two women in a garden, 18th century, flemish

this tapestry will not say
why, other than accept
perhaps fragment of larger
anecdote, blues not found
in nature, pastoral dust:

fill out forms, receive refills
of cocktails, cocktails filling
out our forms, refill dwarfish
banter below tattering flora

& crumbling wall, not now
functioning as wall & monks
skulking or verdure dripping,
eavesdroppers or negligent

gardeners or would be suitors
to the focal point: arch, title
characters secreting in it, no
camber or nuance or motion

distinguishing them as female
or benign or exultant or engaged
in the quotidian: landfill sauces
& legume recipe exchange

or position among the upshot
spires, ivy run amok, arching
over overgrown townscape
inked warp & weft, audenarde

fronds outgrowing their motif,
scale, drama & stained taking
of pains, painstaking plein air
choked with sotto voce or loss

of intent either in the offing,
off-chance viewing or passing
off, passed down, preserving
reverberation of non-echo

like mute brass band by brass
plate, engraved historical date
propping up histrionic, foliate
& unfortunate purchasing decision.

Ken Taylor lives and writes in North Carolina. His poems have appeared or are forthcoming in The Chattahoochee Review, The Stony Thursday Book, elimae, MiPOesias, Whale Sound, Eclectica Magazine, The New Guard, Red River Review, Poets & Artists and OCHO. He is the winner of the 2011 Fish Publishing Poetry Prize.


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