Horse of Seasons
Nino McQuown
On a warm day you burn brands into long boards of cedar
logged in Idaho which is that big chimney of land
that you passed through on the way to Washington, another made up place
on the way to dying
which, you know, on the way there
there were times in your life where you felt the whole mouth
of it open against you,
the whole pleasure of having a body,
which there are many ways to know, and one of them
is lying naked in a hot spring with your friends and acquaintances, new birds
you've never even heard before some of them, none of them,
actually not even these particular blue jays
cackling in the high fine needled trees.
So you can say you've been to Idaho!
Here on the east coast these cedars
are shaved down to angles. You affix them
to each other where they'll stay until they rot
back to the earth they still have faces for:
holes from bugs burrowing, tesselations from brief lives
growing up up up out on the farm. Don’t know but I imagine it was quiet there until the end.
Here it's quiet too, for DC, who’d believe it? Deer
in their long coats don't mind you, and the cars
are far enough away to sound like one long wave meeting the shore
forever and never returning. You've heard all this before,
these crows and blackbirds, and an eagle who lives up there in the brush.
Not the buck screaming run to its herd, from the grasses, but all the rest of it:
the wind in the small trees, dead vines soughing on the chain link, car horns,
your own hairs bowed against your collar like a million chewing mandibles, what's new? The world
closes its mouth around you, sucks you like a stone.
Nino McQuown is a transdisciplinary artist from Baltimore, Maryland, where they put on puppet shows, teach gardening, and make a podcast called Queers at the End of the World. They’ve published essays with outlets such as Edge Effects, Epiphany, Kenyon Review Online, and Electric Literature, among others, and poems and visual art with Sand, Barrelhouse, Cimarron Review, and Hotel Amerika.