• Matrix, Cradler

    Gabrielle Bates

    Spring 2025

    Before she had to leave, my mother planted the wisteria, tangling
    enshroudment softer than hair at its corkscrew ends.

    It crosshatched, for us, like a kind of telephone cord
    extending a thicketed umbilicus
    I suspected, then knew for sure

    when I heard my guardians say how it was bad.
    We’ll hack it back, they said, behind the house; I heard,
    in late autumn, their serrated blades sawing.

    I used my thumb to gut its seedpods down their seams
    collecting the coins, brown or green
    I pretended could purchase, if not freedom, then sleep,

    a deep sleep where God would be and speak: yes,
    I believed things then, like that. The night was a womb
    where language could be born and born.

    For all my looking, in spring,
    I never saw a bird from childhood sip,
    but there are many drinking from the flutes above me now,

    wings blurred as they hang on the air and hide
    their tiny faces in anesthesial masks. Perfume
    darkening down the snout of tapered blooms

    weighted like grapes in a painting: frosted
    looking, cascading from the invisible
    hand of a woman in a frame

    enslaved to proffer as long as the paint lasts.
    If I close my eyes, I’ll hear her humming.
    I do not close my eyes.

    There are two hummingbirds
    the size of infant feet, so small, the pair of them, spiraling
    up from the vine then spiraling down

    to brake at the blossoms near to me and drink—
    What does it mean for a being so small
    to drink deeply

    The hummingbird’s spinal cord is a telephone
    ringing. I pick it up, hello? A moth, common
    to what some ancients called the Old World,

    darts through daylit ruins near to Rome.
    Birdly bug on just the other side of the inner/exo-
    skeletal divide, uncanny likeness, just as big

    and flitting in the hummingbird’s style—one grazed my face
    then hovered where a gray stone shin once broke
    the air, in the ruins; shin of a soldier, lost;

    gone all the body but the toes, arcing digits
    on the pedestal, side by side, like a dismantled jaw,
    two sets of teeth. One mouth. Worlds groping forth.

    My entry was paid for. Students called me Mother.
    Bird or bug, mammal or plant: the categories bore.
    Down and up. Likenesses exist. Like many snakes

    in the late spring heat, what was consumed by the roots
    bursting out of the head, like my own thoughts
    revealed to be my mother’s

    evolving toward the public and grotesque.
    There’s a child in me, listening to this.
    I am born, adult as now,

    slowly, painfully; I strain breech
    from what were those ancient soldier’s toes,
    reaching up

    to touch, with my
    lips, the hand of my
    mother, or

    to make the fall
    I’ll fall longer
    when

    forward
    off that plinth
    I tip

    I intone
    The angel in my eyes
    named Loss, delights

    the angel in my eyes, named Loss, delights
    the angel in my eyes, named Loss,
    delights the angel

    in my eyes named
    Loss delights the angel

    Gabrielle Bates is the author of Judas Goat (Tin House 2023), a New York Times Book Review critic's pick, NPR Best Book of 2023, and finalist for the Washington State Book Award in Poetry. Originally from Birmingham, Alabama, she currently lives in Seattle. Read more at www.gabriellebat.es.

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