The Simple The Simple
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“Cloud Shadow After the Disturbance Period. (Midday) — Jena, September 10th 1887”. Image by Eduard Pechuël-Loesche/e-rara
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The Simple

Cynthia Hogue
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The women cluster at the cathedral,
hair in careful bouffant helmets,
armored and elegant, poised to herd
                                                            purposefully
                                                            into Mystery.
I think, I’ll do that too, but tear up I can’t
                                                            say why.

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Stand still. Wind wisps my hair that gently
you brush like stardust from my eyes. Light shifts
and colors sharpen. Across the square the Grand
                                                            Hotel sparkles with
                                                            chandeliers, mirrors
upon mirrors in gold-leaf frames: the soaring empty space
                                                            of the Symbolic.

Throngs pass in and out of these yawning
doors, the alacritous doormen, the language
of bodies feeling fear, love, pain – desire –
                                                            equitably: a gift
                                                            of insight
we hadn’t asked for or realized we’d received,
                                                            a simple,

an edge of the Negative: not simple
but potent, to refuse absolutes, remain
in process, a healing the (my) emotional
                                                            body in order
                                                            to keep open
the possible. The huddling women who’d seemed
so done up

are wounded, not not beautiful,
as in the strength with which they clutch one
another, eloquent now their faces have character,
                                                            expressed in
                                                            the parlance
of style we could read but not speak, always our
                                                            broken word.

 

 

 

 

Also read:

An Introduction to Cynthia Hogue’s “The Simple” An Introduction to Cynthia Hogue’s “The Simple”
Experiences

An Introduction to Cynthia Hogue’s “The Simple”

Julia Fiedorczuk

The poem takes us to a square, a setting somewhere in the world that people have turned into a meaningful, symbol-infused place. There is a cathedral on the square and, on the opposite site, a hotel. The speaker watches a group of women in stiff, elegant hairdos, waiting at the cathedral, perhaps for the service to commence. The speaker’s hair needs to be brushed away from her eyes, the gesture, incidentally, causing the light to change, bringing out the sharpness of colours in a whiplash of illumination. This difference in hairstyles mirrors a deeper difference – that between fixity and fluidity as they relate to contrasting notions of selfhood. The speaker might like to belong to the group – to the cluster, the herd – but finds it impossible to join the purposeful and carefully-coifed crowd. She remains outside.

If the cathedral stands for the presence of meaning, the hotel is a synecdoche of absence, its chandeliers and mirrors containing “the soaring empty space/ of the Symbolic.” The “yawning/ doors” open up to a revelation of a different sort than the one offered by sacred spaces. It is a disclosure of emptiness. But this emptiness is important as it signals a lack of closure, an openness to the possibilities of life. It is in that openness, on that threshold, in suspension between the two spaces, that the speaker lives in the “emotional body” that needs and receives “a simple” – a cure against absolutes.

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