By — artsdesk artsdesk Leave your feedback Share Copy URL https://www.pbs.org/newshour/arts/poetry/weekly-poem-c-d-wright-reads-obscurity-legacy Email Facebook Twitter LinkedIn Pinterest Tumblr Share on Facebook Share on Twitter Weekly Poem: C. D. Wright reads ‘Obscurity and Legacy’ Poetry Mar 24, 2014 2:53 PM EDT C. D. Wright reads her poem “Obscurity and Legacy” at the Smithsonian’s National Portrait Gallery in Washington D.C. Obscurity and Legacy After Pura López Colomé’s Fabula disuelta, ensimisada translated by Forrest Gander Again To get up To get up on legs that stretched, strode and straddled To unplug the mud from the end Of the barrel Again Which would involve Having hands Or Having a hand One that understood the consistency of mud Also What sprang from the same consistency The hand That hung their door at an angle That gawkily shore the lamb A hand that had warmed itself in the cavities Of a fallen man With barely suppressed feelings of kinship And Revulsion The same hand that dug a spud From an abandoned mound To eat with clods adhered to its skin A hand that felt secure Only If not Near peerless holding a pen Felt Natural, numerous, never-ending That peeled the skin off a birch After The writing paper was finished That he might inscribe His ardency Adieu That would drift past as a strip of charpie Then drift Past a window as a clean white shirt Bearing a husband Freshly bathed and shaved To get up Again On the undestroyed elbow Red and raw From the unpatched uniform Forced into wearing To be beside oneself To be up on one raw red elbow To have been forced Into uniform Beside blown off parts of oneself Before Being blown away not knowing Parts of his lonely body were gone His busted up bookish being fleeing And Once Blown over the furrows Once The creed crested so little would be left Ploughshare Broken coulter A few useless silver objects From An all but involuntary wedding And Now Never To come back To the everlasting paradigm Of the nearness of a known body Leaf on leaf worm on worm snow on snow Now Be the woman thoroughly exhausted Drained discolored defeated To have gotten up To have gone to her dresser Before Getting up Again And hoisting her hoe to the wrecked field To have gone to her dresser Before Seeing her wracked visage Now Be the shoulders dusted as shoulders can glare Be the credits scrolled slowly and boldly Be the air expanding at supersonic speed Be the windows let p and the tree The centenarian tree dependably there There The tree just Standing There The chestnut from which she descended Leaf on leaf Worm on worm Snow on snow Born from what resplendent reason To irrigate this dumb mud With his oblivious blood Who always thought he would Once Again Get up After sucking her breast After Putting away his nibs After An exceptional dinner with friends Die in the snow C. D. Wright’s poem “Obscurity and Legacy” is published in “Lines in Long Array: A Civil War Commemoration: Poems and Photographs, Past and Present.” In recognition of the 150th anniversary of the Civil War, the Smithsonian’s National Portrait Gallery commissioned 12 modern poets to reflect on our contemporary understanding of the war. An earlier version of this article said the “National Poetry Gallery” instead of the “National Portrait Gallery.” We're not going anywhere. Stand up for truly independent, trusted news that you can count on! Donate now By — artsdesk artsdesk
C. D. Wright reads her poem “Obscurity and Legacy” at the Smithsonian’s National Portrait Gallery in Washington D.C. Obscurity and Legacy After Pura López Colomé’s Fabula disuelta, ensimisada translated by Forrest Gander Again To get up To get up on legs that stretched, strode and straddled To unplug the mud from the end Of the barrel Again Which would involve Having hands Or Having a hand One that understood the consistency of mud Also What sprang from the same consistency The hand That hung their door at an angle That gawkily shore the lamb A hand that had warmed itself in the cavities Of a fallen man With barely suppressed feelings of kinship And Revulsion The same hand that dug a spud From an abandoned mound To eat with clods adhered to its skin A hand that felt secure Only If not Near peerless holding a pen Felt Natural, numerous, never-ending That peeled the skin off a birch After The writing paper was finished That he might inscribe His ardency Adieu That would drift past as a strip of charpie Then drift Past a window as a clean white shirt Bearing a husband Freshly bathed and shaved To get up Again On the undestroyed elbow Red and raw From the unpatched uniform Forced into wearing To be beside oneself To be up on one raw red elbow To have been forced Into uniform Beside blown off parts of oneself Before Being blown away not knowing Parts of his lonely body were gone His busted up bookish being fleeing And Once Blown over the furrows Once The creed crested so little would be left Ploughshare Broken coulter A few useless silver objects From An all but involuntary wedding And Now Never To come back To the everlasting paradigm Of the nearness of a known body Leaf on leaf worm on worm snow on snow Now Be the woman thoroughly exhausted Drained discolored defeated To have gotten up To have gone to her dresser Before Getting up Again And hoisting her hoe to the wrecked field To have gone to her dresser Before Seeing her wracked visage Now Be the shoulders dusted as shoulders can glare Be the credits scrolled slowly and boldly Be the air expanding at supersonic speed Be the windows let p and the tree The centenarian tree dependably there There The tree just Standing There The chestnut from which she descended Leaf on leaf Worm on worm Snow on snow Born from what resplendent reason To irrigate this dumb mud With his oblivious blood Who always thought he would Once Again Get up After sucking her breast After Putting away his nibs After An exceptional dinner with friends Die in the snow C. D. Wright’s poem “Obscurity and Legacy” is published in “Lines in Long Array: A Civil War Commemoration: Poems and Photographs, Past and Present.” In recognition of the 150th anniversary of the Civil War, the Smithsonian’s National Portrait Gallery commissioned 12 modern poets to reflect on our contemporary understanding of the war. An earlier version of this article said the “National Poetry Gallery” instead of the “National Portrait Gallery.” We're not going anywhere. Stand up for truly independent, trusted news that you can count on! Donate now