At Newgrange on the Winter Solstice

By ALLISON FUNK

                in County Meath, Ireland

You must leave everything you’ve carried
      to enter the tomb, says the guide
            pointing to the passage grave

mounded with earth. From outside,
     the tumulus all but obscures
           death’s reach,

also its fruitfulness, which has already
     filled my husband
           with the sweet mystery

that suffused Eurydice. And me—
      why would I want to hurry
           back to the crawlspace

my life has become? I’ve stood
     at this threshold in my mind before,
           imagining, like Rilke,

less loss than release,
      a loosening: long hair poured out
           like fallen rain. Even so,

on the shortest day of the year,
      with winter howling inside me,
           I find myself dazzled

by a shaft of sun on the innermost
      wall of the cairn. Here,
           gone, fast as a firefly.

Light and its innuendos
      hinting there’s more
           for me to see.

 

[Purchase Issue 30 here.]

 

Allison Funk is the author of six books of poems, including The Visible Woman. She has received a Guggenheim Fellowship, as well as an award from the National Endowment for the Arts. Her poems have appeared in Poetry, Paris Review, Scientific American, The Best American Poetry, and elsewhere.

From the beginning, The Common has brought you transportive writing and exciting new voices. We are committed to supporting writers and maintaining free, unrestricted access to our website, but we can’t do it without you. Become an integral part of our global community of readers and writers by donating today. No amount is too small. Thank you!

At Newgrange on the Winter Solstice

Related Posts

Book cover of The Employees

What We’re Reading: November 2025

ELSA LYONS
A book-length essay divided in nine parts, it’s a barrage of generalizations—but generalizations rendered in startlingly precise prose. Concepts that explode into cascades of images. El Laberinto is not a prose poem. But Paz, first and foremost a poet, can’t help but see words the way a poet does.

Cover of Liquid, a love story

Translating Toward Possibility: Sarah Faux Interviews Mariam Rahmani

MARIAM RAHMANI
I have given myself permission to take up more space. For a lot of writers, that is actually the gift that they give themselves. I knew going into Liquid that I was buying time to some extent. There was something about my prior book that wasn't exactly where I wanted it, so that book wasn't shopped around to editors at all. I needed time.