Hope Carves
I think about the curve on highway nine all the time
where, if you
can catch it, the sunlight hits the sage grass so right,
the earth feels
more real, like when it’s raining, but there, I mean
in the curve,
it doesn’t have to be raining for the earth to feel more
real, because
there is the toothless light and the field waving
its trillion
amber trumpets, because the field is not fearful
of cattle there,
because cattle cannot be put on sage grass, because
it is not good
for them to eat, which means something to me about
belonging
and how my grandmother sits in her chair in a light
not so different
from the light that hits the curve on highway nine
with her hair
in rollers, and the TV going all day, and pasta drying
under the ceiling
fan, and her gnarled fingers softening and curling into
one another,
against which that same light lands as she dials
a number,
my number, which she has memorized, to hear my voice
say hello,
and to tell me that the pope is dying, and to ask me how
my girlfriend
is doing after the passing of her grandfather, which
is surprising,
and to say can you please order me more of that
body wash
they discontinued, because she does not have
the internet,
to which I say yes, of course, while I notice myself
drinking
her voice deep and thinking oh god, oh god, I love you,
I can’t get far
enough away from it, and the time you held me
after I hit
my head so hard swinging under the big sweetgum
tree that
I pissed my pants carved such a hope in me that,
if I let it,
makes me feel strong and primally honest, which
is to say I too
have trumpets, and am toothless, and need somewhere
to land.
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