FOUR WAY REVIEW

An Electronic Literary Journal

Woman in a black top and with long brown hair smiles at the camera in front of a white wall background with tree branches behind.

TWO POEMS from Rosalie Moffett

from TO HEAR A WAR FROM FAR AWAY 

This is the beginning, I am told, if we let it be.

Arrests if you disagree. Deportations. Sacrifice, 

I am moved again to think, must come

from how small we have been in the face 

of the enormity (the trembling ground, heartache,

the sound a barge makes, fraying over 

the black river) we’ve often called God. A lamb,

then: a point of focus, a relief. We’re in need 

of a small thing, someone knows. The riot police 

with their body armor like wasps and ICE

wielding their orders to make us

Look Over Here. And the here has been 

disappeared. These tricks of faith that keep 

our eyes on one hand while the other hand

rummages through generations, their orchards 

and herbs, pickpocketing them from the earth. 

Someone has been sacrificed, disappeared

for spectacle, and the spectacle is small

enough to rage against again. I rage. I fear

this is the middle of the end. I fear the spectacle

has been cut and placed in front of me

the way I cut my daughter’s dinner 

for her tiny fork. Her capacity is greater, 

she cannot yet be undone by immensity. We walk

down the block. She throws rock after rock

at the moon.


from TO HEAR A WAR FROM FAR AWAY 

At the flea market, I touched a keyfob, a belt buckle 

and comb, which were all secretly knives. My eyes 

felt for a headline’s invisible mechanism. By whom? 

flicks open its switchblade. A word makes a thought 

come into being. An image, a feeling. 

This, I trusted until I saw the point

cutting a hole in the mind for a bomb 

to fall through. It’s an illusion

that we live in an age of total recall, total

documentation. Oubliette of infinite 

room in the cloud relieves the work

of remembering. Remember reminds 

me of a legless child, an armless child.

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