The Poet on desire is an emulsion, not a substance
I. Method
One yolk, at room temperature. Cold things won’t hold. Oil, a thread of it. Not a pour. A thread.
Start whisking before you think you need to. Keep going after you think you can stop. The work is in the wrist.
Pour too fast and it splits: a gold slick over curd, the yolk gone grainy. Everything is there and nothing holds. Nothing was missing. Something came too fast.
To save it, don’t add more oil, and don’t go looking for a better egg. Take a clean bowl and one fresh yolk, and feed the broken thing back to it, a drop, a drop, a drop, the way you would coax a stopped lung back to its rhythm.
II. Grain
you are here you will go your hand the hour on it the hour your hand still in it here-going gone-here herego
then I forgot to breathe for it
you are here your hand here
you will go the hour gone
III. Under the lacquer
White is what a held thing looks like. Milk, cream, the cloud of a whisked yolk: light breaking on a billion small borders. Clear means filed. Clear means over.
Someone glazes the bowl and calls it a plate. Resolved, says the shine.
Breathe on the lid and it clouds over for a second. Water hangs in the air, briefly white, the only mixing left, and it’s on the wrong side of the glass.
Tap it. Listen for the chord. A dull note pressed up under the glaze, a bright one pooled at the bottom. A single tone would be honest. Two tones mean the bowl is lying.
Rain on oil. Being held and thirsty at once, both, in layers.
Brine wins: one sea, the interior conquered. This is the other kind, two seas, and neither gets to rule. Neither goes home.
The crescendo isn’t louder. It’s finer. You don’t want more. You want smaller borders, and more of them.
IV.
Not a substance you keep in a jar. A wrist you keep moving.
No vow. Just the stroke, and the next stroke, the lungs keeping it going without being asked,
the bowl left open to the air so the air can keep doing its work.