Gypsy Hollow
What gypsy finds her way to West Virginia?
And is her family hidden at the edge
of town in camo tents pushed back beneath
the hemlocks, the bright scarves and braided chains
stuffed out of sight in sleeping bags and sacks
of sludge-colored burlap? Are they waiting?
She’s cleared the sidewalk in front of City Hall
of competition, the one-word man (“Change?”)
and his sombrero banished or worse, the beard
with a body who wears a boom box on
his shoulder somewhere else, perhaps the river
north of Shangri-La, which is, as always,
west of Everywhere, West Virginia. She’s
selling paintings of parrots and men in
tams and fezzes, Aimé Césaire and
Léopold Senghor or others equally
revolutionary, though not Marley
or Mutabaruka, not dub poets
or slam poets, though one looks a little
like a black John Clare, for whom a mount
in Harrison County is named. I watch
her snatch a twenty from a man’s open
wallet: he was offering ten for a triptych
of birds found near or on an equator
she’s never straddled, though she’s holding her
own Maginot as cars honk past and passers-
by laugh. And now she’s screaming, her back
to him who wants his money back but doesn’t
need the scene he’s suddenly part of. She’s
packing up her canvases, dragging daylight
from the sky, still muttering in bursts,
still pointing wildly at anyone
close enough to see a flare rise in her eyes
like a sunbeam broken by a windowpane,
the heat an idea that almost burns,
like coal, which almost belongs to West Virginia,
the nothing that was that now stokes fires
in steam plants all over America,
the miners who wake in darkness deep
beneath the hollow and then become the darkness.
Why a gypsy in West Virginia,
in a hemlock forest pulling hamburgers
from a greasy white bag for her children,
cold hamburgers gone sour on her walk
from town? She’s hidden her paintings beneath
a trestle that once bridged a creek for coal
trains heading to Pittsburgh along the river,
that now bears footsteps of joggers and after-
dinner perambulators, who would never think
to look beneath their feet for beauty
however strange or cheap or stolen from
Rastas on Canal Street, who still wonder
where the fucking gypsy and her mean brood
have gone, who sing, Who paints the prophet should
profit as they roast pigeons over trash
cans filled with fire. Who steals the sun must lead
the children through a dusk the length of days.
She’s pulling scarves from her sleeves to make room
for twenty-dollar bills and a little
more light. We’re all wondering where she’s gone.