Poems by Sandra McPherson
Missing Children
“She wouldn’t choose me,” my adopting mother mourned
as if that were a judgment call
an infant could make,
intaking information,
christening it evidence, milk or not,
then not being able to name, for months,
the nurse, the nipple. Now,
weanling, teen, ultimately matron,
I choose compassion
for the barren,
praying, collegiate wife.
Mother, by name.
***
“The missing boy
was last seen by their car”-
not what the detective meant. Beside the car,
by the mother,
whatever the child was looking
away from. With a bucket,
toward a thicket.
Helen Todd: My Birthname
They did not come to claim you back,
To make me Helen again. Mother
Watched the dry, hot streets in case they came.
This is how she found a tortoise
Crossing between cars and saved it.
It’s how she knew roof-rats raised families.
In the palmtree heads. But they didn’t come-
It’s almost forty years.
I went to them. And now I know
Our name, quiet one. I believe you
Would have stayed in trigonometry and taken up
The harp. Math soothed you; music
Made you bold; and science, completely
Understanding. Wouldn’t you have collected,
Curated, in your adolescence, Mother Lode
Pyrites out of pity for their semblance
To gold? And three-leaf clovers to search
For some shy differences between them?
Knowing you myself at last-it seems you’d cut
Death in half and double everlasting life,
Quiet person named as a formality
At birth. I was not born. Only you were.
A Coconut for Katerina
Inside the coconut is Katerina’s baby. The coconut’s hair, like
Katerina’s brown hair.
Like an auctioneer Katerina holds the coconut, Katerina in her
dark fur coat
covering winter’s baby, feet in the snow. Katerina’s baby is the
milk
and will not be drinking it.
Ropes hanging down from the trees-are they well ropes? Ropes
on a moss
wall. Not to ring bells but used for climbing up and down
or pulling, I mean bringing. Anchor ropes on which succulent ropy
seaplants grow.
And floating like a bucket of oak or like a light wooden dory,
the coconut bobs,
creaking slowly, like a piling or a telephone pole with wet wires
downed by a thunderstorm over its face.
This baby’s head, this dog’s head, this dangerous acorn is the
grocer
of a sky-borne grocery store where the white-aproned grocer or
doctor imprints it
with three shady fingerprints, three flat abysses the ropes will
not cross.
What of it? There is enough business for tightrope walkers in
this jungle.
The colonizers make a clearing
for a three-cornered complex of gas stations, lit with a milky
spotlight
at night.
And here we dedicate this coconut to Katerina. We
put our hand
on the round stomach of Katerina. We put our five short ropes
of fingers on the lost
baby of Katerina and haul it in to the light of day and wash
it with sand.
Coconut, you reverse of the eye, the brown iris in white, the
white center
in brown sees so differently. The exposed fibrous iris,
the sphere on which memory or recognizing must have latitude
and longitude
to be moored
or preserved in the big sky, the sea’s tug of war. The tugging of
water
held in and not clear. Lappings and gurglings of living hollows
half filled,
half with room
for more empty and hopeful boats and their sails.
Children
She will run to you for love whoever
you are, you who’d forgotten what you look like.
She keeps a book of forms in her arms,
like a fitter exact on waists.
And perhaps I’ll have to pull her from
celebrating her birth between your legs
although she is my only child
and good at it and best of all the children
you don’t have. You know her face
can’t be yours. But let me become a stranger,
not act myself, beat on the mirror and cry-
she sees I look like her alone.
And sticking her face in mine, smearing my
lipstick with her index finger, igniting
the pale mustache, drawing the seeing mirror
of her glasses down oil
on my cheeks, she hangs my picture
forever in her head. So that she always
sees to me when I am down
and thinks the way to raise me is
to climb aboard me toe for toe, palm
lidding palm so I can’t withdraw
or go out of our single mind
to have another child.
“Missing Children” originally appeared in print in Austria.
“Helen Todd: My Birthname” appeared originally in Patron Happiness, Ecco Press, 1979
“A Coconut for Katerina” appeared originally in The Year of Our Birth, Ecco Press, 1973
“Children” appeared originally in The Spaces Between Birds, Wesleyan University Press, 1996
Recently retired after 23 years on faculty at the University of California, Davis, Sandra McPherson studied at the University of Washington with David Wagoner and Elizabeth Bishop. McPherson taught for four years in the University of Iowa Writers’ Workshop, was Holloway Lecturer at the University of California at Berkeley, and conducted several years of classes for the Oregon Writers Workshop/Pacific Northwest College of Art. In 1999 she founded Swan Scythe Press, a poetry chapbook publishing venture (www.swanscythe.com) with 26 chapbooks in print under McPherson’s direction and two newly forthcoming under Jim DenBoer’s direction.
McPherson’s honors and awards include three National Endowment for the Arts fellowships, a Guggenheim fellowship, two Ingram Merrill grants, an Award in Literature from the American Academy and Institute of Arts and letters, and a nomination for the National Book Award. She was featured on the Bill Moyers television series The Language of Life. Her volumes of poetry include: Expectation Days, University of Illinois Press, 2007, A Visit to Civilization, Wesleyan/University Press of New England, 2002, Beauty in Use, Janus Press, 1997, Edge Effect: Trails and Portrayals, Wesleyan/University Press of New England, 1996, The Spaces Between Birds: Mother/Daughter Poems 1967-1995, Wesleyan/University Press of New England, 1996, The God of Indeterminacy, U of Illinois, 1993, Streamers, Ecco, 1988, Patron Happiness, Ecco, 1983, The Year of Our Birth, Ecco, 1978, Radiation, Ecco, 1973, Elegies for the Hot Season, Indiana University Press, 1970; reprinted by Ecco, 1982.