I-70 Review
Writing and Art from the Middle and Beyond
Elizabeth Schultz
Having retired from the University of Kansas in 2001, Elizabeth Schultz now balances scholarship on Herman Melville and on the environment with writing essays and poems about the people and places she loves. She has published two critical works on Melville, two collections of poetry, one book of short stories, and published her scholarship and poetry widely. She has also co-organized an international conference on ecocriticism in Beijing and regularly participates in international ecocriticism conferences.
MIRROR, MIRROR
After living with animals
in a volcano's crater, down and dirty,
I returned to a city, raw with traffic
and the blare of neon. Before
a mirror's glare, the stranger there,
newly bathed and dressed, gave
a tentative wave of recognition.
Years later, after months of sailing,
salt-encrusted and rusty, I re-entered
the harbor and a hotel. Before
another mirror, stripped down,
I disowned these breasts, bleached white,
and this long, smooth scar, lavender
as a shell's lip, although the stranger
had become my familiar.
THE THAW
The snow kept falling
in the rooms of her house.
Glaciers expanded.
She thrashed and flailed
against whiteness and
she stopped in her tracks.
She closed the door,
turned up the heat.
She gave in to backache,
let her hip dislocate,
let herself capsize.
The mainsheet snapped,
and sails enveloped her,
as the boat went over.
Cocooned in flannel,
she barely breathed.
Her feet kicked without
touching bottom, and
indulging in slippage,
she forgot lists and tasks,
and lost all taste.
Warmth returned, room
by room, and she righted
herself. Yearning for oranges,
she folded open the garage
and started the car.
RECREATION
Listening to a famous poet read
death-defying non-sequiturs,
I am watching a video in which
a woman in black paints the stones
in her landscape white, slathering
them with a thick brush, and then
she is painting a man's back.
I watch her re-create her scene
repeatedly, the video replaying,
as the poet continues reading,
and I am remembering how
the garage door slammed down
around me, and they were gone,
leaving me to fume and breath
rancid gasoline and betrayal.
Light seeped through one window,
its pane shadowed with must,
and I paced, past shelves of rusty
garden tools, bags of fertilizer,
around a coal bin, seeking out.
I smashed the glass and emerged
a cutup, blood following me home,
an old reel, it runs off and on
during poetry readings and avant-
garde videos. I cannot chase it down.
LEARNING TO LOVE THE NIGHT
She disconnects the Security,
removes bolts from the doors,
cracks the windows, leaving
plenty of room for night to enter.
Wide-eyed, she watches a train
tunnel through the room and vanish
into the closet, whistle ricocheting
against the walls. Later lightning
flashing through the blinds, slamming
shadows across the ceiling shakes
her awake. Night rattles everything
until it sinks into itself, goes still,
deepening, darkening, its shadows
lapping against her. Unseen noises
pause before slipping over the sill.
They whisper and materialize
as embossing on the quilt, massage
their whiskers, before departing
for further marauding. She puts
her ear to dreams, and trusting night,
she lets dark strangers enter and
stretch out alongside her to rest
before moving solemnly on.
THE PINK BEDROOM
A bedroom of her own
she closed the door
climbing roses on the wall paper
she clicked herself into the closet
the Story Book dolls on a shelf
she stomped the most precious doll
snipped off her perfect ringlets
a spindle bed painted pink
she put band aids on her wounds
and dreamed of butterflies
throbbing in a milk bottle
ceramic fawns and rabbits
braced a music box in a what-not
she said the day back to herself
watching the antique watch
with its intricate golden hands
twisting on a black ribbon
realizing the recitation took
a total day while out the window
a blooming was already forgotten
and no mirror anywhere showed
her to herself.