Alan Shapiro

Gravity is odorless as God, and like God is everywhere, invisible and weightless, inside and between what in its absence could have no inside or between, no mass or form to get free or give in to it with.

In a vacuum there is no falling, or if there is, because everything big and small is falling at the same speed, at the same time, you can't tell falling from floating.

In hospice, my father cried like a baby in a wet crib, eyes shut, inconsolable, because I couldn't be his mother, or, if I could, could only be the sleep-deprived postpartum mother who can't lift her massive body from the quicksand of exhaustion, too sunk in heaviness to do anything about what by then she only wanted to be rid of, whispering shhh, shhh, shhh to his runaway accelerating O O Os as if to slow them to a canter, a trot, a standstill,

and when his heart stopped and the busily communicating cells inside the hand that held mine forgot what they were saying, or that they were even cells, or that the hand had ever been a hand, unballing its viselike fist from around my fingers, gravity

was all that held body to bed, bed to hospice, hospice to earth.

Its micro-grip tightened on every subatomic bit of every particle there was, on everything I had pretended right up to then it wasn't pulling down.

When I stood up my father was the force I stood up against. Invisible and weightless as the piss stink rising from the bed, which like a baby he had wet, the inside of his thighs were rash red, his grizzled ball sack even redder between the scorched white pubic hairs.

Only once the odor had spread everywhere and covered everything could you not smell it. Not smelling it was grace, which is the opposite of gravity, from which there's no escape.

from the book PROCEED TO CHECK OUT / The University of Chicago Press
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Gravity and Grace is one of several poems in "Proceed to Check Out" written in a kind of prose-like paragraph, not in lines. For me, the prose demands that I put more pressure on the individual sentences to make up for the absence of a line, so that the movement within and between the sentences vocalizes, so to speak, the speaker's emotional devastation, his inability to relieve his father's suffering or turn away from it. 

 Alan Shapiro on "Gravity and Grace"
Cover of Robert Lowell's "Memoirs"
"Robert Lowell's 'Memoirs': Mental Illness, Creative Friends and a Takedown of Dad"

"Poetry saved Lowell's personality from disintegration. His appreciations of other writers were mostly composed upon their deaths; he called them 'undertaker's pieces.' These are hit-or-miss. He knew Robert Frost well enough, during Frost's barnstorming years, to catch his mocking remark, Hell is 'a half-filled auditorium.' He's insightful, too, about the poems, and about how Frost's '15 years or so of farming were as valuable to him as Melville's whaling or Faulkner's Mississippi.'"

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What Sparks Poetry:
Elisa Díaz Castelo on Dolores Dorantes' Copy


"These fragmented definitions, along with other phrases, iterate over and over in her poems. Are, indeed, copied. In its use of permutation, these poems seem to be written in the tradition of the pantoum or the villanelle. The obsessive repetition distinctive to those forms haunts Dorantes' work, but also the same mysterious and almost imperceptible progress, the piecemeal transformation of meaning."
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