Epithalamium

By EMILY LEITHAUSER

 
The morning after we decided not to get engaged
(I’d ridden the streetcar alone;
 
I felt purposeful and ashamed, my mouth stained with wine)
I sat down in the shower and wept
 
into the crook of one elbow, my arms folded over,
as the shampoo ran down my breasts
 
and spine. I was studying the contours of my knees, when it
took me suddenly,

 
the thought: I don’t remember if I assigned it words, or if
the feeling came to me
 
in pieces, like a poem. I knew outside I would apologize,
again; I knew it would hurt
 
us both, again; I knew were I to marry you someday,
theoretically,
 
when we wounded one another there would be no threat
of canceling the future.
 
In my towel, in New Orleans, incredulous, in the mirror, I think
I knew. I knew I would wait
 
to tell you. I knew that telling was impossible that day:
a saxophone outdoors,
 
the sun spangling its brass. I was seduced by pastels and chicory,
by voodoo shops and garlands
 
of beads, by swamp-heat, by the tables outside set for two,
and my secret answer yes.

 

[Purchase Issue 19 here.] 

 

Emily Leithauser’s first book, The Borrowed World, won the Able Muse Book Award and was published in 2016. Her poems and translations have appeared in Literary Imagination, New Ohio Review, Blackbird, and Southwest Review, among other publications. She is an assistant professor of English at Centenary College of Louisiana.

Epithalamium

Related Posts

Skyline with buildings.

Translation: Two Poems by Edith Bruck

EDITH BRUCK
Pretty soon / When people hear a quiz show master / Talk about Auschwitz / They’ll wonder if they would have guessed / That name / They’ll comment on the current champion / Who never gets dates wrong / And always pinpoints the number of dead.

Chinese Palace

Portfolio from China: Poetry Feature I

LI ZHUANG
In your fantasy, the gilded eaves of Tang poked at the sun. / In their shadow, a phoenix rose. / Amid the smoke of burned pepper and orchids, / the emperor’s favorite consort twirled her long sleeves. / Once, in Luo Yang, the moon and the sun shone together.

Xu sits with Grandma He, the last natural heir of Nüshu, and her two friends next to her home in Jiangyong. Still from Xu’s documentary film, “Outside Women’s Café (2023)”. Image courtesy of the artist.

Against This Earth, We Knock

JINJIN XU
The script takes the form of a willow-like text, distinctive from traditional Chinese text in its thin shape and elegance. Whenever Grandma He’s grandmother taught her to write the script, she would cry, as if the physical act of writing the script is an act of confession.