in a sculpture garden
︎︎︎ Ian Gwin
︎ Sept 3, 2025
heavens rip over manor house remains
and gusts ripple the surface of Raadi lake
ducks nestle in rows on the dock
while crows flock from the pines
how long shadows carry matter heavy
with the burden of meaning
eyes closed, lips cleft in granite
one exhausted lies within a circle of stones
relative to hardness—their figures
no longer tempted by form
even the pose, carved into space
of the blacksmith's hard shoulders
in sparkling granite under blue
puts heavy arms to rest
I curve the path in the stern gaze of the roadworker
his bent brow unsurpassable
by the bear on its tiny haunches
here, the painter's sallow cheeks
and close-cropped hair, even
the sculptor's sneer is a relic
that understands no other being
yet warms by the sun
and in the valley of women
sky framed in a stucco arch
worry at the barrier gate
remains ensconced in mottled waves
one abandoned, head in arms
knees to shoulders takes herself
worry in her own endurance
aborted from the saint's communion
another reclining with legs crossed
raises her arm over her shoulders
as though to all this indifferent
on buses, street cars, country stops
I have witnessed her too
seated, strong thighs in support
arm behind her back, ready, listening
with the roundness of a vase beside
her head, heavy seal of the lips
although in the Pygmalion hollow
I note growing cobwebs
billowing cloudstreams rave above
and the marsh stirs—yellow aster
in the reeds and floating pollen
across crooked steps by the chessboard gazebo
Romeo presses hands to Juliet
relieved from decay into a knife-etched
cusp of cracked white
with open lips, in concrete sleep
they gather moss before the silver gleam
a curious dog appears
and a woman with children
a photographer and a nuptial couple
to walk the path of forgetting
under arbors of oblivion
i leave as the first yellow leaves
cling to wind-bent branches
maybe paradise acquires
perfection only after
and gusts ripple the surface of Raadi lake
ducks nestle in rows on the dock
while crows flock from the pines
how long shadows carry matter heavy
with the burden of meaning
eyes closed, lips cleft in granite
one exhausted lies within a circle of stones
relative to hardness—their figures
no longer tempted by form
even the pose, carved into space
of the blacksmith's hard shoulders
in sparkling granite under blue
puts heavy arms to rest
I curve the path in the stern gaze of the roadworker
his bent brow unsurpassable
by the bear on its tiny haunches
here, the painter's sallow cheeks
and close-cropped hair, even
the sculptor's sneer is a relic
that understands no other being
yet warms by the sun
and in the valley of women
sky framed in a stucco arch
worry at the barrier gate
remains ensconced in mottled waves
one abandoned, head in arms
knees to shoulders takes herself
worry in her own endurance
aborted from the saint's communion
another reclining with legs crossed
raises her arm over her shoulders
as though to all this indifferent
on buses, street cars, country stops
I have witnessed her too
seated, strong thighs in support
arm behind her back, ready, listening
with the roundness of a vase beside
her head, heavy seal of the lips
although in the Pygmalion hollow
I note growing cobwebs
billowing cloudstreams rave above
and the marsh stirs—yellow aster
in the reeds and floating pollen
across crooked steps by the chessboard gazebo
Romeo presses hands to Juliet
relieved from decay into a knife-etched
cusp of cracked white
with open lips, in concrete sleep
they gather moss before the silver gleam
a curious dog appears
and a woman with children
a photographer and a nuptial couple
to walk the path of forgetting
under arbors of oblivion
i leave as the first yellow leaves
cling to wind-bent branches
maybe paradise acquires
perfection only after
Ian Gwin is a writer and translator from Seattle, Washington. He holds an MA in Scandinavian Languages and Literatures at the University of Washington.
Also by Ian: faintness of devotion
Also by Ian: faintness of devotion