An Underworld
I stopped my breath for as long as I could
in the grit beneath my little brother’s bed,
afraid of my father. Even the dust would
betray me if it dared, and what then?
Pupils so flared a kid could hide in there.
My mother loved but wouldn’t save us
or didn’t believe there was a passage out.
My father’s laughter scattered hail.
His step cracked rifts in the ground.
So, shadow, what should I have done?
Words make no shelter, lone or shared.
Left him, left them, the darkness says.
Map Projections
When my father died,
I said to my sister,
I’m sorry I let
him do that to you.
My sister said, No.
I wasn’t even on his radar.
He didn’t think I
was worth it.
He aimed for you.
…
A peninsula of cabinets
divided kitchen from dining room.
My father sat at one end of the table.
In my memory’s seating plan,
I claimed the furthest
chair, stranding my sister
in range of his hands.
I don’t know why we called
the kitchen peninsula an island.
My mother blockaded herself
behind it with my brother’s highchair,
as if she could save only one.
…
Meanwhile my sister, marooned.
It’s as vivid to me as a history book.
My father slapped her head
during the hostage crisis,
after his double martini, and
under Reagan, dry-drunk
on the Atkins plan,
greasy from chewing five
unsalted burgers naked
and fuming on the plate.
I can travel back
through corridors of shag
and chart it all: the mock-
Tudor Styrofoam beams wishing
they could support the ceiling,
the stink of fried meat. I remember
the sting of how he flicked
her skull, middle finger snapping
past a thumb that pretended
to want to restrain it.
It hurt more than you’d think.
…
Wait, whose skull? Disorienting.
The truth is a shoreline. It moves.
I wonder which of us he loved enough
to give latitude to or fix in sight.
…
I always wanted to live
on an archipelago.
…
My pulse still bangs at the dinner hour.
The word island makes me think of my mother,
a compass rose who wheeled off the edge of the map.
From the Author: I don’t remember much about writing “An Underworld,” except that most of it came in a rush and the results were hard to revise. Its smallness, though, inspired me to write a more expansive related poem about episodes of violence in my childhood; an asymmetrical pairing feels right for poems about power asymmetries. “Map Projections” was originally a long block of a poem, and someone told me to try more white space. I was irked, at first—I’m usually irked at first when someone tells me what to do—then I thought oh, islands! I turned it into an archipelago of stanzas, and it finally worked.
Lesley Wheeler is the author of the essay collection Poetry’s Possible Worlds and Poetry Editor of Shenandoah. Her previous books include The State She’s In, her fifth poetry collection, and Unbecoming, her first novel. Her work has received support from the Fulbright Foundation, Bread Loaf, Sewanee Writers Workshop, and the National Endowment for the Humanities. Wheeler’s poems and essays appear in Kenyon Review Online, Poetry, American Poetry Review, Massachusetts Review, and other journals.
