Sarah Wetzel

 
 

My First Face

 

For fifty-five years, Borges slowly went blind,

losing first grey and green, the small fonts, the leaf's

network of veins, then the difference between cerulean

and sapphire, between Chianti and claret. In the end,

it was every edition of Shakespeare, love looks not with eyes,

winged Cupid's painted blind. Five years later, everything

black, Borges said, I'd always imagined that paradise

would resemble a library...no one asked what, abandoned

to your labyrinth of darkness, do you imagine now? 

A man I married told me, one morning, I don't think I love you.

We'd been married twelve years though it took him

another two years to walk out the door. To be honest,

I never loved him, not even as I said yes. Yet I know,

I'd still be with him if he hadn't left. Borges knew

from a young age he would, like his father and his father's

father before him, become sightless. It's why he read

every book, he said, before he was fifty. Why he refused

to learn Braille and how he could tell just by listening

how many books a bookstore held. How, even blind,

he could draw his own face—a scrawl without a mouth

or eyes, a ball of black string tossed on a white sheet

of paper. The truth is not always what’s written down—

I loved that man and, if only a little, I love him still.

 
 
 

My Father Draws My Face

 

Before leaving St. Peter's Square, I send my father

a postcard; on the front, a smiling Pope stands

 

beside Bernini's fountain; on back, a Vatican stamp.

As I write out his address, I know my father

 

is just waking up. He'll look at the clock, which is six

hours behind mine to wonder if today

 

I'll phone him. He'll drink a cup of coffee or two

and, very soon after, he'll continue the portrait of me

 

that he started almost three years ago. As a model

he uses a photo from my wedding day

 

though that man and I are long parted.

In the portrait, there is the Dalmation from my girlhood

 

and Rodin's Thinker and Michelangelo's David,

which in his idea of me exist in the same place.

 

There is love and rain in the portrait. A palm tree.

There is the trip to Prague we took together.

 

There is the one to Paris we didn't.

This is the same portrait that every child hopes

 

her father is drawing of her. Blue skies and grass.

The bankruptcy and missed birthdays. Even those.

 

And like most fathers, mine has little talent

for faces and he always gets the mouth wrong.

 
 
 

Daughter Like Father

 

My father stands alone in front of the ocean

under a flattened sky, gazing

out over the gray expanse of water.

It's dawn and it seems from the window

where I watch him that there could be

no portrait more sad and lonely.

Seagulls wheel above the pier

where three fishermen cast their rods.

They are not the only signs of life—

the wind blows, whitecaps churn up

and resettle, a sailboat is drawn on and then

removed, sun-punctured clouds slide

across a slowly brightening sky.

My father could be the same monk

staring out into the German sea painted

by Caspar Friedrich two centuries ago.

The same wind reaches my window

blows the curtain's transparent fabric across

my hand, small birds embroidered on its border

dart through my room. The tiny figure

of my father stands in front of the vast Atlantic

for almost forty minutes. When he finally turns,

he stumbles in the sand, falling

to his knees. I watch

as he slowly picks himself up, knowing

we will never speak of it.

 

 

“I have been teaching and living in Rome, Italy off and on for the past four years. While a Writer in Residence at The American Academy of Rome in 2012, I started reading the work of Pier Paolo Pasolini. For Duende readers unfamiliar with Pasolini, he was a poet, novelist, filmmaker, and an outspoken commentator and critic. He was and remains one of Italy’s most influential and controversial artists. On November 2, 1975, at the age of 53, Pasolini was brutally murdered outside Rome. His work, often written in the street language of Rome, as well as the passionate way he lived his life became obsessions. These two poems, as well as many in manuscript I'm completing, are written in response to some of that obsession.”


Sarah Wetzel's
third book of poetry, The Davids Inside David, is forthcoming from Terrapin Press. She is also the author of River Electric with Light, published by Red Hen Press in 2015, which won the AROHO Poetry Publication Prize, and Bathsheba Transatlantic, published in 2010, which won the Philip Levine Prize. A PhD student in Comparative Literature at CUNY's Graduate Center in New York, Sarah also teaches creative writing at The American University of Rome.