https://offcourse.org
ISSN 1556-4975

Published by Ricardo and Isabel Nirenberg since 1998
In the fading light, a crane
lifts a piano toward the seventh floor,
as children pause to watch. Strains
of music from the next-door window fill
the space as the crane plays out its cables,
struggles to place the piano
before the coming night. The children
return to their play. The moon, pale
as winter turned to stone,
remains alone and far away.

My hair, that won’t hold a curl when curls
are what all the girls want, falls in my face.
I didn’t even know
there were Hawaiian guitars
before my mother gave me this one.
I didn’t ask for it.
Nobody I know plays one.
Where is that buzz coming from?
The guitar whines into the amplifier when I push
the heavy brass slide toward its throat.
I can’t
find the frets, angle the slide,
hold down the right strings,
keep the guitar from slithering off my lap.
I can hear my mother humming
in the other room, aloha oe…
If I touch the amp and the guitar
at the same time, I get an electric shock.
I have not
told my mother.

In the shadow of the mountain
birds come from nowhere,
steal strands of my hair. Lizards
dart across my eyelids
as I sleep. The weight of the sun
is canted to the edge
of my days. The past persists
like a phantom limb.
Everything goes on
for as long as it takes
Ruth Bavetta’s poems have appeared in North American Review, Nimrod, Rattle, Slant, Atlanta Review, Tar River Poetry and many other journals and anthologies. Her published books are Fugitive Pigments, What’s Left Over, Embers on the Stairs, Selected Poems, and Flour, Water, Salt. She likes the light on November afternoons, the music of Stravinsky, the smell of the ocean. She hates pretense, prejudice, and sauerkraut.