Melissa Morphew

Melissa Morphew Poems

Two little girls,
incandescent in white pinafores,

hold Japanese lanterns against a backdrop
...

Like something Biblical, though he is short
and bald and repairs watches in the back room
of Starshine Jewelers—at least he knows how often
time can be askew, broken, stopped dead—
...

... the old man told the young girl, how he
wrote his soon-to-be wife letters every day
for a hundred days;
he wrote them with a special ink
...

... at midday, she crawled beneath the house
to escape the cloud-blue sky, replace it with
dapple-dusted sun, a grayness and a light,
a quiet of shadows,
...

again, again, smearing themselves with pollen,
false mating which ends in exhaustion; the gardener
shows her the labellum, swollen like a bitten lip,
a bee’s abdomen, coquettish brown-bee-down,
...

... silvered-fish thoughts, blue-shimmered, lithe,
too mercurial to voice, this grief, nimble
blue- shimmer; the sky can take your breath
...

Flowerbeds, wild
with dusty miller, suffer the sea-change of dusk,
lightning bugs swim a reef of rosebushes. Beneath live oaks
reeded with Spanish moss, her daughters play, skinned-knee
...

I’m looking for the perfect
love, a raspberry briar
siphoned to the surface of a toe
with bacon fat, the relief,
...

She swims in the dust light
of an afternoon window—
this taxidermy marvel
of female orangutan and fin,
...

The morning waited—a sparrow in its egg, still and gray—
too early even for the work of dreams.
But something stirred, a twitch of muscle under skin,
as if they knew what was coming—broken glass, shattered sleep,
...

11.

These gorgeous women weigh 300 lbs.
Inhabit the canvasses of Fernando Botero where they lounge
naked upon cantaloupe-colored sheets, a celebration
of caramel-ivory plentitude.
...

The Best Poem Of Melissa Morphew

Singer-Sargent's 'Carnation, Lily, Lily, Rose'

Two little girls,
incandescent in white pinafores,

hold Japanese lanterns against a backdrop
of tiger lilies, muted by late May evening,

observed but not observing,
and behind them, hidden by thick green stems,

somewhere outside the painting, a party
goes on, where little girls do not belong,

where their mother in gardenia-pink silk
waltzes with their father—

if you look closely you hear her laughter,
the giddy murmur of guests feted

on chocolate-dipped apricots and the helium
headiness of champagne—and for just a moment

as her husband’s fingers press the small of her back,
the music rising like mist, caught

in the outermost limbs of the trees,
she feels seventeen and virgin, waiting

inside this potpourri of pleasure and dread
for her body to be stained with his kisses,

to know the touch of this man, this stranger,
until he wears her scent like a bruise, a musk

more potent than any flower, for a brief moment
amidst the twirling of pastel dresses—women

perfumed, powdered to the translucent smoothness
of petit-fours, sweetmeats to be devoured later

in tall mahogany beds—just for that moment
in the middle of those twinkling lights and motion

she is perfectly still at the center of her body,
a copper-bright stasis which radiates

along her vertebra, the feather-tickle of lust,
more animal than love, more urgent,

and for that moment she is no one’s mother,
and the two little girls unaware,

must wait forever in their corner of garden,
Edwardian angels dappled in light.

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