Dennis Hinrichsen
Eros and Knife
Where does the soul flee when the body,
under the knife,
is spread-eagled and the belly punctured
and paralysis forms its dream of dying
on a stream
of fentanyl?
All of it shut down. The brain
—socket
of nothingness and
meat. Just the grand galloping
of time, and
the will
of God. The body slotted face up
as if between two wings
so as it is carried
it is viewed by Heaven.
Once a poet asked,
which do you prefer—
time or lightning? Something in me
answered, both.
But that was way back—in utero—
back before the struts were planed
and
the canvas stretched
and the light wood/bird wood
tethered in.
Back before
I was a boy. I dreamed the soul
was a stone
in my father’s heart.
I dreamed of my mother
as weather.
I fell out as immaculate
as a fox . . . all wrong.
In Da Vinci’s drawing
it’s clear—God
told my father to build a fetus
in his head
and he did, the idea unspooling
from brain to spine to cock
to flood
the milky substance in.
An anatomy of lightning.
The egg,
positive streamer to the strike.
And then that moment, manic
wriggling,
birth of a soul. My mother
nursing a chain-link calculus
of blood and time.
I think now
my cancer owns a little
of that math.
How it births and births.
Roils, burns . . .
Fired on what?
Still firing,
so I shine and dazzle,
evaporate,
in a Da Vinci glaze, surface
cut with mineral, rust,
to push
the portrait mortal.
After surgery, waking
will be
a helicoptering in.
The cancer lasered free, bagged,
lifted
like a carnival toy
through a hole in my gut
while somewhere
out in the yet-to-be
I’ll push into daylight. The
new
code, new eros—
an old man screwing—
I know, but
that’s what I do, am driven
to do—or gazing at clouds,
leaning
through rain.
Scooping up handfuls
of graupel
just to feel the tiny blades
in the wings of a snowflake
while
the soul, the beautiful
soul—speck and photon,
firefly—
shoots its cold light over everything.
Pietà:
that day he smelled like dead
bird all afternoon,
living sin, reds and purples staining
the open bleeding nest
as if unmixed,
straight from the tube.
Insert chipped blade of jack-knife
here.
Insert feel of the flesh—
how he cuts
even himself.
Wound boy. Boy pharaoh. Cloud-bank
like a femur,
chariot-crushed.
The hurts—from everyone, from no one—
so many
they were driveway stones embedded in the lung.
His breath:
a sobbing flute noise.
Teary sips of vengeance.
Amulet: Zippo lighter, wrist-
rocket, club.
Amulet: fire.
Silence like a hanging garden in a field of junk.
If a hobo, then a train.
If a train, then grand pitted wheel of moon,
whip of stars.
Punctured twilight.
The wind in his hands becoming a horse in the trees.
Pleasure like a fever driven.
Grass and semen.
Mud and semen.
Tree bark, bug juice, blood.
The body already an unredeemable rust,
untouchable as a christ.
Skin thing and poking bone . . .
☨
and then the hauling in,
the gripping down [mother flop stink]
[rank armpit perfume] [a runnel of snot]:
cool glass thermometer pinched
at broken tooth, metal tip
pressed by tongue [the mercury heating] . . .
so many poisons held so close to the throat.
Bio
Dennis Hinrichsen’s most recent works are Skin Music, co-winner of the 2014 Michael Waters Poetry Prize from Southern Indiana Review Press, and Electrocution, A Partial History, winner of the Rachel Wetzsteon Chapbook Prize from Map Literary: A Journal of Contemporary Writing and Art. New work of his can be found online at The Adroit Journal, Fogged Clarity, Memorious, the museum of americana, Radar, and Best of the Net 2014.