It wasnít the bright hems of the Lordís skirts
that brushed my face and I opened my eyes
to see from a cleft in rock His backside;
itís a wasp perched on my left cheek. I keep
my eyes closed and stand perfectly still
in the garden till it leaves me alone,
not to contemplate how this century
ends and the next begins with no one
I know having seen God, but to wonder
why I get through most days unscathed, though I
live in a time when it might be otherwise,
and I grow more fatherless each day.
For years now I have come to conclusions
without my fatherís help, discovering
on my own what I know, what I donít know,
and seeing how one cancels the other.
I've become a scholar of cancellations.
Here, I stand among my fatherís roses
and see that what punctures outnumbers what
consoles, the cruel and the tender never
make peace, though one climbs, though one descends
petal by petal to the hidden ground
no one owns. I see that which is taken
away by violence or persuasion.
The rose announces on earth the kingdom
of gravity. A bird cancels it.
My eyelids cancel the bird. Anything
might cancel my eyes: distance, time, war.
My father said, Never take your both eyes
off of the world, before he rocked me.
All night we waited for the knock
that would have signalled, All clear, come now;
it would have meant escape; it never came.
I didnít make the world I leave you with,
he said, and then, being poor, he left me
only this world, in which there is always
a family waiting in terror
before theyíre rended, this world wherein a man
might arise, go down, and walk along a path
and pause and bow to roses, roses
his father raised, and admire them, for one moment
unable, thank God, to see in each and
every flower the world cancelling itself.
|Li-Young Lee, "Arise, Go Down" from The City In Which I Love You. Copyright © 1990 by Li-Young Lee. Used with the permission of The Permissions Company, Inc., on behalf of BOA Editions, Ltd., a ahref="http://www.boaeditions.org" target=_blank>boaeditions.org.|