"Siren Test" by Robyn Schiff
COMPANY EDITIONS is an independent publisher of poetry and visual art. The journal, Company, was founded in 2013 and is published three or four times per year. We will also be publishing chapbooks beginning in late 2016. Company Editions is based in Athens, GA, Iowa City, IA, and Cambridge, MA. You can contact the editors by emailing editors@companyeditions.com.
ROBYN SCHIFF
SIREN TEST
Crisis
in absence, practice howl tuning its
force, that old story dragging
a moralizing wolf
out of the matrix. Called to
the porch to picture the mouth. Every first Wednesday
of the month, if it’s clear. Why
would you stop yourself? Who are you talking to? Get
back in the house. Where are you? Pack
counts off. Where are
you? Who are you with? Pitch modulates mouth.
It alters you to make
a sound like this; your face takes
an upstream mien like the kype
of an experienced fish whose muzzle transforms
into a monkey wrench. How
wide will he open his? How I admire an animal
who hunts with its face. Unsportsmanlike wolves
plunging their grins in the salmon falls; this
is no sport and I am
no man. When a boy cries wolf
a wolf cries boy. The woods behind
my house only go back a few feet and
are lit by a commuter train.
Today is overcast but the siren churned its
test, nevertheless. It called me
to the porch with
a question. Do not ask if this is practice,
just get in the basement
and load some laundry, then
pack up the old wrapping paper
into the Rubbermaid containers I
bought to organize the gift giving
of the Magi. I give and give but won’t give
up my position. Get back in
the house, I said
to myself, and made myself useful. Sometimes
I am thankless and
sometimes I am so full of
aimless gratitude it is
a curse some call love, some rumination, when
I just sit here all day all night
counting my unaccountables. I recall my
mother counting my fingers once:
Since you have the same number on each, let's
just count one hand twice. Understand? Yes. We
proceeded to count off aloud
together each time she
touched the tip of one of my fingers with her
own index. I was six and knew
how many of every thing I had; I had a
feeling I was born with that I
descended from
a line of counting house witnesses and
already knew how to
keep a secret and a list,
yet my little hand shook in
my mother’s hand as much as it had when
she
once used her fingernails to extract
ten splinters from my palm and I withdrew it
just as fast when we came up short
upon my thumb
at only number nine as I would many
years hence from the hired
grip of a boardwalk fortune
teller when she looked at
my palm and said, A
life well lived is worth even more than longevity. What
will be—the whole damned boardwalk gone; the wood, free— will
be. I dropped my last arcade quarter
between those
slats and accidentally turned on the
starving sea. I had had
enough anyway, my mother
had said. And so I had.
Saying “had had” like that reminds me to recount
to you how it was I was
led to miscount my fingers: You’ll remember my
mother counting two tribes of Indians
on one
of my hands so won’t be surprised to learn
she tricked me by by- passing
the pinky on the second
pass. As a child I invented
an internal system I called to
with my invoice whereby I organized
my time-sensitive material according
to the future date on
which action is
needed I much later learned is called by
clerks a “tickler file.” Underhanded
phantom itch, mine
reckons ways of this world with
the next via a system of pulleys threaded
as the strategy to sacrifice
by proxy the sons of others in- to
a labyrinth zeros in- evitably in
on one's own. Don’t ask a mirror whose head
is on the coins that feed
this contraption, let’s call it
“war,” if you don’t want to know
that the ashtray of every Toyota in
Jersey was full of metal slugs
we used instead of quarters on the Parkway, but
one man, let's call him “Daddy,” had
just one slug tied
to a thread. Don’t move a finger if you’re
playing dead. Present and
unaccounted for, my purloined
letter, steal yourself, son,
I’m teaching you how to make yourself in- visible.
“I only cry in- side,”
he said clearing the threshold into cold dis- regard—the
wind—which just standing in
was his first career.
Finite accounting, please lead me to
your zero that I may
begin my encounter. Today
I’m thinking of a number.
The sensitive boy who sensed the wolf approaching.
It was coming, but it
was not the truth yet. Do not hire a prophet to
do nearsighted work. It’s not the
boy’s fault you’re not
ready for him. The moral is: trust, and
trust’s not trust until its
test. I counted on the crying
boy who swore he heard the
wash of piss against these trees we call ours. I
possess such unbearable affection
for my glistening property I fear
it will be unborne. The wolf raises
its leg and
shakes its mark over everything I have.
Now what? Cycle a second
load of wet laundry through
the infernal compact Bosch
clothes dryer, and fold, fold, fold; it’s hotter than
a Whirlpool; be careful with those
snaps! What a long day already. Waiting for the
All Clear that shares its silence with
Continue to
Take Cover to distinguish itself among
the intervals is
rather like being kept up
all night on the Murphy bed
of friends straining my ears to discern a difference
between Tick and Tock in an old test invented to determine the sensitivity
of angels, and
having it dawn
on me that though the censorious princess
kept awake by that
depressing leftover pea
passed an ancient test of rank,
she failed by far even more sensitive character
evaluation by
complaining to her host. She won’t be asked back. Earth
is cruel; accommodations scarce.
Everything keeps
changing hands. If you put your host’s clock in
the guest room drawer, take it
out before you go! Say nothing
but “Thank you!” I had said
“I had had enough” but I had not had. Put
another way: tic tic. Don’t treat
fire drills like holy fire; treat holy fire the way
you would treat your own mother. Intimately, over
a great distance you will never overcome.
Fear nothing, I
whispered to my child, but to
tell the truth: the moral is.
Here’s a confession: the child you hired to quietly
confront the coming wolf
was born into my claim. I tried to hide him, but
all he wants is to be held accountable.
I
named him Wolf so he could cry himself to
sleep. It goes without saying
I want him to out- live
you, whoever you are. If
poems aren’t for saying what goes without saying,
I don't know what they’re for. I
don’t know what I’m going to do tomorrow. In
crisis I stood in the cold American
Museum
of Natural History and
was briefly consoled by
the unnatural arts of
concealment by briefly illuminating
two hunting gray wolves by pressing
the white doorbell outside their
dark vitrine. “Who’s there?” the wolves said. A dreadful, fast
vision flashed a terrified peripheral white-tailed
deer against a blind spot on my side
of the glass. Its last footfalls,
cast in infamy in
the stride of extended suspension,
melt both the artificial snow and
my sad heart. The wolves said, “Whose side
are you on?” I don’t know. An iron support pole
enters the point at which the one
leg touching down
feels the snow before being gathered up
again below the running
wolf. Conserve the earth for
the living dead. Let it go,
hums the blue light of the soul in flight. In proper
orientation with Polaris,
the Big Fucking Dipper sifts for some thing of value. |
Robyn Schiff is the author of the poetry collections A Woman of Property (Penguin, 2016), Revolver (Kuhl House Poets, 2008), a finalist for the PEN Award, Worth (Kuhl House Poets, 2002), and the chapbook Novel Influenza (The Catenary Press, 2012). She teaches at the University of Iowa and is co-editor of Canarium Books. Her work has been represented in several anthologies, including Legitimate Dangers: American Poets of the New Century (Sarabande, 2006), and Women Poets on Mentorship: Efforts and Affections (Iowa, 2007). Her recent poems have been published in journals including in The New Yorker, Poetry, and A Public Space.