An old woman weeds a grave,
beneath a hush of ancient trees,
her brown hands so gentle with this soil.

And she thinks of all the love that’s flown:
those proud dandelions of the sun,
turned to stooping worlds of grey,

then blown to ghosts upon the wind,
so love anew might grow again,
though far away, and not for her.

And in her heart she cries for love —
and Something hears, then someone comes:
he strides the graves on tall green stilts,

his hair a swirl of shining gold
and lifts her in his furry arms
up the stairs of a graveyard house.

He sings his song in a voice like cream,
as he climbs on past the roofs and hills,
heedless of the winds that roar,

that sway the stairs beyond the stars.
Then he comes at last to a fire-lit room
and howls with love and slams the door.

The air is cooler now, the summer gone,
the old estate begins to store its shadows
and the pond is quiet among the trees.

Do curve and swoop remain
when the swifts have flown?

The arcs of cardiograph and church’s door
are in the meteor’s final flare,
yet the eye looks back across the dusk

and far beyond: the trajectory’s
still there, reaching back to the moment
the pebble’s wandering began.

The walls of the old house have vanished now,
but the rooms, which were the spaces in between,
remain, floating high above me in the evening air.

I think of those who lived their lives up there,
their griefs and fireside laughter, arguments and loves:
now a sunset in the distance and a scented breeze.

I feel their presence in the autumn woods,
the way the fallen drops are there
in the stillness of a fountain pool.

And as I wonder how they yet persist,
I feel cool fingers brush my face,
their flesh the stuff of curve and swoop.