You See Me

Text

One of the first stops

           on the tour is the royal family’s

                      glass collection—crystal birdcages.


clocks with translucent mechanisms,

           chimes, tureens, and snuff boxes—

                      so clear it’s like looking at nothing


but heat. No one in my family

           wants my dead grandmother’s glass collection,

                      which is just a calamity of gravy boats


and ramekins she got from a catalog

           a century ago and kept in the attic

                      until she found her husband hanging


from a bowed rafter. Since then,

           every piece has somehow survived

                      while all the husbands, uncles, and brothers


have died young and starving,

           lost in the belly of a forest no one can see.

                      When your body warns you not to overstay


your welcome, listen for the harmony,

           not the melody, and that’s all there is

                      to divining. Put the song back


together splendidly to compensate

           for the shattered prayer it once was.

                      Both Boulanger sisters wrote unfinished operas


about princesses poised to inherit the whole ruined place.

           The kings and queens went insane

                      with their own unlikelihood.


I thought I was seeing the semi-circular wing

           of a moth orchid on the ground,

                      but when I touched it—gummy


and a little hairy—I realized

           it was a disposable electrode.

                      There’s something to be said here


about the visible world, about devices

           that look like flowers that look like insects

                      that look into the abdomens of sick people,


but how boring to open this up

           and let out an epiphany.

                      All the hospital beds are pointed feet-first


at televisions playing the same story.

           Tell me about your family history, they ask.

                      All I can hear is my mother’s voice,


soft as the ringback you hear while waiting

           for someone to pick up the phone,

                      that gentle tremolo of major thirds:


B♭, D / B♭, D / B♭, D


That man they found hanging in the attic, she says,

           wasn’t my father. He was just some guy.

                      He could’ve been anyone.


The bloodline isn’t

           a strung bow; it doesn’t tense up

                      when you pull it toward you.


It’s a sewing circle without thread:

           punctured, punctured, unfixed.

                      The body isn’t so precious


of a metal as you might think.

           But be careful. Some of its edges are sharp

                      where the old soul calved away.



Patrick Milian (he/him)