The sky is random. Even calling it “sky”
is an attempt to make a meaning, say,
a shape, from the humanly visible part
of shapelessness in endlessness. It’s what
we do, in some ways it’s entirely what
we do—and so the devastating rose
of a galaxy’s being born, the fatal lamé
of another’s being torn and dying, we frame
in the lenses of our super-duper telescopes the way
we would those other completely incomprehensible
fecund and dying subjects at a family picnic.
Making them “subjects.” “Rose.” “Lamé.” The way
our language scissors the enormity to scales
we can tolerate. The way we gild and rubricate
in memory, or edit out selectively.
An infant’s gentle snoring, even, apportions
the eternal. When they moved to the boonies,
Dorothy Wordsworth measured their walk
to Crewkerne—then the nearest town—
by pushing a device invented especially
for such a project, a “perambulator”: seven miles.
Her brother William pottered at his daffodils poem.
Ten thousand saw I at a glance: by which he meant
too many to count, but could only say it in counting.
Wow. It seems so simple… It’s like a companion poem to Wordsworth I’m drawn to the themes of language and comprehension, and the enormity of the sky whittled down to two eyes and the human perceptual devices behind them. Language is both prison and freedom. Que bueno!