Author Archives: marey mercy

Why My Sister is Afraid of the Dark – Poem

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Why My Sister is Afraid of the Dark

When her husband is out of town I stay with her,
crawl into place in their bed like a substitute teacher
in a room of unfamiliar children, a body to press weight
against the mattress, a sound of breathing, a tug of sheets.

At two-thirty her son wakes, his cries laden with the innocence
of children. She gets up as if never asleep, she is sleeping
the sleep of the mother, forever at the edge of waking.
She leaves the bedroom door open, the bathroom light on,

afraid of darkness, wanting to control it, too much happens
in the dark that shouldn’t happen, too many things go wrong
at night for children, they stop breathing, they have bad dreams,
someone slips through a door that shouldn’t open. The night

is not for sleep. The night is for waiting,
for guarding against what is awakened.

Essence – Poem

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Essence

When she brought home little samples
of cologne, wisps of scent
in slender tubes, he tested them
brutally, slapping the wet notes
against his neck like any novice
applies perfume, without respect
for the delicate molecules,
rubbing his wrists together
as if trying to start a fire
with his skin, or worse,
spraying the air
in front of him before walking through
it like a curtain, as if stage-
frightened by that most sensual
of senses, that reminder
of his mother’s lipstick
or an earthy garden
moistened by rain. Once
they were all drained,
he resurrected an old vial
from a cabinet beneath
the bathroom sink, the bottle-dust
thick as velvet against his fingers,
its fragrance potent
with time, its smell
in the soft slope of his neck
like a hallway in a high school
building long condemned, or sex
in a car.

I was too literal with the We Write Poems prompt for today, but it is what it is.

The Kitchen III – Poem

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The Kitchen III

Then there were the times he laid himself out
like a wet sweater on the kitchen floor,
flatout as an ironing board, arms
corpse-crossed against his chest, not like
he’d fallen, just settled there like sediment
undisturbed in a dirty cup. There was Mother
above him, clapping her hands in attempt
to stir him from sleep, clapping as she did
during the cooking day to rid the excess flour
from her fingers. Clapping as if to applaud
the neatness – always her favorite thing –
with which he rolled his body out
atop linoleum in a slim, submissive strip,
prepped to ascend later, vampire-style,
before his children tripped over him
on their way to the refrigerator, or the rise
of day turned up the heat and burned his skin.

The Kitchen II – Poem

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The Kitchen II

He’s had too much to drink again
my sister whispers, while he staggers
to the kitchen, staring
at the oven timer like an infant
discovering sight, steadying a hand
against its blinking light. My sister
is too young, she shouldn’t understand
such limits, shouldn’t speak of it
in a voice already losing
its silver, shouldn’t whisper
at me as if I’m a conspirator. Later
in the night the timer goes off
like a bad weather alert
or air raid siren detecting danger.
I get up to make it stop, expecting
to discover warmth, a towel on a burner,
forgotten chicken blackened in foil.
But there’s nothing. Just an angry rasp
in an airless kitchen with a dark
and empty heart.

The Kitchen I – Poem

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The Kitchen I

I am one year closer to death.
On my birthday my father tells me this,
as we connect the pieces of track
to a super-raceway set, as we click together
each smooth strip to form a figure eight
that swirls across the kitchen floor.
He helps me guide the matchbox racer
through its twisting over linoleum,
its geometric mess some murky hell
into which we might flip. We study
for hours the speeding and slowing,
the skid and the spin, the restless gambling
with God. My father is like a god,
his grip on the joystick leaning in
to the inevitable, the slick swish past
the previously traveled, the one-more mile,
the one-last second. My father and I,
motoring one year closer to death.

Over the Tracks – New Videopoem

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Over the Tracks

In summer we’d pitch our wishes to the tracks,
toss pennies between the ties and wait for trains
to come and lift them off like bells snagged
to the bumpers of wedding cars, engineers waving
like lonely grooms. Fenced behind chain-link and weeds
they trumbled past, the faded words SOUTHERN PACIFIC LINES
and carman markings, fat chalk letters that crawled
over metal like hungry slugs. They didn’t stop
when you were sleeping, they kept coming, the hooking
and unhooking, the banging together, the scraping apart,
the coupling and uncoupling like desperate lovers.
They shook us awake, pronounced arrivals into air,
departures etched like fading smoke against sad sky.
Some days we’d climb the fence, find pennies splayed out
among the blades or tucked into gravel, knicked from the force
of their journey, melted from heat. It would happen
to our souls, too – once we were old enough
to know it just kept coming, old enough to understand
the trip to a line’s end on a Texas summer night.

Notes: The footage in the video is spliced together from various sources from the Prelinger Archives – promotional videos about rail lines, newsreels, and home movies. This started out with over three hours of possible footage to use, so the most daunting part of the task was sifting through it and deciding what to use. Once that was done I ran it through Movie Maker, downloaded the train sounds from iTunes, recorded my voice into my iPhone, and transferred it to my computer. I’m curious if other people record the poem first, or create the visuals before recording the reading. I’ve found it works better for me to create the video first, with the poem in mind of course, and with me playing the video back and reading the poem to myself for timing’s sake. But when it comes to putting it all together, I like to record my voice while viewing the actual, completed video. So for this one, I just played the video while I read the poem and timed myself accordingly.