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MARTYN CRUCEFIX - POETRY - SPRING 2008 FEATURE  

FEATURE
Debra Allbery
"The Third Image": Constellations of Correspondence in Emily Dickinson, Joseph Cornell, and Charles Simic, an essay on ekphrastic poetry and the notion of poetry and painting as "the sister arts."

Debra Allbery
Three ekphrastic poems: "Courbet," "No Tutor but the North," and "How to Explain a Dead Hare."

POETRY
Betty Adcock
Charles Coté
Martyn Crucefix This marks an author's first online publication
Burt Kimmelman
Eric Pankey
Michael Salcman
Nicholas Samaras This marks an author's first online publication
Jim Tilley
Gloria Vando
Eleanor Wilner

Interview
A Note on Fictional Truth, a Conversation with Ed Pavlić, by Andrew John McFadyen-Ketchum.

Book Review
"A Change of Maps" by Carolyne Wright—Book Review, by David Rigsbee.

Martyn Crucefix

This marks an author's first online publication Martyn Crucefixís most recent collection is An English Nazareth (Enitharmon, 2004). His new translation of Rainer Maria Rilkeís Duino Elegies (Enitharmon 2006) was shortlisted for the 2007 Popescu Prize for European Poetry Translation.


While There Is War    

—after Table and Chair by Peter Coker


This must be the filthy sink.
A beige-brown door leads
off to a brown-beige place.
Here a dirt-grey floor promises
at first glance only dull support.
A table and chair of wood:
something like deal and words
such as scrubbed and plain
will prove quite good enough.

Yet the boy is a bright one.
You have to look in his eye.
At the table's grain-marked end,
muscular, whole cooking-apples,
a soup bowl, a glass bottle
shows blinding white of milk.
A fork lies at the ready—
yet there is nothing to spear.
A colander set to do service.

Those few shell-like objects
scattered under the boy's gaze
might be oysters. Or perhaps nuts.
A word like beechmast
would report them well enough.
And the splash of red that seizes
the eye of the on-looker,
can only be considered last.
It's a flayed death's head.

Laid out on old newspapers,
it looks like ketchup and chips.
It is the head of a sheep.
These items take the table-top.
But the boy does not climb to it—
does not clamber down and away.
Despite everything, the boy
seems prepared to stand there
counting.

 

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