Movements
A man at the end of the room palms a neck
dipped under a curve of light. Each visitor is coupled
elbow to elbow, lining sepia-printed walls like stone
guards. Waiting for the escape of death.
Down the aisle, on elevated ground, a string
tremors strapped to a chair, released
on a condition: divulgence of the secret.
We must stay huddled to catch it by the collar
before it can slip around the corner. Secure the outside latch,
leave the sound tied up in a Walmart bag, heaving.
At the end of the dark hall, a woman my age
weaves around the bar lined with glass bottles
imbued with amber light. Above her,
she carries temporary cures to the age old
temporary problem to set them down
for jesting beer bellied fathers. She can’t leave
til the curiosity is exhausted.
I stand up to use the bathroom at Café Alto,
where the fixed faces await the second coming
of Bird or Duke or whomever they came to exhume.
At the top of the creaking wooden stringer is a dark hallway
with a glint of gold at my feet. In the right stall, I hear
the saxophone solo downstairs and a faint breathing.
As I wash my hands, I hear the man again,
still clenched, awaiting the trail of my footsteps.
I close the door before me and hold
my applause til each confined thunk is flushed.
Little Deaths
Some nights I stumble upon you from outside the bar.
I find you with your collar up, back to the window
by the door looking toward the bassist’s sleeve.
For fear of you, I enter
a room of synchronized breathing.
Our heads too close to a stranger's chest
for our bodies to know the difference.
Ajula Van Ness-Otunnu is a Rhode Islander living in New York and will always return to the sea. They enjoy trainspotting, communing with trees, musty books, and collecting dead & forgotten things.