Magpies Recognize Themselves in the Mirror
The night sounds like a murder
of magpies and we’re replacing our cabinet knobs
because we can’t change the world, but we can
change our hardware. America breaks my heart
some days, and some days it breaks itself in two.
I watched a woman have a breakdown in the mall
today and when the security guard tried to help her
what I could see was all of us
peeking from her purse as she threw it
across the floor into Forever 21. And yes,
the walls felt like another way to hold us in
and when she finally stopped crying,
I heard her say to the fluorescent lighting, Some days
the sky is too bright. And like that we were her
flock in our black coats and white sweaters,
some of us reaching our wings to her
and some of us flying away.
Love Waltz with Fireworks
Seventeen minutes ago, I was in love
with the cashier and a cinnamon pull-apart,
seven minutes before that, it was a gray-
haired man in argyle socks, a woman
dancing outside the bakery holding
a cigarette and broken umbrella. The rain,
I’ve fallen in love with it many times,
the fog, the frost—how it covers the clovers
—and by clovers I mean lovers.
And now I’m thinking how much I want to rush up
to the stranger in the plaid wool hat
and tell him how much I love his eyes,
all those fireworks, every seventeen minutes, exploding
in my head—you the baker, you the novelist,
you the reader, you the homeless man on the corner
with the strong hands—I’ve thought about you. But
in this world we’ve been taught too keep
our emotions tight, a rubberband ball we worry
if one band loosens, the others will begin shooting off
in so many directions. So we quiet.
I quiet. I eat my cinnamon bread
in the bakery watching the old man still sitting
at his table, moving his napkin as he drinks
his small cup of coffee, and I never say,
I think you’re beautiful, except in my head,
except I decide I can’t
live this way, and walk over to him and
place my hand on his shoulder, lean in close
and whisper, I love your argyle socks,
and he grabs my hand,
the way a memory holds tight in the smallest
corner. He smiles and says,
I always hope someone will notice.
What I Call Erosion
Today’s sea seems tired of stealing
acres of sand from the beach.
What I call erosion, the waves call:
I wish the wind would stop rushing us,
I wish we could just take it slow.
In the beauty of whitecaps, I sometimes
see sadness, sometimes how lucky we are
to watch the sunrise one more time.
There’s so much we’re carrying these days—
the seabirds drop another clam shell on shore,
the killdeer runs across the dunes
trying to distract everyone from its nest.
Danger, even when its not, is everywhere.
Sometimes I pretend to have a broken wing
as I look out my window. But then a cloudscape
in a world of buffleheads, of saltwater roses,
and I forget fear. It’s 7 a.m. on a Thursday
and an otter is pretending none of my concerns
matter. The otter, a sort of mad hatter,
is diving in and out of the waves, playful.
When the planet says, This is impossible,
the otter responds, Only if you believe it.
Kelli Russell Agodon’s fourth collection of poems, Dialogues with Rising Tides was published by Copper Canyon Press in 2021. She is the cofounder of Two Sylvias Press and lives in a sleepy seaside town in Washington State on traditional lands of the Chimacum, Coast Salish, S'Klallam, and Suquamish people where she is an avid paddleboarder and hiker. She serves on the poetry faculty at the Rainier Writing Workshop, a low-residency MFA program at Pacific Lutheran University. www.agodon.com / www.twosylviaspress.com
More work by Kelli Russell Agodon
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