The Amon Liner Poetry Award PILE OF MAGGOTS

It’s a game the newsboys play: a wrestling match
accordioned up to black sky. A smokestack of boys,
one making a ladder of the others. They’re scrappy
& stalagmited, some small as newsprint, smelling of sweat.
A Jenga tower of bravado & Bowery accents. One boy’s
head emerging between another’s knee-pit; one boy
under the rubble with his arms stretched like a searchlight;
one boy at the top until his competitors, like the meat
surrounding a peachpit, bury him. The game ends
when the youngest calls out, Fellas! Please! & they
flatten themselves boy-shaped again—giggling into each other.
I daydream myself fourteen, with a flat cap, ready to tether
my new fists to the nearest mirrored body. A boy abomination
emerging from other boys like limbs of a good, clumsy angel.

IN MY GRANDMOTHER’S GARDEN

for Bernice J. Murphy & Aunt Aggie Jones

in my Grandmother’s garden there grew an unusual fruit
of reinforced calcium that hardened white

over a sweet spongy red and yellow meat
She would pull from underneath the fur and feathers

of frolicking creatures who loved the flavor of Her
eggplants and orange blossoms Her garden looked

like the inside of a gator’s mouth rows and rows of white
protruding outward to enter was to be eaten

consumed by a world She had constructed for Herself away
from words that humbled like mama home & husband

here She ruled between those hours when the moon has
just pulled its starry black blanket over its head to sleep

to block out the sun but the eyes of the world below
have still yet to open though mine did once when i was a boy

who liked to fall asleep in his Grandma’s bed between Her
elbow and rib cage the absent sound of the drum below

Her chest woke me from some long forgotten dimension
and led me out of the house behind the shed and down

the trail of bones where i found Her filling a basket with dark
purple humming a gospel not yet written still being made

bounced back and forth from heart to tongue from tongue to teeth
the lips tight pressed still not ready for whole words to escape

and She never stopped when She saw me just smiled and kept
fondling every purple torso gently squeezing and kneading

at each part of the skin before deciding to pluck or walk away
i had so many questions but this was a place w/out words

w/out wonder w/out a need to be defined or explained or in awe
a place w/out the need to know where and an appreciation

for things that just were where the sound of a single syllable
might break the barrier between existing and living

the same barrier found between plant and people for here
She was satisfied content with whatever was given and also not

but never once did i join Her in the minutes spent in the attendance
taking of fellow fruit just patiently waited until the basket was full

in my Grandmother’s garden it felt like She wasn’t my Grandmother
that we weren’t related. here            Shewas something more honored

The Greensboro Review Literary Award Poem HAVE YOU BEEN TO THE PALISADES

To the spot where the log burns blue?
From the side of your mouth, the word heartwood falls out

and inside of that, a Tupperware containing fog.
It’s mixed pickles—everyone loving the deli guy

but no one remembering his name.
I feel like I am him. I fall down like a fountain,

scrape both knees. I learn photosynthesis
is when your arms go around me.

In those days, we called it Julia Mountain
because Julia loved the mountain

and the mountain loved her too.
Then she moved to Kalamazoo.

Once, I was a child and once I was a bug.
Once, you spilled gallons of milk by virtue of spilling

just a little milk each day. I was the whole Pulaski Skyway,
crossing and uncrossing my legs.

It came to me eventually, his name was Jeff,
and like Jeff, I’ve been forgotten

in the fold of a stranger’s wallet.
The tarp flaps its dream at us and for a second,

I’m in the canopy during gym class—
you count to five, and we all run in.

The wind ruffles our pockets and we lift up our eyes.
Pulling your head through the sweater hole,

you stretch out the morning’s light.
The day goes rising, wiggles its ears.

The Greensboro Review Literary Award Story JENNY LYNN & BUDDY

When Buddy meets Jenny Lynn, she has a hole in the side of her ankle about as big around as a nickel, a shallow well of gore at the end of the knobby bone. She doesn’t seem to mind it too much; she is laughing a lot and when Buddy thinks of her now, he thinks of her laughing. She tells him that her leg got stuck under a car, just now. Buddy asks to see it and she lifts her pant leg and pulls down her bloody sock to show him. The bleeding has stopped and the sock is starting to get stiff. It peels away from the skin, letting the fresh wound finally breathe. 

“Holy shit,” he says. 

She laughs. “It’s not as bad as it looks.” 

The ankle is starting to swell, there’s purple from the bruising and black from the asphalt, or maybe it’s from the tire. He can’t tell, but now he’s picturing her flesh and bone being ground into the road and this makes him feel sort of sick inside. It looks pretty bad. 

“What the fuck,” he says. “How is it not broken?”

She laughs. “She ran me over.” She points behind her, into the house. “I don’t know.”

“Jesus.” Now Buddy is laughing too. “Are you okay?”

“Yeah,” Jenny Lynn says. “You wanna get stoned?”

They are sitting on the front porch, on a ratty couch that no one admits to bringing here. It’s May and there’s a June bug banging against one of the screen windows and there’s a broken pint glass on the windowsill and cigarette butts on the wooden floor. There are piles of incense ash where the floor meets the wall and stacks of little yellow sticks on the sill, left from when the Nag Champa burned away. Buddy takes a new stick and lights it with a paper match and blows out the match and drops it. Watching it fall through the slats of the floor, he wonders if there’s anything flammable beneath them. 

“You wanna get stoned?” she asks again. 

He looks to her on the other side of the couch and raises his eyebrows, forehead crinkling, lids heavy and red in the whites of his eyes like webs of paprika. He blinks.  

She pulls out a clean little glass pipe and sets it on the sill next to the broken pint and she takes out a handblown jar with a cork lid and a bunch of stinky buds inside and tosses it onto Buddy’s lap. It lands just barely on one of his testicles and he flinches, wincing in pain as Jenny Lynn watches this happen in slow motion, her face distorting in horror. 

“Oh Lord!” She says this and reaches over to him and puts her hand on his shoulder. 

He makes a face and he laughs and brushes it off, says it’s fine—neither one of them wanting the other to feel bad or wrong or embarrassed. 

She takes the jar back and packs a bowl and gives it to him to light. While he smokes, she takes out a prescription bottle and shakes it, the green-coated pills rattling against the orange plastic, a sweeter sound he never heard. She sets the bottle, so gently, she balances it on his leg, just above where the blue jean is worn white at his knee. 

“Let’s get fucked up,” she says. 

      

They become fast friends and stay that way for a year, though Buddy knows by now that she wants more. This scares the shit out of him because he is twenty years old and still a virgin, and it’s all very confusing. The way he sees it fluctuates. Sometimes it’s because he’s shy. Sometimes it’s because women are terrifying to him, sex is terrifying to him. He still thinks of the girl in grade school, who ruffled his hair with her hand, the plastic bracelets dangling off her wrist. Riding his bike home afterward, feeling weird. Sitting next to a girl at the movies in middle school, feeling weird. On the couch with a girl in high school, feeling weird. 

Other times it’s some misplaced romantic pride, like he’s waiting for “The One.” 

What does that even mean? he wonders. Fairy tales from his youth. 

Horrified by the whole deal, he just wants to get it over with. So they finally have sex.

It’s late July and it’s hot and it’s sticky and Buddy will close all the windows in his room so the neighbors can’t hear and they will sweat together with David Bowie playing in the background. He’s high on OxyContin, and he won’t remember how it went.

They’ll keep having sex, and it will mostly be fine. Neither one of them will ever call the other their boyfriend, or their girlfriend. They are just “Buddy.” They are just “Jenny Lynn.” 

      

Some weeks later, Buddy loses a condom inside of her. He’s high and gone soft and he can’t feel anything and he doesn’t realize it’s missing until he gets up to go to the bathroom. Standing weak-kneed over the toilet he goes to take the thing off and it’s already off. He looks around. He goes back into the living room and looks around. He’s on his hands and knees crawling around the floor while Jenny Lynn smokes a cigarette, one hand holding it toward the open window, the other running lightly through her pubic hair. 

Buddy starts feeling under the couch cushions. 

She asks him what he’s doing.

Buddy looks at her. He can’t think of how to say it. 

She asks him if he lost a pill.

He looks at her, panic rising within him. 

“Do you feel weird?”

She smiles, sweetly. “What do you mean?”

“Like, inside?”

“Do I feel weird inside?”

“Like in your guts.”

“You’re crazy,” she says, and stubs out her cigarette. 

He puts his hands on her shoulders, looks into her eyes. “I think I lost it inside you.”

“You came inside me?”

“No, baby, the condom came off, it must be inside of you.”

He can tell that he’s scaring her and this opens something new in him, something unexpected. What would be his own fear melts at her feet and he feels only calm, and strength, and the need to protect her and reassure her and in this moment, he knows that he loves her. 

“What do I do?!” She meets his eyes. “Get it out, baby!”

“Okay,” he says.

He puts his hand behind her neck and feels fine hairs against his palm. He kisses her forehead and then he puts two fingers inside of her and tries to find the condom but he can’t. The fear is back in him now and never in his life did he see himself in a situation like this. Never did he see himself in love. He leans over and kisses her on the mouth and kisses her on the cheekbone and kisses her on the eyebrow. He reaches deep inside of her, his lips resting now against the folds of her ear and he says, “There it is baby, I got it.”

Within the year, they get pregnant. Jenny Lynn finds out at the doctor’s office, when she’s there for undiagnosed pain issues. She’s just hoping they’ll give her some pills, but the doctor makes her take a urine analysis. “You’re five weeks pregnant,” the doctor says. 

“Damn that’s crazy,” Jenny Lynn says. “Can you give me anything for the pain?” 

She’s nervous about a baby, she never thought of the realities of pregnancy. She’s excited though, she’s thinking they can do it, she’s excited to tell Buddy about it. She can clean up, she thinks. She waits for him in the kitchen of their now-shared apartment. 

He wants an abortion. “I grew up on government cheese and crappy white bread,” he says. “I’m not raising a kid like that.” He’s angry about it, and remembering things from his childhood. Getting teased for hand-me-down sneakers. Stomach grumbling in classes and everyone looking at him. Dollar bills stuffed in his locker vents with lewd notes on them. 

Jenny Lynn just stares at him. 

“We’re bums,” he tells her. “We’re poor people.” He’s getting worked up now and Jenny Lynn steps back. She’s not crying. She’s mad too. She sees her father in Buddy for the first time, and it breaks her heart. “We don’t know how to do anything, Jenny. We can’t care for anyone.”

Two weeks later she has a miscarriage. 

It’s just before Halloween and a thin layer of snow covers the ground.

It will melt away by morning. 

Four years later she has gone to school and finished a nursing degree. She gets a job as an RN in a senior living facility. Buddy is working as a bartender in a hotel until one night he falls down a cement stairwell and breaks his leg. He’d been stealing bottles of liquor from the supply closet and hiding them in a room of the hotel that was under repair, sneaking around and drinking them between room service calls. One of the hotel guests finds him at the bottom of the stairwell, sucking on lemon slices he carries in his pocket and writhing in pain. 

They’ve been living apart for the last year, but after this, Jenny Lynn moves in with him again. To help him recover. Together they blow through his prescription Dilaudid in a week and she starts stealing pills from the old folks’ home. 

She’s caught and fired; she loses her nursing license. 

She takes the city bus to Applebee’s and meets a guy in the parking lot and buys some heroin. She gets out of his car and finds a big pine tree and crawls underneath its wide skirt of branches. She puts her hands against the tree trunk, sap sticks to her palms. She lowers herself to the bed of brown pine needles and turns and leans against the trunk. She fixes up a shot. Two hours later someone calls the cops about a dead body outside Applebee’s. When they get there they find Jenny Lynn, her feet sticking out from beneath the edges of the tree. 

She wakes up and tries to hide the syringe that’s still clutched in her hand, the shoelace she was using to tie off, the little aluminum cooker. The cops are pissed because she doesn’t have any heroin left, no actual drugs. But there’s enough paraphernalia to arrest her on possession charges. Later they claim there was still junk in the syringe and give her first-time felony possession. She spends a week in jail. She is released after pleading guilty and agreeing to residential AODA treatment and probation.

The night before she goes to rehab, they listen to Mariah Carey’s “Daydream” on Buddy’s little cassette player and when the B side ends they flip it over and listen to it again and when it ends they flip it and when it ends they flip it and when it ends they flip it again. Both of them have core memories of this album from their childhood. Both of them know that they’re making a new memory, now, in real time. They know that they’re trying to hold on to something. 

She calls him from the treatment center and tells him that everything’s going well and that she loves him. She writes him letters; she keeps them light. She doesn’t ask how he is doing, instead she says, “I hope you are doing well.” She never says she misses him. She feels a weight lifted from her shoulders. But she doesn’t know how to talk about it, what it means, what it says about the two of them. She goes to meetings and she feels something positive in her life, not for the first time, but it’s been a while. It’s right on time. She has faith again. She connects with women in the house and she gets their phone numbers when they leave. She makes friends. She’s not sure if being totally sober is possible, but it sounds nice. Buddy calls and she can hear the dope in his voice. She can see him, through the phone; his eyes half closed, the spit on his lips. She can hear him suck his cheeks. Click his tongue. It’s disgusting. He doesn’t even realize it. 

She’s embarrassed for him. Most days he’s sad—dark and morbid and she wonders if they shouldn’t talk anymore. Her counselor agrees. His name is Ted and he’s balding, usually red in the face, with a kind smile. Jenny Lynn thinks he’s stoned all the time. But she also thinks that it’s none of her business, and never asks about his own sobriety. Ted tells her that it’s too hard, when one person gets clean and the other doesn’t. He tells her that relationships are the leading cause of relapse. He tells her that you can’t have any reservations. Ted’s office is filled with pictures of single lions, looking off into sunsets, looking content, at last, maybe, finally. 

One day Buddy calls and he asks her if she remembers the baby. “What if we coulda done it, Jenny? What if we coulda made it work? It’s my fault you lost it.” He’s drunk. 

She cries, sitting in the creaky wooden chair outside the women’s rooms, in front of the old wooden desk where the phone waits. Names and numbers and dates scrawled into the desk, some scratched raw into the wood. 

Her roommate takes the phone from her, the long, curled cord reaching over Jenny Lynn’s shoulder as she sets her face on the desk.

“She can’t talk to you right now,” the roommate says. 

When she gets out of rehab, Jenny Lynn moves in with her grandmother. The same grandmother that she lived with after losing her mom to cancer. After her dad traded his tools for an old shell camper and left Wisconsin, to live in Montana, without her. At four years old, this might be her first memory: she stands in front of her father’s legs, smelling the engine oil in his jeans, smelling the engine oil under his fingernails and the tobacco-stained yellow fingers that lay on her shoulders as together they wait for Grandma Maggie to accept her. Her father is crying, and squeezing her shoulders. “Take her, Maggie,” he says. “Take her from me. I can’t keep up.” Jenny Lynn is shivering, though bundled in a snow suit. She stands on her grandmother’s porch like a little stuffed toy. 

“Goddamn it, Joe,” her grandmother says. The same grandmother that took her to see Disney’s Pocahontas in the movie theater when she was six years old. The same grandmother that took her to McDonald’s whenever she got A marks on her report cards. That gave her an old thin wedding ring, the diamond chip almost invisible, and told her someday she’d know. That told her—when Jenny Lynn was awake all night, another sleepless night, another anxiety attack—to breathe. To think of the good things. To believe in the Lord and to believe in herself and that if she really waited, and had faith, she’d find the things she was looking for. She stares up at the glow stars on her ceiling, she looks over at her grandmother. “But I don’t even know what I’m looking for,” she says. 

      

She stalls for a couple of days after getting out, before seeing Buddy again. She picks him up and within five minutes, he asks her to split some dope with him. “I don’t want to,” she says. 

He doesn’t understand what she means. 

“I’m sick of this bullshit.” 

Buddy picks at his fingernails. “Are you mad at me?”

“Drugs, Buddy, I’m sick of doing drugs.”

He looks out the passenger seat window, where he sits in his first girlfriend’s grandmother’s minivan. She’s driving it without a license. They’re parked in front of his own grandfather’s house. He doesn’t understand what she means. Why doesn’t she want to get high?

A few months later, Buddy checks himself into rehab. The same one she went to. She’s not clean anymore, but she won’t admit it to him. He would never say he’s doing it for her, he’s not. But seeing her when she got out was the closest thing to hope he’d had in years. Something changed. Something was possible. After a week he’s allowed to use the phone and he calls Jenny Lynn to tell her how well it’s going. He tells her that he’s ready and that he wants to get married and buy a house and get a dog and make a bunch of babies. He tells her that he’ll do anything. 

She is eleven weeks pregnant. She says nothing. 

When Buddy gets out, the baby is gone. She says nothing. She can’t.   

He stays clean, he gets a job, he gets a mountain bike that’s too small and rides it around town making amends. He stays clean; Jenny Lynn does not. 

She violates the terms of her parole; she ends up back in jail.

She ends up back in rehab. 

She meets a guy in treatment who’s tall and skinny and wears expensive shoes. He’s got tattoos all over his arms that look like they’ve been there since high school. Buddy is embarrassed by this guy and he knows something’s going on but he just sits there quietly when he goes to visit Jenny Lynn in rehab and she introduces them. She tells him that the guy wrote a novel. She tells him that he lost his father. She tells him that they’re just friends. She kisses Buddy on the cheek and thanks him for coming to visit. 

“I’ve got to go to group now, Buddy,” she says. 

He says that’s good and he says that he’ll see her at the same time next week and before he leaves, he tries to talk to this new guy. Buddy asks him if he wants to stay clean.

“Yeah,” the guy says. “I guess.” 

Jenny Lynn leaves rehab early. She and the guy she met get a little apartment together, the bottom floor of a house down east of the train tracks, about three blocks from the park. Buddy goes to see her and she shows him around, shows him the kitchen with the little window over the sink, shows him the little salt and pepper shakers. A chicken and an egg. He fixates on the coffee pot. He imagines them getting up in the morning, waking up together, talking about what they need from the grocery store or when they have to go to work or . . . he imagines them getting drunk together, getting high. He pictures them honking blow off the little yellow plates that she’s showing him now. They have fuzzy ducklings printed on them, all in a row, following their mother to a pond. She shows him the living room and the couch and they have sex on it and then they lie there together. Buddy looks over and out the window and sees the guy standing on the front porch. He can see the guy’s jean jacket through the window, just his torso, just standing there. Then the guy is gone. Buddy gets dressed quickly and when he leaves, the guy is getting out of his car in the street, walking toward the house, acting like he just got there. 

Later that night Buddy starts getting text messages from a number he doesn’t know. They say that he has a small penis. They say that he’s a junkie and a loser. They say that Jenny Lynn claims Buddy raped her. He gets scared and blocks the number. He blocks Jenny Lynn’s number too. He will occasionally hear from friends that the couple moved down to Whitewater. He hears that they’re fucked up all the time. 

He hears that Jenny Lynn has overdosed in the back of someone’s car. 

He hears that she jumped out of a window. 

He hears all sorts of things. 

A year later his phone rings and Jenny Lynn’s number pops up. He stares at the phone as it rings and then he picks it up, unsure of how she got through. They talk for a minute and it’s fine and then another minute and it’s fine and then Buddy starts yelling. He freaks out, screaming into the phone. When he hangs up, he hates himself, and has no idea what he was yelling about. 

He decides to go to college. He’ll get a bachelor’s degree, even though everyone has one these days and he’s not really sure what it will do for him, but he’s sure it will do something. He thinks about going for psychology, or anything that might help him to be a counselor. He thinks maybe he’d make a good counselor. For other drug addicts, an AODA counselor. But he doesn’t want to work for the state; he doesn’t want to talk to cops all the time, be nice to them. He’s not sure how any of this works but a friend tells him that that’s not a problem. That you just start somewhere. That you figure it out as you go and all of a sudden, it’s over, and you’ve found your place in the world.

Fake it till you make it, like they say in the Program. 

He thinks of how much his own counselors helped him. Ted, and Ken, and Steve from the outpatient program. He thinks of where he would be without them. 

He runs into Jenny Lynn’s best friend at the grocery store, the one that ran over her ankle with a car. He sees her pushing her cart toward him and he sees two little kids in the cart and his heart falls to the floor of the store and rests there on the waxed linoleum and he runs it over with his shopping cart. A wheel on the cart starts squeaking. They stop and talk, and she tells Buddy that Jenny Lynn is doing great, that she really is doing great. She’s trying to get her nursing license back and she’s sober or supposedly. Yes, she’s still with the guy but she’s sick of him and he’s drunk all the time and he pisses the bed, or so the friend says. 

When Buddy drives home he thinks he should be more pleased about all that than he is. 

He gets a voice message one day and it’s from Jenny Lynn from a different number. She just wants to say hello. A couple weeks later she texts back and asks him if he would consider getting a cup of coffee with her. He says he doesn’t think it’s a good idea. She says that she understands. But her heart breaks again, maybe for the last time. She knows by now that he is the love of her life, and that she’s lost him. She’s heard nothing for two years but good news about him, how great he’s doing, how happy he is. How he’s a totally different person. But she knows better, he’s not different, he’s who he always was, who she saw so clearly, all that time ago, when they met on the front porch. She wants him to be happy, like he was back then. 

Some time goes by and Buddy thinks about it. He thinks that maybe he’s just being stubborn, and that there’s no good reason not to see an old friend. He starts texting with Jenny Lynn and they try to decide where to meet. They pick a neutral city that has no connection for either one of them. A sort of no-man’s-land. Buddy tells her that he’s got a bum leg again, and they joke about all that time ago, when he was a no-good drunk and she was a junkie and they did their best to take care of each other. It comes back to him, truly and sincerely, how much they cared for one another. How sweet they could be to one another. How they helped each other. He remembers all the times that he couldn’t score and how sick he was and she would always show up with a little something, she would always help him get well. She always came through for him. On the phone, she asks him how he hurt his leg and he tells her about the shitty apartment he lives in now and how everything is always broken and how hard it is to get a maintenance guy over. He tells her the place is pretty crummy but he likes it all right. He tells her that things are pretty good these days, alone. He tells her about the landlord’s buddy who looks like Hoggle from Labyrinth and that he’s the closest thing to a repair man the landlord will send but that he’s a nice guy too. Buddy likes the guy. But he came over to replace a faucet, finally, and didn’t tighten the fixtures enough, and water sprayed everywhere. Buddy ran about, grabbing towels and moving artwork and yelling into the basement to turn the goddamn water back off. He slipped on the linoleum kitchen floor and all 200 pounds of him went down at once with his leg beneath him and he swears he heard something snap. 

She laughs with him, as he tells her this.

When Jenny Lynn and Buddy finally meet again, he is thirty-three years old and she is thirty-one. He’s been clean and sober for three years, five months, and seventeen days—if you want to get specific. She says that she’s been sober for seven months and he doesn’t ask any more questions about that. He didn’t ask in the first place. He tells himself it’s none of his business really. He has ruined her life enough; he’s realized that through the years. She’d have been better without him, less of a mess. The whole problem in the past was worrying about what she was doing, trying to control her—disguised as protecting her, worrying about her. He wonders about the guy that supposedly wrote a novel. Buddy wonders if she ever saw it. He doesn’t ask about that either. About him. 

He just wants to be here with her now. It’s mid-October and it’s crisp outside and the air is full of memories. He’s thinking about their first baby again, the things he said. The snow on the ground and how it melted so fast. On her drive there, Jenny Lynn thinks about this too and she thinks about their second, and how she’ll never tell him. She can’t.

Buddy’s been walking without crutches for a few days now and he knows that he’s pushing it. Everything seems to be fine until he parks his little red truck in Fox Lake, across the street from the coffee shop, and he gets out and he starts walking across the road without thinking about how fast the traffic is moving. He doesn’t realize until he’s in the middle of it all that he’s going to have to run to make it across. He hasn’t tried to run since tearing the ligament in his leg, and when he does, something pops again. Like shooting a rubber band from your thumb, he feels it let go. He hops and hobbles across the road, wincing in pain, swearing. 

Inside the coffee shop, Buddy finds a booth facing the door. He waits for Jenny Lynn patiently, worrying about his leg only. When she comes in, he sees her but doesn’t get up until she is standing at the end of the table and when he does, she can tell that he’s in pain. He hugs her and he’s surprised that it feels normal. He’s been worried about the hug. About whether their bellies would press together. How long they would hold it. What if he got a hard-on, or what if it just felt wrong? What if her hair brushes his face? Would she still smell faintly of patchouli? Lavender? He’s grateful right then, for the pain in his leg, distracting him from this. But it all happens fast and normal. She is very nervous. He wants to comfort her. He says he is fine.  

Buddy’s birthday was last week and Jenny Lynn has brought with her a homemade card and a BIC pen from the nursing home she is working at again, with probational restrictions. She almost has her license back. She wants to be a traveling nurse, if she ever really gets it back. 

“I remember your birthday every year, Buddy,” she says. He nods before she can finish her sentence. “Every year,” he says back to her. “I remember yours too.” He doesn’t think she’ll believe him, that that’s true, but it is and always has been.

They stay there together for an hour before he has to get up to use the bathroom. She asks if he wants help and he says no, but as he walks down the hall, putting his hand against the wall every other step, it’s clear that he’s seriously injured again. That the leg is not healed. That he has made it worse. He takes a piss, leaning lopsided against the wall of the stall. He doesn’t know what to do. He’s scared. He comes back and she is at the table, smiling at him, quite still. She’s calm now. She’s so happy, just to see him. She smiles at him as he limps back to the table. 

“Buddy,” she says. “I’ve got to tell you something. I fucked up back there Buddy . . .”

“Not so, Jenny Lynn.”

“Yes Buddy, I made a mistake. I wasn’t honest. I was scared. I didn’t know what to do.”

“No,” he says. “No, it wasn’t like that. I’m sorry too, Jenny.” 

      

They get up to leave, and Jenny Lynn heads to the bathroom. Buddy walks to the front door, weaving between tables, putting his hands on them for support. Outside he stands in the sharp wind, early hints of snow blowing through the road, dancing like dandruff against his hands and his face. He knows he can’t make it across the street, back to his truck, not alone, not in traffic. He doesn’t want her to help him. He doesn’t want to need her for anything. But she comes outside now and she stands there squinting into the street. She clears her throat. He looks at her and says “okay” and she smiles and puts her arm around him. He leans into her and she feels strong, she smells good, like she always has—warm.

MINE EYES HAVE SEEN THE GLORY

We call her the wild girl because she is naked and unafraid when she first appears in the Meiers’ cornfield near the collapsing barn. Mr. Meier brings her a can of tuna and sets it down in the field along with his eldest daughter’s old dress and a saucepan of water. Mr. Meier remembers the winter he found a dead fox under the graveyard road’s slope, two fox cubs curled up under her. He took half a can of wet dog food and the same pewter saucepan to the Calvary crosses every other day. He kept his vigil over the foxes until spring but never saw them again. Mr. Meier is a faithful man.

Like the foxes, the girl hides herself. She takes the food but not the dress. The dress is a formality she does not understand. When Mr. Meier takes it back into the house it is damp and sweet-smelling but his daughter refuses to wear it. Sometimes Mr. Meier can catch the wild girl’s silhouette if he stops halfway to the house and turns back. She is slender, her hair like a blond flame. The wild girl continues to take the food, the water. One day she stops.

So everybody is surprised when she walks into town a month later. She is swaying on her feet and clutching a horse blanket. She is waltzing into town like a drunk homecoming queen after a night of too much and her hair is shorter, chopped ragged. It does not take long for Mr. Edzel Winters to claim her as his long-lost daughter. Look at the scar on her arm, he says. Nina had a scar just like it from when she caught her arm in the baler. He points to what looks like a deep rope burn on her forearm. It’s plain as daybreak, he says. Mr. Winters reminds us that his wife and daughter disappeared on the same day in June, ten years ago. The two of them had hiked up into the Big Meadow to fetch the horse and neither came back. Nina would have been six then, and stubborn enough to follow her mother. Nobody looked until dark, assuming they had stopped to pick sour early apples. The Jollytown Volunteer Fire Department arranged to have bloodhounds trucked down from Pittsburgh, but the search ended after a few weeks.

The wild girl lives with Mr. Winters and his six sons. The brothers coddle her and dress her. Some say they see the family resemblance, especially in the childish chin and the sharp, thin nose. Some say there is no family resemblance. Even the skeptical Mr. Meier says nothing because the glow of mystery is too warm to sidle away from.

It is devilment to cut her hair. Mr. Winters’s sons trick her with candy but the first snip of scissors against her neck makes her bolt. They dress her in their mother’s pink silk nightgown but she screams when they put shoes on her feet. The social workers descend with tote bags and paperwork. Reporters follow the social workers. Some of them pay to sleep in extra beds, but most take rooms at the motel off the highway in Waynesburg, half an hour away. The Colonial Inn is the closest bar, ten miles south on Rural Route 18, and as such becomes a de facto press club.

Mr. Edzel Winters agrees to a blood test but later changes his mind. He receives the reporters always with dignity, offers them coffee and pie. The wild girl knows only three words: mother, father, bellyache. She can use a spoon without instruction. She responds to games but treats her family with indifference. So say the newspapers that run developments on her story every day. She seems content enough but her brothers keep watch. She seems willing to disappear.

Of course there are theories. A newspaper man from Pittsburgh has examined the marks on her ankles and wrists, concluding that she must have been confined at some point. Her hair, cut short around her face when she walked into town, must have been cut by someone, he says. The police bring dogs and trackers but no trace shows.

Mr. Winters is a recognized evangelical. He is the first one to remind you, casually, that your presence was dearly missed at the most recent tent revival, that without your cabbage noodles the potluck could not be counted a success. Mr. Winters loves his new daughter like he loves tent revivals: in public. Some see him buying dresses for her at the department store an hour away. Everybody begins to wonder when the wild girl will show up at a revival, when he will use her keening and moaning to dial up his direct line to God.

With such rich material people can’t help themselves from telling stories. Francine Wyman says she saw the wild girl walk into the post office to play with the pens chained to the counter, later to mash her face into a wrapped loaf of Wonder Bread at the store. Some people say Mr. Winters shouldn’t let her roam around like that. Evelyn Rospun says the wild girl approached her in the Rospuns’ hayfield carrying a purple corn snake in both hands, holding it out as if to bestow a gift. But Evelyn has a history of hysteria and it is difficult to take her seriously.

Mr. Meier’s daughters refuse to walk to the spring up the hollow, even in daylight, unless they carry corn knives. At night they put the dog in the root cellar for safety. Myra, the eldest, claims to see a white-suited man with a slingshot and musket running along the deer paths on the hill behind the house. He wants her back, Myra explains to her mother. He wants her back and if he can’t find her he’ll take me instead.

Before her sisters were born, Myra’s parents told her she had a twin who lived in the attic. When she sassed back or pouted, they claimed she could easily end up there, too. Mr. Meier regretted the joke when he found Myra on a stepladder with a box of crackers and a jar of peanut butter, looking for her imaginary twin. Now he regrets bringing her dress to the wild girl because Myra won’t touch it. It hangs in the middle of her closet, a foot of space on either side.

Mr. Meier is not given to worrying superstition, but he has noticed dark, leaping things at the edges of his vision. Lately he has found snuffed fires on his walks to mend fences or sluice the spillway at the pond. A hammer has gone missing from the work shed. Whenever he finds a wrinkle like that, he smoothes it. He doesn’t want his girls to go spooky.

The social workers drive into the hills and washed-out towns to ask questions. They check their registers of previous abuse and family trouble for the wild girl’s source. What they find only makes more work. So much family trouble has gone unregistered. In Deep Valley, they find a mother dosing her children continuously with bourbon to make them sleep. Naked, they sprawl on a mattress like mice. None of them know the word birthday.

By the high point of summer one story takes root. It is Mr. Meier, the faithful man, who first tells his neighbors that he has heard the wild girl sing. Mr. Meier has a calm way of doing things, a kind of natural reticence about wild stories. But he walks into town one day to get some bread and a can of chaw, and he has a healthy audience of midday loafers at Sissy Pecjak’s gas station. Mr. Meier tells the boys around the sandwich counter that he hasn’t gotten any good sleep lately because of the singing.

The singing? They look him over for exhaustion.

Mr. Meier says he hears things at dusk coming from his property line, about a quarter mile away from the house. It sounds like somebody singing the national anthem.

Almost nobody believes this at first. The boys go out in their pickup trucks at night to the Meier property line. They are fragrant with cheap beer and hay musk. Some of them are so ready to hear singing that they hear it before it begins. But they get their shock when the wild girl actually starts singing. This time it isn’t the anthem, but “The Battle Hymn of the Republic.”

She must be close by to the place where they pull their trucks into the field to sit on hoods and tailgates. From there you can see the Winters house, yellow and crooked on the ridge like a rotten tooth. When the wind catches it the song rushes down to them from somewhere. Though they are natural wisecrackers, they shut their mouths. Every night, it is always one patriotic song, over and over, for sometimes as long as an hour. They lose sleep dreaming of her. Accidents chase their waking hours.

Peachee Mitchum gets the worst of it when, fraught with exhaustion, he missteps in the hayloft and falls to the barn floor. His arm is broken and his ribs bruised. It is the kind of bone break that will trouble him for the rest of his life, according to the doctor. He can’t work for a month. He listens to the radio deep in a fat, listless annoyance. Sometimes, from within himself, he hears the bones click in disagreement.

The rest of the boys go on in his absence, listening to her sing every night. Their livid girlfriends try all kinds of bribes. Some claim they will start putting out. Some beg to ride along; others try to sneak up on their own. But it is understood, somehow, that it would be wrong to let them listen. The boys chase their girlfriends away with threats. One pulls a rifle, unloaded, just for show, to demonstrate his seriousness.

Peachee goes back the first night he is well enough to join them again. And for the first time, he finds the pure reverence on their faces repulsive. In his absence, the rest of the boys had started jacking off whenever she sang. They find their own quiet places in the dark, spread out in Mr. Meier’s field, to moan or clutch their breath. Peachee sits up on the hood of his truck and tries to look away from their shows of ecstasy. It is hard to focus on the singing like this, without their collected attention to magnify it. He finds his floodlight in the cab, the one he uses to spot deer in the fall.

With the light in his hands, Peachee aims for the source of the singing. When he feels he has a bead on it, he flips the switch. The beam hits high on the hill behind the Winters house and catches the wild girl in its circle. She scrabbles up the hill and he chases her with the light but loses her in a stand of trees.

The rest of the boys push him to the ground. One holds the floodlight on him while the others take turns roughing him up. They stomp on his cast until it cracks. They return the next night already knowing the singing is over, but it is important to verify. They can sit still only five minutes before their hearts feel raw and they leave.

By the end of summer, when ironweed starts flushing through the fields, Mr. Winters leaves a stack of revival brochures at the counter of Sissy Pecjak’s gas station. This time he springs for full color with his newly adopted daughter as the centerfold. Come Hear the Angel Girl of Western Pennsylvania Translate the Gospel Back into Tongues, it reads.

A lot more people show for this revival than the last one. It is difficult to compare, but the atmosphere has a ring of carnival in it. The women wear brighter dresses. The men wear their good boots. The Volunteer Fire Department will hold a chicken fry after the proceedings. The wild girl sits up front near the stage and Mr. Winters fans her with a program.

Mr. Meier stands near the back. His Quaker distrust of spectacle will not let him enter for fear of the urges to sweat and dance. Peachee Mitchum stands even further off, enough distance to become a spectator rather than a participant. Myra waits with binoculars in her father’s truck. She is keen for a look at the white-suited man, and truly expects him to show up.

Mr. Edzel Winters begins at noon prompt. The faces before him shine with sweat. Do you know your father God, he begins, do you know Him by His face? Do you know Him by His voice, do you know Him by His hand? Nobody listens. The story about Peachee has spread as wide as a net, and everybody who was not interested in the wild girl’s singing is a damn sight more attentive now. Mr. Winters testifies that the great hand of God brought back his lost daughter. Proof, proof, proof, he shouts.

Come home, come home, come home, ye weary. The choir invites sinners to get saved. Mrs. Martha Bedillion walks to the stage to have hands laid upon her. She does this at every revival, even though she has not built up enough sin in the interim to warrant it. When she faints, a girl with a basket of scarves leaps up to cover Mrs. Bedillion’s legs. Nobody else is weary enough to come on home.

Any good revivalist possesses an ear for the pall of silence. Silence means that belief is not running high enough in the crowd. Believers mutter to themselves and respond in kind to testimony—Mr. Winters is certain he can hear their blood heat up. With so many staunch minds to convert, he decides to turn up the dazzle full-blaze immediately and reaches for the wild girl’s hand.

Signaled, the wild girl hikes herself onto the stage. Someone has tried to teach her a pretty smile but it comes out wrong. It’s more wolf leer than feminine wile, although it looks right on her face. She balls up the front of her yellow gingham dress with her fists. It is a feverish silence, at the edges of which Mr. Winters is smiling and nodding his head. Go on honey, he says.

She starts with “The Battle Hymn of the Republic.” All of the boys who had listened in the dark that summer cannot stop from shivering a little. It is stunning, to hear her this close by, and to watch the breath she takes heap in and out of her chest. Some of the old boys who ribbed Mr. Meier at the sandwich counter blush impressively. Everybody seems to remember an incident they had defeated with shame. The girls in the choir look on, desperately jealous of that voice.

Because he senses the rising reverence in the tent, Mr. Winters reaches for the spotlights. Nobody had told him about the wild girl’s fanatic audience over the summer or what ended her nightly performances. He hits the switch, snaring her in a golden circle. Her face crowds in on itself. We see it for only a moment because she bolts. It takes all six of her brothers to catch her. They smooth her hair and coo to her but she scratches one’s face hard enough to draw a little blood. When he slaps her stiff on the jaw, she hardly reacts at all.

The show must go on. Mr. Winters believes in this principle. When he tries to cue the choir girls they look blankly back. Only true believers remain. Mr. Winters considers the revival a failure, but he shouldn’t. Everybody, even the ones who leave or refuse to enter the tent in the first place, leave believing indelibly in some thorny, private vision.

School starts and part of the dream is over. The social workers make recommendations regarding the wild girl’s education and return to normal life. After the revival, it is unlikely she will ever fully rejoin society, but almost everybody imagines her in the hallways at school carrying a satchel and binder. She would answer all of Mr. Tanner’s questions about the New Deal by saying either mother, father, or bellyache. She would join choir. A few VFW boosters suggest she sing the national anthem at the first football game. Peachee Mitchum imagines her as a homecoming queen. Of course it’s impossible.

The wild girl attempts escape more often after the revival. She is not allowed to wander without at least two of her brothers present, always. Calvin, the strongest, still recovers from a concussion she gave him when he tried to stop her once at the door. She will only sing if she thinks she is alone.

Peachee Mitchum ends up married to Myra Meier. In spite of her father’s intentions, she has gone spooky herself. Nobody could convince her that the white-suited man with the slingshot and musket was not real, and she only disdained them for trying. Peachee built her a house deep in Mr. Meier’s back forty and then built her a road. In the mornings she takes her coffee outside and walks the perimeter, pretending to pull weeds or look for snail shells. Sometimes Peachee worries when contracting jobs require him to stay in Wheeling for a few weeks, not out of fear that someone will take her, but because he can imagine her taking off. He suggests moving to a city but she likes her job. Myra is a social worker, driving into the hills to check on the family trouble.

She visits the wild girl often. They sit at Mr. Winters’s Formica kitchen table eating apples. One of the brothers sits, always, on the other side of the door. They can talk as long as they only use words from the national anthem or “The Battle Hymn of the Republic,” which the wild girl learned eventually to say. Even so, she has to sing them a little. Myra tried to teach her other words, then other songs, but found that some, like “America the Beautiful,” frightened her just to hear them. Still, jokes are possible: Whose broad stripes and bright stars? Mine eyes.

SOMETHING LIKE COMFORT

Michael and I lay on our stomachs at the end of the dock, arms in the water up to our elbows. It was a game we played, to see who could stay still the longest while the minnows tickled us. Michael usually won.

In early April, Principal Mathieu instituted a half-day schedule for as long as the heat lasted. He’d already canceled Easter recess and, ominously, we thought, hinted at adding Saturday classes as a way to recoup lost hours of instruction. Our school building, he wrote in the letter sent home to parents and published several days later in the village newspaper, was not constructed with such weather in mind. A few paragraphs later, he signed his name in smudged ink, and we knew then, as we’d speculated before around kitchen tables, at the village store, in homerooms and classrooms, that our lives had slid into something new.

The perceptive among us, adult and child, understood that more than stifling classrooms, the principal and his faculty and staff sought to relieve themselves of a hundred or so cranky and inattentive pupils. One could hardly blame them. In that endless heat wave, we’d spoiled into a rowdy bunch. So the duty was split: the school would have us for those torpid mornings, the hours before we roused to our fullest, and our families would deal with us at our peak agitation. The arrangement clearly benefited some parties more than others, but in the end, even the aggrieved got on with it.

“Well,” our mother had said, opening and closing the matter in a single syllable.

Michael and I spent many of those newly free afternoons on the dock with the minnows. We went back to them, too, in the evenings while we waited for our father to return from his work or his travels, those hunger-pained hours before dinner. We’d wait for him, even if that meant cold meals well after dark.

“Here, fishy fishies,” Michael whispered.

“That’s cheating,” I said.

“Is not.”

“Is so.”

“It’s not like they can hear me.”

The point was that I could, and he knew that. Our game rewarded patience and silence, not coaxing and cajoling. I pulled my arms from the water.

“There,” I said. “Congratulations.”

I sat up and dried my arms on my shirt. Michael pouted.

“No need for that,” he said.

I blew a raspberry at him.

“No need for that, either,” he said.

Michael leaned back on the dock beside me, resting on his elbows, water pooling on the planks. I dropped a leg over the dock edge and, with my toes, traced circles in the water. The lake felt colder than it had been a minute before, higher too, like it had risen again in the time we’d spent arguing. A shiver rippled up from my toes, but I kept my leg where it was. I waited for the shiver to pass, and when it did, I waited for what came after it, which was something like, but also not like, comfort.

“What do you—” Michael started to say.

I didn’t hear anything else. Later I’d imagine I missed something vital, but in that moment, in that heat still new to us, I succumbed to late-afternoon drowsiness. I let myself float off on it. It was the first of many such moments that summer when I may have fallen asleep without realizing it, even after waking or, if not waking, then coming back to myself. The heat induced in us fugues from which we soon recovered, or believed we did. As we’d discover, some of these dozes were pleasant and others less so. That day on the dock was neither. It was a pause only, neither good nor bad but interstitial. I experienced it, as I’d later experience others, as not quite the record skipping so much as the skip itself, which does not know what came before it or will come after it, does not understand that it is the abrupt replacement of sound with silence and, in a moment more, the rough resumption of the music.

“This weather, Michael,” I said after however long, my tongue lolling against the backs of my teeth.

But Michael was gone, the pools where he’d been reclining evaporated.

“This weather,” I said, now directing the words at myself.

An annoyance by my left ear demanded an immediate scratching, conveying me fully back into the world.

When I finished, I rolled onto my side and came up again to sitting. The sun, lately a violent smear, had dripped lower toward the trees that ringed the western side of the lake. How much lower I couldn’t say, having not marked its position earlier, but of course time had passed, as it does. It was later, consequentially later, I was certain of that.

Two mink caught my eye. They dashed here and there on the rocks in a game of chase. The pursuer and the pursued changed roles as the chase changed direction, turned around on itself, back on itself. They ignored me. The braver of the two, the one that shot faster over the rocks and took corners sharper and surer, feinted to its left and then dove into a crevice and disappeared from sight. Its friend followed. Neither reemerged, and after a time I stopped watching for them.

I jutted my bottom lip and, with a halfhearted puff, blew my hair from my eyes. I felt no inclination to move, not yet, though I knew I would have to sooner than later. The world was closing in, was reassembling itself just over my shoulder. Like Michael earlier, I leaned back on my elbows—we did so much lounging that year—determined to ignore what in a few seconds or a few minutes would be impossible to overlook, to look past. A fish pipped the flat surface of the lake. Then another, farther away, did the same. Trees in the stands on either side of our house, between us and our neighbors, exhaled languid moans, leaned forward and backward, pushed by the wind now kicking up. They moaned, I thought, in their confusion, just as fish rose to bite at bugs that had yet to arrive, those bites pricking the surface in small circles that lazed outward in ring after ring. The mink and the trees and the fish: the world had sped up for them, too. And like us, there was nothing they could do to make sense of it.

I heard Michael and our father on the porch then, heard a neighbor’s car start, heard the scrape of still-bare branches against each other, heard myself rise to my feet, heard those feet scratch along the rocky path to our house.

I WISH I HAD A HEAD FOR NUMBERS

no I don’t
I’ve seen what those heads look like
the special instruments required to clean them
how hard it is to keep flowers alive in them
how little effect Debussy has
I wish I didn’t even have a head
so much as a floating pyramid
with an inner incandescent furnace
where tiny robotic scarabs tend
the cocoons of wonderous future concepts
here drink this you’ll glow
this spray can make anything invisible
free money comes in balloons
the various agatizing processes
providing myriad translucence
to what’s usually crushed
but actually it’s my heart that needs help
it don’t cry right
punch me in the gut I feel it in my ear
none of it adds up
not the machete and the mouse
not how everything’s made of broken glass

VOICEOVER

When I tell you I don’t sleep
I hope you’ll take me seriously.
I really am a walking shroud
most days. The undead in me
is the life of me, but not
for the life of me, however hard
I may try to make myself depend on it.
My clothes are mud and grass and mud,
or no, they’re really not. But you aren’t here
to see, and I wish you were, like I wish
a lot of things, including for more wishes.
So the genie inside me is a tracksuit,
red or blue with white stripes.
You get to decide what it means
when the philosophers say things
like “either Beauty is a real property
of things in the world or when we speak of it
we gibber.” The problem is nobody speaks
about Beauty anymore, and even if they did
I’d be staring into a mosh pit with my nose
bleeding all over the floor and trying
to find my way back into the Tsunami.
As far as I can see, neither the sky
nor any ocean has definiteness, order,
and symmetry, so Aristotle was wrong
about a good many things. Just so.
It was a different time and a different place.
Context does matter. And I should explain
the Aristotle reference, but I don’t feel like it.
I am wrong, too, about almost everything,
even in this context. Have you seen the Shasta daisies?
They aren’t Shasta daisies. They’re daubs
of white paint that any addict might snort.
O monotony! O too tired blinking outer space stars!
My addictions are too numerous to list,
but they’re always coming out of my fingers
and mouth, my nostrils and ear holes
and assholes and dick holes. You don’t need
to be embarrassed, the shroud shrouds all.
And the fact that I remember my mother
in the snow probably isn’t germane
to any of this or beer soap or succulents
or a skin bag full of hooks. Sometimes
my gill slits don’t work like they’re supposed to.
And when I hear my own voice, it reminds me
just how stupid I really sound and am, but
maybe everybody feels a little off
in the devices of their own associations.
I feel like running water where the running
never ends. That really is a pipe dream.
No pun intended.

AARON THE MOOR

Believe me, Queen, your swart Cimmerian
Doth make your honor of his body’s hue,
Spotted, detested, and abominable.
Titus Andronicus, Act 2, Scene 3

When we bring others into our lives,
we bring all their life into ours: not only
their family, their secrets, their dirty socks,

but also the warmth of their body next to ours,
which allows us to accept all the challenges
of our lust to belong. Aaron understands,

embracing the blood beating
between him and Tamora and the blood
hammering in his head between him and his foes.

But what’s the deal with this brother?
Jumping in bed with a Goth girl like that.
Running around in a country not his own,

beating his chest like that. He acts
like he doesn’t know those Andronicus boys
would kill him just as soon as swat a fly.

Aaron, who walks through their starlit lives
like a black hole filled with every desire
they ever desired, knows the snares of life

and, so, chooses to live his life with a vengeance.
There’s power in not apologizing for being
in the world, for embracing the legacy revealed

through, and adorned with, your skin. Yes,
coal-black is better than another hue.
When every doorway opens to another closed door,

why should he behave like a welcomed guest?
His body’s hue holds many colors,
and with the gift of his tone, he speaks

his mind through a prism of words. Yeah,
for this alone he could do prison time.
Next thing you know, every crime committed,

even crimes committed by their own hand,
gets blamed on the new brother in town,
and they’d just as soon chop off their own hand

before admitting their own wrong; they’d
cut out a tongue, before allowing someone
to tell the truth, but let’s be real:

These people can’t be trusted
because they can’t trust themselves.
But Aaron knows he’s not a traveler

in a foreign land but himself wherever he lands.
And all the water in the ocean
can never turn the swan’s legs white
.

Andronicus may try to narrow
his choice between being a villain or a slave,
as the executioner’s blade raises,

but Aaron the Moor, the man, chooses
to lift his truth above the blade,
which can’t swing true enough

to silence the cut of his tongue.

OTHELLO THE MOOR

Only a Black face throwing light could cast so many shadows.
Only a Black man in charge could garner so many foes.

When only a Black general, when only a black lover,
when your only black friend is only yourself . . .

when your Desdemona’s so white she doesn’t understand
what went wrong. When you’re the only Moor, white men

say things like, “Were I the Moor, I would not be Iago.”
Desdemona looks for you with a candle in the daytime,

but you still don’t see her. You can’t see her
when you can’t see yourself. Only the whites

of the eyes of the whites see behind you.
Only the eyes of the Moor eyes the shifting of the day.

When proof appears, who appears behind the man?
Even a handkerchief, dyed in mummy, the color

of your own hand, reveals a foreign touch.
You want to touch the truth with your eyes,

so you can see the magic in the web of your wife.
But even your body, begrimed in beauty, can’t be trusted,

if you don’t trust your own life.