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N O V E M B E R 1 9 9 4 WINDOWSby Linda Bierds | |||||||||||||
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When the cow died by the green sapling, her limp udder splayed on the grass like something from the sea, we offered our words in their low calibrations -- which was our fashion -- then severed her horns with a pug-toothed blade and pounded them out to an amber transparency, two sheets that became, in their moth-wing haze, our parlor windows. They softened our guests with the gauze-light of the Scriptures, and rendered to us, on our merriest days, the sensation of gazing through the feet of a gander. In time we moved up to the status of glass -- one pane, then two -- each cupping in proof of its purity a dimple of fault, a form of distortion enhancing our image. We took the panes with us from cottage to cottage, moth-horn and glass, and wedged up the misfitted gaps with a poultice of gunny and wax. When woodsmoke darkened our bricks, we gave to the windowsills a lacquer of color -- clear blue with a lattice of yellow: a primary entrance and exit for light. And often, walking home from the river and small cheese shop, we would squint their colors to a sapling green, and remember the hull of that early body, the slap of fear we suffered there, then the little wash of recovery that is our fashion -- how we stroked to her bones a cadenced droning, and took back from her absence our amber, half-literal method of sight.
Copyright © 1994 by Linda Bierds. All rights reserved. Originally published in The Atlantic Monthly, November 1994. |
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