Portrait at Faiyum

 

she contemplates a different world
and balances her mind
between hot clamor days
and dark darker darkest tomb

poses for a mummy portrait
needful for her afterlife
artist laid upon a plank
with warm lumined beeswax strokes
catching her alive and pensive

she foresees her body wrappings
redolent with almond oil, palm wine
and pine resin for a sealing

mourns a desiccated body, natron shriveled
bereft of brain and liver…womb
identities … all canopic jarred to ancillary

tastes bitterness at the thought
of priests touching still-ed magic
from the even tempo of her heart

and now her pulse and sweat
and tear washed eyes
and eyes…and eyes

see through from being
and a slipping plane to plane

 

Bonnie Marshall

Artist Unknown
Woman’s Mummy Portrait, 70 AD
Hawara, Faiyum (Fayum) Basin

Impromptu and with Ease

Impromptu and with Ease

Westminster bells
partition through the air
to orient for place
a pacing in the hours

 and cockcrows wake
to first ordain the dawn
with much the surety
of rows of daffodils
unclenching in the sun

it is a gentle doing

it is not blast ordained
like thunder lightning storm
from heavy-lidded clouds
decreeing lines for rain

oh, let us dance…my love
impromptu and with ease
to relegate our days
in measured roundelay

Bonnie Marshall

Artwork: Vincent van Gogh
“Wheat Fields in Rain” 1889

Graeae Sisters against Perseus

 

 

 

blind sister dread
blind sister horror, sleep
and I … alarm sister
shall watch for him
while sea-foam hiss
your senses charm
there … there … dreaming

now, sight be my turning
against his thievery … he
mighty gods empowered … he
who would steal my vision
to catch the flash of moonlight
upon his mirrored shield

and I would not open to him
access to sequestered power
of sister serpent hair
for she will petrify him
to behold the potent
in her image
terrifying

 

Bonnie Marshall

Artwork: LMessecar
“The Graeae Sisters

To Give a Damn

 

 

I.

from someone else’s mind
I gathered image word
and feeling meaning

it sorted to my brain
somewhere in a neuron
synapse cell to cell

I hear him say it …
that Rhett Butler voice …
that cocksure gaze …

brilliant framing of the
door between his worlds

at the turning point
he didn’t give a damn

about her

flawless timing  … always
absolutely perfect for
remembering of know

 

II.

Giles from Salem
beat someone’s heart
to stopping … damn you
Giles from Salem

old Giles from Salem
they witch hung his love wife
for mumbling in a corner

cried him out for wizard
to claim the family land
if he, innocent,  confessed

plank and boulder pressed him
rigid … Puritan … earth
three days to eye bulge, tongue loll

“Confess you are a witch!”  they shouted
one on the plank to crush his heart

“More weight … more weight.”  his dying words
damn them, Giles from Salem

 

III.

in the revealing black and white of it
The public doesn’t give a damn about integrity.
A town that won’t defend itself
deserves no help.
Lon Cheney’s  jaded sheriff lines, High Noon

Katy Jurado tells Lloyd Bridges
And, it takes more than big broad shoulders
to make a man.
she is a survival realist
leaves on the high noon train

before she leaves she talks with Cooper
Jurado: Kane, if you’re smart, you will get out, too.
Cooper: I can’t.
Jurado: I know

 

Bonnie Marshall
artist unknown

Charge of the Hand-Me-Downs

 

a nation dawned

from deep knowing

 

a first emblem … documented

 and sewn  hasty … necessary

 

from

red flannel petticoats

the white of soldiers’ shirts

blue of a captain’s coat

 

now there are signs of wear

gaps open between stripes

 

an infiltrating must

fast threatens warp and woof

 

watch out

you worn conservators

 you are accountable

 

though you

were given hand-me-downs

your charge is to preserve

 

Bonnie Marshall

Artwork: Shane Cotton