I watch his chest,
make sure he’s dead.
It’s hard
to breathe.
I don’t know why
because I can’t
say I love the bastard—
despise
his character
admire
his mind—
yet here
in this closed-off room
foetid air
undertone of bleach
I fight
to breathe.
Move closer—stand
over his body
look down
at his now frail chest
buttoned in pale
cotton.
Close my eyes—
concentrate
on the darkness there.
Only in that emptiness
does my body
start itself again—
a heave, inrush of air
stale and still—
it occurs to me—
I’m an orphan!
I’m an orphan!
Leave his body behind.
Leave the house.
I chant for hours.
I’m an orphan!
Smile.
Leave the city, the country.
I feel so unutterably free.
And yet, decades later,
here I am
with him
in this poem—
a tiny sprout
of love still lurks,
green-tipped and fertile—
but I think
it’s for me.
Bio-Fragment: All good days for Carol Shillibeer start with feeding the crows. This will be followed by drinking coffee and reading a poem. The cost for this freedom was steep, and worth every scar and blister.