Breckinridge, Texas, 2010
Stella trots through the living room,
stub tail wagging, pleased
with herself for having found the baby
bird that now writhes in her mouth.
Frantic, I drop the laundry
I’ve been folding to the floor,
press thumb and fingers against her jaw,
lift her muzzle until she releases the clutch
of her canines and delivers
the nestling into my palm.
Bloodied, it gasps, desperate for breath,
one of its wings entirely gone.
I cradle the creature, whisper
Oh, I’m so sorry, baby. So, so sorry,
over and over as though my own mouth
inflicted this maiming.
I’m down on my knees again
in the middle of nowhere, a place I hate
but plant myself for marriage’s sake.
My husband takes the bird outside.
Maybe the problem is that I love
too much, can’t accept when a thing is bound
to die. I press my face to emptied hands,
wait for the gunshot.
13 thoughts on "Breckinridge, Texas, 2010"
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with wings-
like laundry
the unfolding
when they fall.
i’d like to see the word ‘stake’ maybe in the second to last…
to reinforce the idea of what a transplant needs,
set apart from nativeborn…
Not a bad idea.
Oh no. Because I seem to love pointing out my own mistakes and because I have a knack for noticing them after the 15-minute editing period ends: I can’t believe I spelled the name of the town wrong in the title! It’s Breckenridge in Texas, Breckinridge in Colorado. I lived there. There was definitely no skiing involved. Yikes.
That last stanza is such a great denouement. You build this scene so concisely!
Beautiful tender poem.
You’d really hate living in Kristi Noem’s neighborhood, I think.
😭 Poor Cricket.
I really felt that last sentence!
I really appreciate the juxtapositions here…the marriage/the bird…the waiting. And “the middle of nowhere” as a literal place and the way it must feel in all of it
So much going on in this poem! Well done, rhyming and lineation and content!
A dynamite trait I see in your work Chelsie is that sometimes you set me up for a whammo turn at the very end, early on–or you drop a couple bombs at the end. The last two stanzas would seem to be in the same subtext family (the husband / the gunshot) – but they are different left turns in the middle of this pain landscape you’ve created that amplify and isolate and invite us into your world. You have no idea how much I admire your craft. Ok.
NO! No ok! Ok… enough out of me! Wonderful!
Such a tender poem told so well. I felt all that you did!