Published Work of Miriam C. Jacobs

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Three poems – The Galway Review, March 2017

Landscape with scarred trees

A brickyard thrived here once, a factory and farms, families.
Relics from abandoned lives, a disused well, an empty cattle trough,
tacky plastic toys made in 1950s Japan with neither memory nor voice
carry the marks of experience. An image, like an object or a person,
may be made to work. A machine may recognize love.

Once a year, the City comes with trucks to plow down brush,
keep the man-holes clear, put in a new layer of cover on the trails,
tearing at trees, so many marked already by storm, ill-planned trials
at logging, poison ground water. There are survivors, burnt beautiful,
black and gray.

We walk among these mute stories at the pace and pitch of intimates,
our feet dislodging shards of broken tile. This terrain speaks:
leavings of animals, water dredging up for recycle submerged shoes,
lost tires. We speak: what grows here that may be eaten safely, epigrams,
tales of Baltimore.

One time, you discovered a rowboat. Crane-like, silver, the sky behind you,
you find with your camera a world hidden from me. I see you, as you
cannot see yourself. “Ah, Bukowski,” I remind you, a horned tree,
naked now, in autumn, the flesh of its root blushing red as a blood orange.
You laugh, but neither of us knows what to say after that.


The Human Office

Lift your chin in sunlight,
turn south, leave it behind.
At night, they say, he beats the newborn for crying.
Bound to everyone – contracted to chance –
a dark parking lot, keen blade, rough bomb
knotted beneath a bumper –
to those who know you by proximity
asleep, apartment building in flames,
or intimately, sidewalk daughters,
braids swinging under a winter sun,
car behind, swerving, bottoming over a curb,
the fine grain of their skin,
a steel wink.
You carry other people like sharks in a handbag,
risking with every choice the hard slap of betrayal.
Strapped to your hip, they crumble
like that lawn spreader, beat to bits with a mallet,
handprint singing;
duty, or love, become
the pistol he held to your head.

Jacob and Esau

Brothers meet as enemies on the field,
joined by yearning, not prayer,
neither by will; they cast their weapons
to the sands, howl dry-eyed in each other’s arms
with voices of infants, sham lachryma for parity.

Soldiers and traders, tacticians
ever respecting the sword that takes from behind,
they compete for blessings, tarry with strangers;
let love lie fallow, perhaps in twin-talk, subliminal.

Content to barter birthright for a bowl
of lentils, tomorrow’s fulfillment today,
even in the womb their mother’s torment,
what really happens between them
we cannot tell. Is it with justice they remember?

With forgiveness? Shame?
Do messengers pass among shifting piles of earth?
Maybe they square off, square it, not with one another
but with the duality in their own hearts.
Clan tenderness binds them, embracing,

hung together by the feet.


Little Grievings, Forage Magazine, March 2017

Little Grievings FORAGE MAGAZINE, January 2017

Buttons were the first things I searched for after she died.
Two dollars my mother paid me to sort and match,
thread sets together from a feathered spool,
confront the meagerness, the mind-numbing repeat,
two days of it, breakfast to bedtime.
She handed over money with the usual regret.
“Always in the moon,” she said.
“You didn’t even try.” I was a big-time dreamer
born on the wrong day.
Every year, now, I grow more ashamed.

It is like you are dead, or would be so
if only you’d – shut up. You know
it never really was what it was.
It must have taken a lot of chewing to choke that sinew down –
you were built for racing,
not talking – a boy who paused so long between speeches
I’d forget his Low Country burr
between them – I’d have to learn you all over again. I think you are

Count losses, girl –
a drawer full of buttons,
a birthday
and a boy swallowed up by the man he has become –
cloud sky over South Carolina
pierced with one hundred gray sunbeams.
There goes a state prison convoy of six white vans.
Somebody sings. Somebody cries.


Above Hukte Ajaw’s court where the air stinks
of rotting flesh and rubber, darkest night of the year,
the sky is potent with cold.
Our astronomers fix the time of sacrifice,
time for the judge’s sharp whistles, the slam
as the ball, stuffed with the brains of the dead,
ricochets against sloping stone.
Once through the ring is all there is.
You’ve practiced your whole life for this loser’s joke –
costumed, absurdly masked, belt packed
with home-spun rags. Childless, you ape pregnancy,
waddling wide-legged, teasing your tongue
in the scent of sausages and fried maize, challenging
to laughter the chit-chat of families with no son or daughter
in the center, prattle of people with nothing,
in this moment, to lose. The regent is planted
on his dais, legs firm and upright like two pillars.
His flags wilt on the arms behind him
in the only world that matters, the only world
you know. And when his minions have cut
your heart from your body, the steam of it rising
in the mythic air as they pass it from mouth to mouth,
when your skull has rolled down the chiseled steps,
the crowd cheered and scuttled to their dim hovels, turned on television,
the forest stretches its vines to cover those who loved you,
who carved your name on a rock.

The Confidence Game, CORVUS REVIEW, Winter 2016

Tiresias in his youth is an uneasy figure.
Blunt and showy, with one sun-dark eye,
mask pitched together for a sage part, he casts stones
where none can read them; he files sharp
the horns of mercy.

The Janitor summons us from a squat on the playground.
You should have heard our lot, speaking Greek.
He tenders a prophecy, and demonstrates with a clean cut.
What’s left rises to the air in a scatter of feathers.
Stare at him straight, you’re dead.

Irrelative, Poetry Life & Times, March 2016

For Ed Hall

Wash hands of him, rip collar,
band one arm in black.
Every year say kaddish, and press
a stone into the ground.
You saw his stumble on the down
step – a Mobile city bus –
two years old, but already wearing his father’s
sins – indistinct, sleepy, immobile
with Norman Rockwell crack,
his mother’s rage, “Get your black
ass up,” what the world will say
if he falls – dreaming – of red hair and freckles,
promises exed. Of course,
she turns on him, tears that calendar
from the wall, pops his woolgathering

the fisherman and his wife & Palm Sunday, SunStruck Magazine, March 2016

the fisherman and his wife

An old joke: three Natives sitting on a riverbank
discover – washed up – a brass lamp. When they rub
its tarnished sides, poof!
pops a genie with three wishes to give away.
One man pines for home, the Dakotas,
and vanishes instantly; the second the Carolinas,
his tribe – and he’s gone – kaboom!
The last, none too bright – a Navajo –
this is a joke about Navajos –
asks, ’Geez, I sure miss those guys, innit?
I wish they were back here.’

That water should yield vain magic we accept
because, perhaps, like searchers in fairy tales,
we have already what light we long for
shut up within us. The fisherman’s wife, held close
in her father’s house, deems
poverty a curse, dreams
watering flowers with a garden hose,
then a tower and blue-jacketed courtiers
toting her jewels on a cushioned platter.
This wife’s lackey spouse, ordered about by everyone,
we side with him, share his embarrassment

having to ask a fish for a penis
for his wife, although she takes him to bed, after.
She must be King, Emperor, Pope, God –
while with each turn of fortune
she grows more dissatisfied. We understand
she in penury is like God to begin with.
And we wonder, as with the genie, how it is
an enchanted fish (for certainly it, too, is like God),
can help others, but not itself,
or why the wife sends the fisherman with her questions.
It’s not like she doesn’t have the balls.

When I was a child I felt bad for God.
I pictured him alone in watery depths, like Jonah,
scribbling the Law. In my father’s library
gray-green tides rose and grew black with prayer;
I didn’t have it, what you need to piss on a wall.
Shut-mouthed, I copied out rules for myself.
When I grew up, I built my house by the ravine
between electrical towers
and the McDonough penitentiary.
The fisherman’s wife turns on a wish toward her poor hut.
I barely knew my mother.

Palm Sunday

What does wind represent? I ask the class.
They are reading Jean Toomer.
‘Freedom,’ one says, and as I write it on the board,
my puerile self awakens

leaping in a backyard clearing,
nearly swept away, but not quite,
in the heavy winds before that tornado, so long ago.

An aborted bath,
a child naked and dripping –
pajamas tossed down stairs, blanket, candles –
she’s tucked up clean and safe in the surrounding alarm,
sucking sugar.

The morning’s palm fronds fan under a crucifix.

Then why not say so? I ask the students –
‘Change is coming!’ A rallying cry.
‘It’s poetry,’ they let me know. ‘And code.’

Language and politics,
they’ve got that right,
and are right without knowing
the lies I told at school next day,
and the next year in another classroom

half a continent away, Providential lies,
lies that change nothing in the straitened
confounded landscape, lies
that make me the center of the story,
important for five minutes.