Christopher Shipman
Occasional Poem
Atmospheric. I hope that’s the word for it—your 59th
birthday morning. An aerologist’s dream
careening through clouds. Your corner of the world wearing
dawn like an old coat lifted from a trunk. At the
edge of the lawn, I see your breath balloon, hear you ask the dogs to
finish their business. I mean, you’re in your slippers and
gown and, really, it’s chilly for April. So come on and do your thing,
hurry it up! But just above the amorphous clouds, God’s
invitation to live in mystery, the moments
jangling inside you a potential for sentiment. Like years, like
keys left in a drawer in another life, like Wordsworth’s
lost childhood. So, you stay put—lean into it.
Memory does its little backward dance into myth. Why bother saying
nostalgia is for suckers if it’s often what
opposes a certain dark slithering, if it’s not what
promises to save us. Isn’t that its job? Take your love for Elvis,
questions about wedding rings passed down to me,
rivers of Michigan, Tennessee, Arkansas: a long song of you
syncopated as time itself. But you’re taking notes—prep for the hard
test at the end. I see it now—the million
ulterior meanings inside each moment; the majesty of belief.
Voraciously you step further from the quiet house.
Without wishing for a response, you ask that God may light the best
exit when leaving your home or any. The dogs follow you.
Yes, they pant, time to circle around again.
Zero chance the clouds will not part like an old book.
Occasional Poem
When we were gathering our prayer stick materials
for your birthday celebration, having listened
on the way to your grandparents’ house in Carbondale
to a podcast on the rich cultural history
of summer solstice traditions, I imagined you
(it was easy) as some timeless wildling—sylvan nymph
on a pilgrimage to the unlikely mecca
of the backyard stump we chose as our altar
to teach us how to dance with the mystery of existence.
But the truth is, it was still a good two hours
until you were born nine years before.
Your mother said you had elf ears; the doc said,
with cautious severity, that you had
twelve toes; an extra finger. The truth is,
you were a baby human. You didn’t exist then you did.
I won’t pretend to know what that means
exactly, and I won’t attempt to explain why now
I remember that you and Jean Paul Sartre
share a birthday. When I read this to you today
you will carry out of it what you can.
You’ll remember the day: balloons; presents; the cake.
But years from now, at some unknown point
down the jeweled chain that connects every quivering
event, maybe you’ll stumble into this poem
as if into a room in a mansion of rooms.
In one dark corner or another you might find
a question wrapped in colors as bright
as the sun. Holding the question by its feathery edges
maybe you’ll see yourself like I see you
now, in my imagination, standing where we gathered
at dusk. There you are smiling down
at the flowers. I’m with you on one side. Your mother
on the other. We’re holding hands. Our arms
stretched in a circle. Our mouths are full of prayers.
Christopher Shipman (he/him) lives on Eno, Sappony, & Shakori land in Greensboro, NC, where he teaches literature and creative writing at New Garden Friends School and plays drums in The Goodbye Horses. He is the author or co-author of six books and four chapbooks. Recent work appears or is forthcoming in Denver Quarterly, Fence, Iron Horse Literary Review, New Orleans Review, Pedestal Magazine, Poetry, Rattle, & elsewhere. His experimental play Metaphysique D’ Ephemera has been staged at four universities. In collaboration with Vincent Cellucci, Getting Away with Everything (Unlikely Books, 2021) is his most recent collection. More at www.cshipmanwriting.com.