Holding the World’s Coat

By DANIEL MOYSAENKO

I do not like what you’ve done to yourself— 

predictable theatre of struggle 
I’m in the wings
of 
           world 

Instead take this  
translucent  
pisces-glyph bug: 

           Its antennae flitting to test  
           the space just in front of its face 
           It struts right into a recluse web 

A lesson in what distracts from pain: 

           Say pinching my wrist  
           while a fish hook’s mined from my foot 

           leaving an open-pit bull’s-eye  
           that never heals closed  

What distracts from another’s: 

           A brick wall collapses  
           and takes down another in pixels 

           Names next to “laborer” and “child” replaced 
           by 2S4 Tyulpan heavy mortar  

Now the poplared river  
that Tatars were bussed over 
is redrawn by kamikaze drones  

And below  
a wine cave in Crimea has its bottles 
scooped out  

           Melon-ball divots 
           and cobwebs left— 

           this basilica of dust I watch the vintner pray in

 

[Purchase Issue 29 here.]

Daniel Moysaenko is a Ukrainian American poet, translator, and critic. His work has appeared in The Nation, Poetry, The Poetry Review, The Iowa Review, Harvard Review, and Chicago Review. Recipient of an Academy of American Poets Prize and Emory University Rose Library Fellowship, he lives in Ohio’s Chagrin Valley. 

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!

Holding the World’s Coat

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.