Erasure

By DAVID LIVEWELL

High up on fire escapes the schoolgirls clapped
erasers, chalk dust floating in a cloud,
the words and numbers scripted by the nuns
freed to autumnal treetops. Often girls
would stamp their names in chalk on the brick walls,
reminding us, like ashes, “dust to dust.”
Beneath this task the cemetery slept,
the Celtic crosses propped like dolmens on
a quiet glen in County Clare. Down steps
was the boys’ bathroom, just an outdoor shed
that froze in winter, stunk in spring. We feared
the dead might clench our ankles till they pulled
us down into their moss-furred crypts. When running
the slated path from school to shed, we glimpsed
a chiseled Irish name or cherub face that rain
and time attempted to erase. I sensed
the corpses’ slow decay, small piles of chalk,
the former schoolboys damned to run no more.

David Livewell is the author of Shackamaxon, winner of the 2012 T.S. Eliot Prize from Truman State University Press.

[Click here to purchase your copy of Issue 07]

From the beginning, The Common has brought you transportive writing and exciting new voices. We are committed to supporting writers and maintaining free, unrestricted access to our website, but we can’t do it without you. Become an integral part of our global community of readers and writers by donating today. No amount is too small. Thank you!

Erasure

Related Posts

Caribbean picture

Self-Portrait in The Caribbean

PAOLA ASSAD BARBARINO
Sometimes I am emboldened, / I decide to stand in the people’s balcony / I decide it is Maundy Thursday I decide to place a priest behind me that can speak to the people behind / my back / I decide to put out the fire and light my throat / scream

Feltspade

ELIAS SADAQ
I serve out my conscription / sleep in a bunk bed / for four cold months / in the engineer regiment at Skive Garrison / in a room with three other men / I fuck the colonel / the only sign that time is passing / is a pile of snow outside the window / that grows smaller

Book cover of Fifty Mothers

Mother is a Kind of Holding: Jenny Qi interviews Preeti Vangani

PREETI VANGANI
With vignettes, I could plumb its narrative arc to become a force propelling the book forward. It also felt haunting yet warm that the mothers kept reappearing throughout the life of this grief. That repetition created a chorus of voices that angers and despairs, yet cradles the speaker.