Distant Fires
After the painting Sunset, Winter (1862)
by Louis Rémy Mignot
I traded the tarot deck in for a wishing machine.
This part of land, acre along bay, makes
for a good start. If the corn grows tall
by July, the stronger the gears. There’s a true
science to this, there are atoms involved.
The humming cold, salted dirt. Upturned
to sky, the prophesized fires return—
an audience of rays, sunlike tendrils—winter’s
edge. Behind the marsh’s edge, sky fallows
fields. Beyond body: a jar filled with stripped bones
steeped in formalin, true fish skeleton
of study, what swam before me was grieving
and had been a long time. I find the church bare,
I find an echo, a gilded tear—the empty fossil
of smoke. The reverb within stone shaped by a knowing
hand and the arch sketched for the collapse
of voices. Before form, my body lived through
an architect’s music: all the hemorrhaging
of disaster’s blueprint. The hormonal defects, flesh
that grows wrong along the organ, the bewildering
silvers. I give my brain over to the wish
machine, I crank the handle, a windmill
shape projecting onto grass warring men, charred
fields, screens of clouds too thick
for the lungs. On the shore, it bleeds sandy
hilts, bullets and buttons, a child’s thimble—the skyline
releases ice. The path ends, I mean, the grass grows wild
here. What comes, stretches
the windows into stairs. Standing
at the icy palm of thawing creeks, I give
into living as a form of trust.