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MARK IRWIN
elegy (with advertisement) struggling to find
its hero
It was a century in which we touched ourselves in mirrors
over and over. It was a decade of fast yet permanent
memories. The kaleidoscope of pain
some inflicted on others seemed inexhaustible
as the positions of sex, a term
whose meaning is as hybridized as the latest orchid. Terrorism
had reached a new peak, and we gradually
didn’t give a shit which airline we got on, as long as the
pilot
was sober, and the stash of pretzels, beer, and soft drinks
remained intact. On TV, a teenage idol has just crawled, dripping
wet,
from the top of a giant Pepsi can, or maybe I imagined it,
flicking through channels where the panoply
of reality shows has begun to exorcise
the very notion of reality, for both the scrutinized actor
and the debilitated viewer who becomes confused and often reaches
into the pastel screen for his glass, while down Broadway
sirens provide a kind of glamorous chorus
for this script of history where everything is so neatly measured
in miles, pounds, or megabits. How nice it would be
to drowse in the immeasurable. How nice
it would be to escape.
And
there’s a wobbly marble bench
beneath
an out-of-focus tree on the Web
I
like to occasion my body with.
How brief we’ve become in our speed
I think. How fast the eternal.
How desperately
we need a clearing, a place
beyond, but not necessarily
of nature. And the rain
was so deep the entire forest smelled of stone, then the sun
broke, burying the long shadows
in gold. And the wounded
king woke in a book long since closed, and the princess
came to in a bed so large
she could never leave. How desperately
we need a new legend, one with a hero, tired
though he may be. One who has used
business to give up
business, one who has bought
with his heart what we
sold with ours.

MARK iRWiN’s fifth
collection of poetry, Bright Hunger, appeared from BOA
in 2004. He teaches at the University of Southern California and
divides his time between there and his home in Colorado.
Work that appears on the KR web site is from The
Kenyon Review and all applicable copyright restrictions apply.
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