Allison Adair
Local History
The earth says have a place, be what that place
Requires; hear the sound the birds imply
And see as deep as ridges go behind
Each other.
—William Stafford
No one thought about a mountain beyond
the yard, thought to stare past the lusterless
wire pen steaming with yellowjackets, no
one said disappointment or that wheelbarrows
rust once glazed. We waited for the truck
to deliver the mail or load the calves, fathers
to arrive at night or not to arrive, the rising
moon indifferent. Fireflies zagged lambent
down in the tavern’s gravel lot, past the S-curve,
where generational drunks loitered heat-bellied:
arguing seed or battle strategies (so much depends
upon history), which route to the lake, hesitant to go
home when the dark’s so rich, damp. Where I am
today, island of gawky seagrass and lavender stalks,
a mystifying brine hangs in the air: What could grow
here? This salt must scorch, or does it preserve?
If I could go back, ask the knot of guts gathered
down the road, would they hear me calling from
behind the ridge’s tailbone? Not knowing them,
you’ll question, despise them for their stained-
pine rifle cabinets, knobby as spines, their thick
thumbnails used to screw and to plane, to halve
the licorice rind of dog ticks. Carl and Ed, Jesse, Ab.
Even half-cocked they knew the silo was leaning.
Could tell if the stale, bruised sky would wring out
its hurt or hold it, predict the hour a kettle of hawks
would spiral, ready to blow, would burst into boil.
Physics
When at last you consent to sleep
the train retiring from day soughs
to a sag on the track just beyond
your window, earth’s baggy wiring
stretched, vast. Days ago, the last gasp
of an animal you held rasped your skin,
the breath of unmaking, its whisper stale,
a soda can left in the sun, then cracked.
The process was long. Your palm
hammocked the hardening purple meat
of her worn organs. Flocking oak boats
knocked, crowding each canal. Heavy
death’s heft—heavier the air
rushing in to fill its wake.
Phones ring in an empty room,
Ziploc bags film the counter, waiting
to be filled. A man shuttles objects
from building to van. If given time
even fingernails curl into the impractical
spiral of the cosmos. Miracles fall
from the sky like cinders—but tonight
you want no testimony.
Let the fan drone in low Doppler.
Let the nightjar click its roulette.
RD 8, Box 16A (Rural Route)
I miss the ugly things: sallow
flypaper crusting in porch sun,
bootlines across shit-caked denim.
The dog’s staph-eaten paw
soaking in a Cool Whip bowl.
No lemonade sweating on a sill:
I want the penny loafer testing
a rumble strip of rusty nails,
Betadine’s kidney-smear stain.
I want the sour ferment of rotting
hay and the funk of whatever it is
that’s died between the walls. I’m
ready now, made to scrape grease
from the brick hearth, to sweep
attic bats, to drown the raccoon.
Outside, a kind of rainy season:
yew bushes shedding their coal-
colored seeds as if to hide all
evidence. When you’re young
what you don’t know can kill you
can flush your lips with berrywine.
Tasha’s up the road, laying heavy
from the busdriver. The boy I won’t
name aims a rifle at his cousin. There
they stand, smiling, breathing hard.
Let me keep them here, with us,
relax the finger’s pulley, coil this film,
stack it in a glossy gray tin. Praise the dirt
breeding in a cut, how easy methane-drunk
air parts for buckshot’s meteor shower.
What ache is this, that mimics a wireworm’s
slim boreholes? I wash a dish, feel nothing
but phantom cornstalk, kernels swelling
as my hand smothers silk grubs with oil.
So much gold, everywhere, gold—how
did I not see it? Gas lowered, the skillet still
spits. The pond, untroubled, swallows any
splash. This raccoon’s not thrashing, it’s just
a dance, his eyes’ yellow glare nothing more
than a reflection, of some old rising sun.
Allison Adair's debut collection, The Clearing, was selected by Henri Cole for the Max Ritvo Poetry Prize and is forthcoming in 2020 from Milkweed. Her work appears in Best American Poetry, Image, North American Review, Southern Indiana Review, and ZYZZYVA; and has been honored with the Pushcart Prize (2019), the Florida Review Editors’ Award, the Orlando Prize, and first place in Mid-American Review’s Fineline Competition. Originally from central Pennsylvania, Adair now lives in Boston, where she teaches at Boston College and GrubStreet.