A Renaissance Altarpiece Uccello painted them: a family bound together to a tree-trunk post, staring with horror down as flames leap up from foot to calf to knee. Four horsemen on the right display the flag of Rome. Across from them, with faces glistening in the flame- light, stand the helmeted guards who trussed this family up and set them blazing. Two boys, both red-heads, share their parents’ fate, while in the background—fields, a leafy apple tree, farm houses, and a church. The sky behind a neighbor castle town is black. The merchant and his pregnant wife and boys were damned for what they did to desecrate the host. “Religion,” I once told a Catholic friend, “makes good people better, bad people worse.” Another panel illustrates their crime. They cooked it in a pan until it bled. The blood of Christ spilled out and ran across the floor, and when it dribbled underneath the door, they were exposed. Have you ever fallen from the second story window of a dream—the broken glass, the silent floating scream? You’d think at least the child in her womb could be redeemed. Why would a Jewish merchant be so hostile to the host? Why in Urbino was this credited? What calculus of feeling can elucidate this art, unless it charts a program to annihilate a race. Aghast, the baffled victims stare at lizard flames that leap and leap. John Morgan This poem first appeared in Archives of the Air (Salmon Poetry, 2015) John Morgan has published six books of poetry and a collections of essays. His work has appeared in The New Yorker, Poetry, The American Poetry Review, The New Republic, The Paris Review, and many other magazines. He has won the Discovery Award of the New York Poetry Center, and his Collected Poems, 1965-2018 will be coming out next year from Salmon Poetry. Morgan divides his time between Fairbanks, Alaska, and Bellingham, Washington. For more information visit his website: johnmorganpoet.com
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September 2024
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