For the Artist I Call Moth
The inspiration appears to be New Mexico
by the way the cliff behind seems carved as if coal
were taken from it near Farmington, but I find
it’s huge piles of slag, the last by-product of steel.
Or Arizona for the cathedral with similar spires
and crosses in Tucson named after Saint Augustine
the Southwest full of churches behind coyote
fences and everywhere large birds loom
circling for anything they can bring down
outside what’s meant to keep a predator away.
The sky reflects dawn because the other day it rose
in the same colours I call lemon, peach
and watermelon, dark strip that’s become church
a heavy cloud over the river obstructing light.
I guess the letter after MOT is H, room and time
for only one as the artist paints before the train
pulls from the station with the scrap of crushed cars
headed for Pueblo, boxcar dented so many times
from carrying debris that the railyard of Evraz Steel
is where the canvas displays bounded by bars
along Northern Ave. and I-25 as automobiles
zoom north to Denver.
Kyle Laws is based out of the Arts Alliance Studios Community in Pueblo, CO where she directs Line/Circle: Women Poets in Performance. Her collections include Ride the Pink Horse (Stubborn Mule Press, 2019), Faces of Fishing Creek (Middle Creek Publishing, 2018), This Town: Poems of Correspondence with Jared Smith (Liquid Light Press, 2017), So Bright to Blind (Five Oaks Press, 2015), and Wildwood (Lummox Press, 2014). With eight nominations for a Pushcart Prize, her poems and essays have appeared in magazines and anthologies in the U.S., U.K., Canada, and Germany. She is the editor and publisher of Casa de Cinco Hermanas Press.
The Ekphrastic Review
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