“The Death of Santa Claus” by Charles Webb

He’s had the chest pains for weeks,
but doctors don’t make house
calls to the North Pole,

he’s let his Blue Cross lapse,
blood tests make him faint,
hospital gown always flap

open, waiting rooms upset
his stomach, and it’s only
indigestion anyway, he thinks,

until, feeding the reindeer,
he feels as if a monster fist
has grabbed his heart and won’t

stop squeezing. He can’t
breathe, and the beautiful white
world he loves goes black,

and he drops on his jelly belly
in the snow and Mrs. Claus
tears out of the toy factory

wailing, and the elves wring
their little hands, and Rudolph’s
nose blinks like a sad ambulance

light, and in a tract house
in Houston, Texas, I’m 8,
telling my mom that stupid

kids at school say Santa’s a big
fake, and she sits with me
on our purple-flowered couch,

and takes my hand, tears
in her throat, the terrible
news rising in her eyes.

 

from Reading The Water, 2001
Northeastern University Press

Copyright 2001 by Charles Webb

“Ex” by Andrea Hollander

Long after I married you, I found myself
in his city and heard him call my name.
Each of us amazed, we headed to the café
we used to haunt in our days together.
We sat by a window across the paneled room
from the table that had witnessed hours
of our clipped voices and sharp silences.
Instead of coffee, my old habit in those days,
I ordered hot chocolate, your drink,
dark and dense the way you take it,
without the swirl of frothy cream I like.
He told me of his troubled marriage, his two
difficult daughters, their spiteful mother, how
she’d tricked him and turned into someone
he didn’t really know. I listened and listened,
glad all over again to be rid of him, and sipped
the thick, brown sweetness slowly as I could,
licking my lips, making it last.

Copyright © 2011 by Andrea Hollander, Landscape with Female Figure: new and selected poems, 1982-2012 (Autumn House Press, 2013).

“Staking a Claim” by Erika Meitner

It seems a certain fear underlies everything.
If I were to tell you something profound
it would be useless, as every single thing I know
is not timeless. I am particularly risk-averse.
I choose someone else over me every time,
as I’m sure they’ll finish the task at hand,
which is to say that whatever is in front of us
will get done if I’m not in charge of it.
There is a limit to the number of times
I can practice every single kind of mortification
(of the flesh?). I can turn toward you and say yes,

it was you in the poem. But when we met,
you were actually wearing a shirt, and the poem
wasn’t about you or your indecipherable tattoo.
The poem is always about me, but that one time
I was in love with the memory of my twenties
so I was, for a moment, in love with you
because you remind me of an approaching
subway brushing hair off my face with
its hot breath. Darkness. And then light,
the exact goldness of dawn fingering
that brick wall out my bedroom window
on Smith Street mornings when I’d wake
next to godknowswho but always someone
who wasn’t a mistake, because what kind
of mistakes are that twitchy and joyful
even if they’re woven with a particular
thread of regret: the guy who used
my toothbrush without asking,
I walked to the end of a pier with him,
would have walked off anywhere with him
until one day we both landed in California
when I was still young, and going West
meant taking a laptop and some clothes
in a hatchback and learning about produce.
I can turn toward you, whoever you are,
and say you are my lover simply because
I say you are, and that is, I realize,
a tautology, but this is my poem. I claim
nothing other than what I write, and even that,
I’d leave by the wayside, since the only thing
to pack would be the candlesticks, and
even those are burned through, thoroughly
replaceable. Who am I kidding? I don’t
own anything worth packing into anything.
We are cardboard boxes, you and I, stacked
nowhere near each other and humming
different tunes. It is too late to be writing this.
I am writing this to tell you something less
than neutral, which is to say I’m sorry.
It was never you. It was always you:
your unutterable name, this growl in my throat.


Erika Meitner, “Staking a Claim” from Copia. Copyright © 2014 by Erika Meitner.

“Another Life” by Deborah Cummins

My mother, 18, the summer before she married,
lounges belly-down in the sun,
books and grass all around, her head on her hands
propped at a jaunty angle.
She smiles in a way I’ve never seen
at something beyond the camera.
This photograph I come back to again and again
invites me to re-write her life.
I keep resisting, certain
I’d have no part in it, her first born
though not exactly. A boy first,
two months premature, my brother
who lived three days, was buried in a coffin
my father carried. “The size of a shoe box,”
he said, the one time he spoke of it.
And my mother, too, offered only once
that she was pregnant and so they married.

Drawn to this saw-edged snapshot,
I’m almost convinced to put her in art school.
Single, she’d have a job in the city,
wouldn’t marry. There’d be no children
if that would make her this happy.
But I’m not that unselfish, or stupid.
And what then, too, of my beloved sister,
her son I adore?

So let me just move her honeymoon
from the Wisconsin Dells to the Caribbean.
Let the occasional vacation in a Saugatuck cabin
be exactly what she wanted. The house
she so loved she won’t have to sell.
Winters, there’s enough money to pay the bills.
There are no cigarettes, no stroke, no paralysis.
Her right hand lifts a spoon from a bowl
as easily as if it were a sable-hair brush
to an empty canvas.
And the grass that summer day
on the cusp of another life
is thick, newly mown, fragrant.

“Another Life” by Deborah Cummins from Counting the Waves. © Word Press, 2006.

“For Desire” by Kim Addonizio

Give me the strongest cheese, the one that stinks best;
and I want the good wine, the swirl in crystal
surrendering the bruised scent of blackberries,
or cherries, the rich spurt in the back
of the throat, the holding it there before swallowing.
Give me the lover who yanks open the door
of his house and presses me to the wall
in the dim hallway, and keeps me there until I’m drenched
and shaking, whose kisses arrive by the boatload
and begin their delicious diaspora
through the cities and small towns of my body.
To hell with the saints, with martyrs
of my childhood meant to instruct me
in the power of endurance and faith,
to hell with the next world and its pallid angels
swooning and sighing like Victorian girls.
I want this world. I want to walk into
the ocean and feel it trying to drag me along
like I’m nothing but a broken bit of scratched glass,
and I want to resist it. I want to go
staggering and flailing my way
through the bars and back rooms,
through the gleaming hotels and weedy
lots of abandoned sunflowers and the parks
where dogs are let off their leashes
in spite of the signs, where they sniff each
other and roll together in the grass, I want to
lie down somewhere and suffer for love until
it nearly kills me, and then I want to get up again
and put on that little black dress and wait
for you, yes you, to come over here
and get down on your knees and tell me
just how fucking good I look

“For Desire” by Kim Addonizio, Tell MeBOA Editions Ltd.