Somewhere It’s Still Summer
Here's where they stopped to rest, presumably, thiseasy-enough-to-miss depression in the low-cut grass. I liketo think they had a chance to sleep a bit, before everything else, all the rest that followed, that they neither deserved nor didn't, the way I see it. I prefer a clean view— always have—unencumbered by moral valence; if given paper and told to draw morality, I'd draw a cloud of meadowlarks when all at once, as if on some cue long ago agreed upon,they disassemble. If most people would drawa different picture—or say it can't be drawn, morality, being abstract, as if that meant shapeless (define shape)— that doesn't make me wrong or miles ahead of everyone, it means I'm not someone else, a fact in which I take no little pride, though I try to do so humbly, which is to say, in private, I keep my best to myself; my worst also. I think the truthlies elsewhere. As with sex, or the weather, or betrayal,would you rather be surprised, disturbed, bewitched, or merely entertained, is maybe one way of putting it. Another: they were men who faltered in front of danger the way most men do, who haven't had to live with it. The kind of men who, having ridden bareback for the first time, think they know what it feels like, to be a centaur— the horse's body, the man's steep chest, all hybridity and power, two powers especially, lust and intellect, a combination that has mostly worked, though we all make mistakes. Right? We all do? I know a centaur when I see one. These were men, riding horses. Absolutely nothing mythological about them.
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- September 24, 2024
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“Somewhere It’s Still Summer” from Scattered Snows, to the North by Carl Phillips.
Published by Farrar, Straus and Giroux in August, 2024.
Copyright © 2024 by Carl Phillips.
All rights reserved.
Reproduced by Poetry Daily with permission.
New York, New York
Macmillan
"These poems strike poignant and enduring notes, suffused in 'the split fruit of late fall,' which 'wears best when worn quietly.' This is another poised addition to Phillips’s dazzling body of work." —Publishers Weekly (starred review)
"Autumn and winter; aging and death; erotic desire, and our regret if it fades ... [Phillips] writes about those simplest, oldest things with a syntax so unpredictable, so elaborate, that they can seem almost new." — Stephanie Burt, The New York Times Book Review
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