Portrait with Smeared Centuries

Michael Wasson

I begin the day like any otherday: a decade staring backin the rearview mirrorof the wrecked pickup truck: youstanding so tall you’re alreadyheadless: until I turn aroundthe cornfield blurs into the tornedges of an atlas: pull your handsout from under me to anointthis god-gifted country of yours:mottled bones singingthe anthem of a star-spangled nation:this land granted enoughtime to list its ownpossibilities: atrocitiesa blade of dusk restingon my throat, I bruise: by standingI practice the sacred: & kneelhow the body was builttoward the bottomless insidesof ghosts: the small of my backthe sacrum: they say, the fivedisciples with pocked faces,not your self-inflicted gunshotbut a single entryway: an emptinessfull of faith: rise to me as only youwould after god has leftyou with these entrance wounds& no way out: the purpling fieldthat goes on & on: recognizableas a heartbeat: a century-long orbit around a cageof stained glass: broken, yougather me in your imageof failed flesh: piecing mirrorafter mirror back together throughthe night until no one forgets: onehundred years of this landscapebehind & before uscontinues to stir—even ifthe earth under our knees,under every American sky,had been turning west-ward for centuries.

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Michael Wasson is the author of This American Ghost (YesYes Books, 2017), winner of the Vinyl 45 Chapbook Prize. A 2019 Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellow and a 2018 Native Arts and Cultures Foundation National Artist Fellow in Literature, he is nimíipuu from the Nez Perce Reservation in Idaho.

Port Townsend, Washington

“This collection draws its shape around holes and tunnels, the vulnerability of feeling overcome, the legacy of violence, and the honesty required for truly stating one’s feelings. . . . Shaped out of contemplation, mourning, and a desire for renewal, these poem carefully build as they consider their subjects. One poem instructs, ‘Carve the wind apart/ into one single/ lasting answer,’ which serves as a motif for the poet’s own lyric exploration of light, boyhood, and nimipuutímt language and storytelling. A late poem ends with ascendancy, having ‘let my last/ eye open.’ These deeply felt pages offer a bold tapestry of imagery and thought.”
Publishers Weekly

“Wasson knows that there are holes that cannot be filled by even the most fervent words of any language . . . [He] conveys viscerally and eloquently—and with seemingly infinite compassion—the intimate legacies of this genocidal empire.”
The Adroit Journal

“For all the pain of this collection, these poems are full of breath, of light. They open outward, they invite the reader in, they fill the dark corners of history with a tender gaze.”
Southeast Review

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