KNOT Magazine
Fall Issue 2022
Cynthia Anderson
Questions in Spring
There’s a buzz
in my stomach
exactly like the whir
of a hummingbird,
the one who follows me
around the yard,
who drops and waits
at face level even
when I’m inside.
I don’t notice the nest
until she shows me,
hidden in a juniper,
grey as the branch
it’s attached to,
wrapped in spider webs.
She lets me watch
her incubate—
later, hovers while
two tiny beaks
point straight up
like thumbtacks,
ready for nectar
and insects, riding
the wind in that
miniature basket,
safe as Moses
in bulrushes.
When the time
of nurturing passes,
will these new lives
remember the tree
and return?
And will I be
their witness?
Soloist
At twilight,
a methodical cricket
launches his sawing
vibrato. I can’t quite say
his rhythm is unvaried,
because after awhile,
there’s a slight skip,
like an old scratched record,
or a singer’s sharp breath
after a long note—
but the song is the same,
night after night,
a vow of the love
he hopes to entice,
the odds fueling
his persistence.
What I know I learn
by listening. Every cell
in my body wants
to tell what it means
to be bereft—
not to live in a box,
the lid locked,
but to sing,
sing that heartbreak
into blackness,
my territory,
my sustenance—
calling, calling
my love to me.
Roosting
When there’s hardly any light left,
and heat bends to a cooling breeze,
the quail arrive, making their way
to the stand of pines on the rise.
One by one, they flap and jump,
sloppily, to the low branches,
then walk the length of the limbs
and hop upwards, until they cluster
in the crown, defying the gravity
of their days on the ground,
swaying as the boughs sway,
sorting their pecking order
with a flurry of remonstrances.
Settled, they join in a quiet murmur,
vespers that bring out the stars.
The quail are gone before sunup.
I wonder how they leave—
a gradual, stairway descent,
or a fell swoop through the dark?
It’s their daily reckoning,
forsaking the arms of safety
when the time is right—a risk
made ordinary by repetition,
the peril of being alive.
What the Hawk Said
Let fall a feather
for someone who needs it.
Watch it spin the air
like a shuttle of fate,
and land among thorns—
frayed, yet decipherable.
Weave banded vanes
to make flight possible
then shed, piece by piece,
and grow new—
Mitered
between sky and earth,
alert for the barest
movement—
Reach out your hand—
I’ll spare you.
Tableau Vivant
This high ledge with a view to the west
holds a grinding stone like a fallen door—
rose-hued granite worn smooth from the work
of many hands. Just there, a flake of green jasper
on sand—traces of lives in the fullness
of the land, before ceremony circles were
scattered, before grasses and water retreated,
before the boulders grew silent—no one calling
to far-off companions by striking rocks
or throwing an echo skyward. We scan
the archipelago—stone outcrops in a sea
of creosote and cholla, blackbrush and Joshua trees—
and a cinder cone with its mask of serenity.
White Pelicans
It’s a radiant sky,
and the pelicans ply it—
they soar as they go,
unerring in flight.
From a great height,
the flock’s ebb and flow
spins on an axis
of farewell and return—
rising to crescendo,
each wingspan greater
than the height of a man,
lofting over deserts toward
landlocked waters to feed
and raise their young. Above
the haze of the Salton Sea,
they open like envelopes
edged in black—tidings
of deaths and resurrections
beyond reach. I look back
while the highway bears me
away, trace their whirl
through a portal in time.
Cynthia Anderson lives in the Mojave Desert near Joshua Tree National Park. Her award-winning poems have appeared or are forthcoming in journals such as Askew, Dark Matter, Lummox, and Whale Road. She is the author of five collections—In the Mojave, Desert Dweller, Mythic Rockscapes, and Shared Visions I and II. She frequently collaborates with her husband, photographer Bill Dahl. Cynthia co-edited the anthology A Bird Black As the Sun: California Poets on Crows & Ravens.