The Angel of Absolute Zero
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About this ebook
Marjorie Stelmach
Marjorie Stelmach is the author of four previous volumes of poems, Night Drawings (awarded the Marianne Moore Prize), A History of Disappearance, Bent upon Light, and Without Angels. A selection of her poems received the first Missouri Biennial Award. Her work has recently appeared in Boulevard, Cincinnati Review, Florida Review, Gettysburg Review, Image, New Letters, Poet Lore, ONE, Relief, and Tampa Review. Falter Reviewed by Grace Cavalieri for the 'Washington Independent Review of Books'
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The Angel of Absolute Zero - Marjorie Stelmach
Tenebrae
Churches are best for prayer that have the least light.
—John Donne
It looks the same.
Shadowy crosses tremble in the long aisle.
Saints recede into darkened archways.
The organ softly takes up being lost—a minor key,
somber, remote.
In candlelit pews, soft garments shift their folds,
aligning with the murmur of prayer.
Down all these years it returns, the order of service.
I follow to the end
and leave in silence.
I wasn’t looking for a way back,
only to close the day against an old error.
A day as long as ever.
An error even longer.
Canticle of Want
Canticle of Want
Let me not be blamed for the script, for the ink is bad
and the vellum defective, and the day is dark.
—anonymous scribe
Lord of stone cliffs and the guileless trill
of the canyon wren, of stunted hemlocks,
imperiled coasts; Lord of the fragile nitrogen cycle,
vanishing aquifers, spreading deserts;
Lord of neglect and carelessness, of greed
and depletion, the doleful call of the loon;
Lord of ruin, of remnant and ragtag, of making do,
you too must want as fiercely as we do,
your world being almost nothing but want.
Each year in the heartland, twilight breezes
slide easily over our furrowed acres
sowing all manner of wanton seeds;
a red-shouldered hawk wheels and watches;
its shadow wheels and is watched. Each harvest,
a full moon, drastically magnified, rises—
a trick of the eye no one can account for: so much
is beyond our knowledge. For more than
two hundred thousand years, our kind has studied
this earth; we have yet to discern your purpose.
How badly we want to believe in your good intentions.
For centuries, monks dipped quills into inks
concocted from hawthorn, salts, and wine.
They lived in vigilance, hidden away, recording
your hints and evasions; they died
of their times, as we do. We’re told they stayed faithful.
It’s harder now. Today, no one doubts
who owns the heavens: American drones cross
invisibly over invisible borders; refugees
trudge toward rumors of air drops. Brevity haunts us.
Every moonrise augurs departure. By night,
we children of plenty labor over our keyboards,
documenting our days in a digital light
we have found no way to erase. How badly we want
to escape all notice, want equally not to be
lost sight of. Lord, whose name is Everlasting,
how could we think you would understand?
The Lost Blue of Chartres
By the 12th century, the deep cobalt blue
in the stained glass of Chartres was a secret lost.
The blue was born
in an age of faith,
an age of filth.
Some say it derived
from peasant sweat,
from smears
of soot, from piles
of excrement underfoot,
or the muck tramped back
to the worksite from huts
shared with beasts.
Some scholars believe
its source was potash
leached in iron pots
to a white salt. Others,
inclined to the abstract,
claim
it clung like mold
to the architects’ scrolls—
a fur of hubris,
delusion, corruption.
Mystics will tell you
the blue was never born:
it was simply there—
in the water, in the air,
in the soil.
Art historians insist
that a blue fog hung
in that century’s lanes—
a breath exhaled
from birch tree forests.
Folktales swear
the blue was pressed
into the villagers’
very skin,
that it darkened
their life-lines,
the creases of their faces,
the backs of their knees.
Or maybe it arose
in diaphanous coils
from votive