
I don’t believe it is
He is spotted in the field mechanically
giving his coat away, like a memory
error where the memory is right
but not the source.
his own messenger from
insults and injuries
Some mysteries leave him cold —
what he is
without his changes, where
God ends.
His soul’s career
to fill the almond shape
between your sphere
and his: the word attention,
song, the origin of grace
in the fierce yearning of an animal
for the straw-filled skin of its young.
For preferring life
translated, he is declared dead
by his father, swallows a fly
to show a man is defiled
only by what comes out of him.
right for an all
mighty sovereign to let
Each of his pleasures is a sign.
Home, the soft technology
of vowels in the mouth.
He may as well remarry.
Come
the war, he is a scholar
minus his library
who becomes doubt.
How can we
weak mortals
Images uncount
themselves.
Some decades are ellipses.
He still thinks of his mother
giving birth
and dying as a test.
In boyhood, he is made
to stand on tiptoe
to set type.
Yasmine Seale is a poet and translator. Her essays on literature, art and film can be found in Harper’s, The Nation, The Paris Review, 4Columns and elsewhere. Among her translations from Arabic are The Annotated Arabian Nights (W. W. Norton) and Something Evergreen Called Life, a collection of poems by the Sudanese writer and activist Rania Mamoun (Action Books). Other books include Agitated Air, a collaboration with Robin Moger responding to the visionary poet and metaphysician Ibn Arabi. She is currently a Visiting Professor at Columbia University.
Amulet
140 Franklin Street
New York, NY 10013
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Amulet
140 Franklin Street
New York, NY 10013
[email protected]