Poetry

“The First Clothes,” “Telenovela,” and “Cardea Comes Tumbling”

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Photo by Lora Georgieva on Unsplash

The First Clothes

And the eyes of both of them were opened,
and they knew that they were naked.
—Genesis 3:7

How could they have missed it? Surely there was

wetness and rising tides, juices that rampaged

in spring, stamens and carpels in the garden,

swelling and presenting. A whole paradisiacal world

bent on reproduction, and their solution was

to sew fig leaves together to cover their perfect bodies.

Adam blamed the woman for their joint act

of disobedience, setting a long-held precedent,

and though God fashioned better clothes made of

skins, they were doomed to toil in intractable soil,

a flaming sword swooshing back and forth through the air

to prevent them getting back to that perfect place.

Telenovela

The wrinkled lady sitting next to me

on the bus was watching a Spanish soap

on her phone:

 

a cigarette-smoking hombre

in tight leather pants was flicking

a lighter—

                  abierto

cerrado.

 

A horse cantered by, burdened

with a large vaquero.

 

A young couple kissed for so long

I thought the film froze. Their house

was on fire, but they kept on kissing.

 

In a head-and-shoulder shot, a hazel-eyed

woman shook her long, lustrous hair in slow

motion and spoke the name

of her shampoo.

 

Then the old lady got off the bus, and

now I don’t know how it ended.

Cardea Comes Tumbling

Old four-eyes-Janus is in seclusion,

centuries flying since he was summoned

to mark the beginning and end

of the season, the voyage, the

rite of passage. He is no longer called

to mark the sacred spaces

or bless the traveller.

He spends his days now in his garden,

staring forward and backward.

The new gods ignore him, find him

unsuitable—a freak. They are vulgar,

power-hungry and duplicitous as

ever, but more empty-headed now.

His invitation to party with

the sparkling set is a thing of the far past.

Better this way.

It’s June, hinge of the folding year.

The hawthorn is hiding its spikes behind

drooping blooms, a conspiracy

to remind him of his first love, so beautiful

he forced himself on her, and after,

when she angered, he did the thing a god-

of-ending-conflicts might do—

he made her goddess of door hinges.

He hasn’t lost his light touch with spaces

either. He marks out a doorway in the darkening

sky. When the time is right he will open

the door and pass quietly through, leaving

these doomed mortals behind.

About the Author

William Ross

William Ross is a Canadian writer and visual artist living in Toronto. His poems have appeared in Rattle, The New Quarterly, Humana Obscura, Bicoastal Review, The Hooghly Review, Underscore Magazine, Amethyst Review, Bindweed Magazine, Topical Poetry, Heavy Feather Review, Anti-Heroin Chic, and others.