Driven Nail Cure

Emma Aylor

If you've seen a prayer spoken, you know something    of what I mean. The purpose of the prayer list,        read by the priest aloud, prior to a silence, is to hold        names' wetted wafers in the mouth. A person    creaks like small gravel—you told me that.You told me trees make speech sounds, growing.You're not one person, but it's clear you're far    from the plot I've made. Hard ground. Every cold         recalls first cold, as in my Virginia's first winter, a wind        half-silvered, sharp as a mirror we're given back through .    but through which we can't see. Same as now. In Appalachiasometimes a German custom kept: sink a nail in a tree at the height of a child, to cure her. This presumes the child    has time to grow past what's driven. Presumes incantation        and walking eastward. Certain conditions must be met        that other events may follow. The list keeps growing    in quiet. The mirror might show a fix and distanceyou didn't intend. Land slips. Its red color.You take the child from home to tree before day; neither of you    may speak a word. And if you've seen a handmade nail,        you can't help but draw the modern ones        backward, the way art of dark caves portends our paintings:    an abiding absorption in effigies, marks, and askingthat something happen, and in the way we want.

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Emma Aylor’s Close Red Water is the 2022 winner of the Barrow Street Poetry Book Prize chosen by Tina Chang. Aylor grew up in Bedford County, Virginia, next to the Blue Ridge Mountains. Her poems have appeared in New England ReviewAGNIColorado ReviewPoetry Daily, the Yale Review Online, and elsewhere, and she received Shenandoah’s Graybeal-Gowen Prize for Virginia Poets. She holds an MFA from the University of Washington and is currently a PhD candidate at Texas Tech University.

Kingston , Rhode Island

An intense and haunting debut, Emma Aylor’s Close Red Water is an otherworldly calling, rich with detail, aching with a past that makes its way home to a field, a house, a room, daring to edge ever closer to the present. These poems are deftly crafted, drawing on the intimacies of landscape and nature, not as backdrop, but as characters—crows, ravens, honeycombs, salt-bleached and -broken trees—who interact with close kin, both here and departed. This is an astonishing collection where the ghosts of memory and forgetfulness live most brightly and alive here.
—Tina Chang

It’s fitting that the first phrase in the first poem of this superb first book is “The place I know…” Close Red Water is so authentically and so movingly focused on a single and loved locale that even the occasional poem that begins elsewhere almost always finds its way back to Virginia. And yet, there is always in this collection the sad recognition that one cannot return, not really. Aylor’s poems, to their great credit, are attuned to what can’t be fathomed without sustained and unwavering attention. What a rarity—and what a delight—in our fractured and unfocused age.
—Davis McCombs

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