Trap Street

By KAREN SKOLFIELD 

“[T]he existence, or non-existence, of a road is a non-copyrightable fact.” —Alexandria Drafting Co. v. Amsterdam (1997) 

Twitch of the cartographer’s hand and a street 
is born, macadam free, a tree-lined absence, 
paved with nothing but a name. No sidewalks, 
no chalk, no children’s voices, 
a fence unlinked from its chains, 
the cars unmoored, corn left to its rubble, 
some wandering mailman, a house unbuilt, 
the bricks unlayed, the mortar unmixed; 
of the things that hold more things together 
the cementitious crumbles on this street, 
the lime breaks from the shale, the shells 
from their marl and clay. On trap streets 
the rules of gravity bend, curve to the mountain 
or fight it, dog leg the impossible angle, 
ribbon the gulley, shimmer from heat, 
unspool. Cliff walk, some miracle mile 
meant only for goats, a meander of cloven hooves, 
a stitching of strip mines, red earth or white,
ground that, once spotted, we call disturbed

Karen Skolfield‘s book Battle Dress won the 2020 Massachusetts Book Award in poetry and the Barnard Women Poets Prize. Her book Frost in the Low Areas won the 2014 PEN / New England Award in poetry. Skolfield is a U.S. Army veteran and teaches writing to engineers at the University of Massachusetts Amherst; she’s the poet laureate for Northampton, Massachusetts, for 2019–2022.

[Purchase Issue 21 here.] 

Trap Street

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.