Saola

and other endangered unknowns

I first knew you by your other, less-specific name, as unicorn.

Which is to say, as a creature of wondrous, near-impossible beauty.

A miracle, so I drew you at the center of a depiction I was prompted to make by my first-grade teacher. This was Catholic school in the Reagan Era in suburban New York. This is when and where and how I learned that you were forbidden.

“They did not have unicorns in the Garden of Eden,” Mrs. McClosky announced. I did not think to wonder at the time who They were, or how she had come to interview them. She wore a brooch and so knew things. I wore saddle shoes and an ill-fitting uniform and vomited in the parking lot every day, in dread of my arrival in that dark space of stone hallways, urgent bells, and seemingly inexhaustible legions of certainty, all certain I was wrong for fearing them.  

I thought I knew you, so had been happy about this assignment, the first I had loved since entering school, other than the opportunity to give a staged reading of The Gingerbread Man to my kindergarten class.

You can’t catch me, you can’t catch me, I’m the gingerbread man!

Later I learned the word myth. As in mythical. Which some would use to mean fake but which I took to mean the real in story. Or the real that is larger than seen. 

––And I connected it to this misunderstanding that my first-grade teacher had about you, who while real, were mythical, like The Garden herself. Which naturally led to other questions.

These questions led to others, and one day I was old enough to have learned to no longer give my first answer to the question: What do you want to be when you grow up?

A Unicorn! I had announced. 

This was my first opportunity to learn that you were not a valid response where the subject was imagined possibilities. Having reflexively rejected this wholesale, I had to learn again in first grade. And did––learn something, anyway. 

Later still, I began to see this I, whoever she was supposed to be, as a sort of mythical creature, possibly imaginary. She lived in dreams, and she lived in the dark. According to most official sources, most of who she was, was categorically forbidden. She was simply too––much of everything unnecessary, this creature. 

Learning this was almost too much. I forgot what I could in the name of persistence. For what, I sometimes could not remember. By then I was half dead ––but the other half was living, as are you. 

You only needed cover to persist, and space. Foresters removed your cover and trappers set traps in your space. These were not meant for you, specifically. You died in them anyway.

I write this hoping that you will recover. That we may recover––enough forest to protect you in the shadow regions, safely ensconced in the unseen, beyond the range of anyone who comes to count you, beyond the bite of any snare so indiscriminately set that it would capture and kill you in its teeth. 

I write this praying that you may continue non-existing for your doubters. 

I am not worthy, but believe. 

I write this that you heal the rest of me, however well she was supposed to have learned by now, to treat the best of herself as a forbidden creature of mythical fear. 

I write that we may live. 

I write in the shadows, in whispers, that you may hear me. 

And live that I may join you, some forbidden someday. 

***

For more about the endangered creature at the center of this piece, consider The Saola’s Battle for Survival on the Ho Chi Minh Trail.

sapere

whale music

to know
to be able to
to taste
to feel
only this how
i am because we are
& need know only this
& how machine will disagree
does not make it less true
but only more like the living
and less like the thing
whose badge of being
is of efficiency
& departure from
the dirt & blood
& flow of living
earth as she
remains
still
here
an offering
beyond product
or production
in echo
beyond
any other sound
however loud however
bleeding it leaves us in our ears
where we swim deep underwater & still here & here & here to hear us––
tho bleeding it leaves us in our ears however loud
however any other sound beyond in echo
still our offering here remaining
in dirt & bloodied waters
beneath you

Not It

And the posture of reaching.

Once it was declared that we were playing hide-and-seek, the first thing to do was call “Not It!” but I tended to be late when it came to calling anything. So now I am out here still looking even though it is way past dinnertime and the others have most likely all gone home. Is this it? I persist, but it isn’t. The words are still all wrong. As consolation, I might aspire to the endurance of the dark star, of sloths and tortoises and the legends of creatures rarely seen in the wild, of the dancer’s posture of reaching for something not yet grasped, of the sense of having not yet arrived. At what, no one will say. The point is that whatever this is, it is not yet, as they say, it.

The Chase

How to work a running stitch.

What kind of poet would I be if I couldn’t fix a seam? You asked, incredulous, adding, you know, it’s not rocket science. When the language got too tight around our necks you said Look and undid the top buttons, like There and How hard was that? and it was obvious we had a long way to go.

I mean to live, you said, and invited us to join you, running––your kites on laundry lines, your great river piping underground, leaking secrets from the dripping faucets of our fourth-floor walk-up. Your hero at the mop, finishing a shift while the oracle she’s come to visit goes fishing for change in her apron. 

The legs of our love tended to falter. Fatigued, we wondered how you kept yours onward. Once, ascending a hill, you reminded, don’t look upYou can follow the street as well as the sky, and as we looked for your next words you called back, not even at me, striding ahead. Eventually, we learned to follow the backs of your legs and fall into a rocking trance. The grates of sewers punctuating our periphery, we found our breaths in time with the river below us, and as the miles went on, stitched our single body back to some subterranean source.

***

Inspired by Anne Winters, especially Night Wash.

Ordinary Noise

The role of contrasting elements.

In art, dreams are realized––and the worst, not to be measured or weighted, but lived. Counting may follow, anguished measurements in the unflinching face of midday, when anyone with living ties to memory is susceptible to affliction by the pretense that all is well and as it seems, amid the noise of countless machines, distracting from a vast hum in the background.

This is why mornings and evenings are so much kinder, because the dominant noises are more obviously birds, revelers, and other wild sounds, none of which pretend any allegiance to standardized notions of good sense, which routinely kill without making any noise beyond those that have become so ordinary and expected, they may easily go unheard.

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