This is the one that will outlive us all
With her head in the same duster and her small
Mouth maybe puckering in a bit more
Each decade, but it always did gather
Shut, that way, with a drawstring. Only her
Glasses, I think, may thicken some; that odor
Of naptha and laundry, that look and color
Of saved pumpkin shrunk in the dark, were there
Twenty-five years ago when she appeared
Over the railing of Ruth’s cradle and
Made the baby scream. Nothing has escaped
That stub and orange hand since it was little
And could snatch rats out of the cellar wall
To soak in gas and light them with a match
As she let go, laughing for fear the fields catch.
Up the river, when they were children. It still
Possesses three pennies of the first nickel
Husband Spence ever made, and cleans and keeps
Things covered but never uses, while the world
Wastes, plots and is outwitted, rots and never
Knows who might be watching even the preachers
On their pedestals. Nor nothing ever got faded
By the daylight in a house of hers. Only
The eye of God ever got past the drawn
Blinds and belted drapes at her locked windows
Aisha Sabatini Sloan
Episode 22: “Form and Formlessness”
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for Newsweek, and a glamorous woman who befriends them. In an excerpt from The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her “shape or identity or essence.” Next, Allan Gurganus’s reading of his story “It Had Wings,” about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with “Dear Someone,” a poem by Deborah Landau.
Rachel Cusk photo courtesy the author.
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