Haiku 19 — Summary

Andrew HamlinContemplative

She rolls up her dress blue flowers over boxers near the Black Muslim.

At ninety-one, how many other naps has she taken in sunlight?

The floor, worn away into grimacing profiles, into continents.

The fly seeks the sun, never getting through the screen last week of July.

Her hair, purple waves over a determined stare, guitar on her back.

The terns flap southeast and what if it’s the last time I behold such?

A short maple’s shade two inches short of my ledge neck craned for the bus.

An immense stone hand holds two figures in its palm; a son and father.

Gull on a thermal, mistaken, one instant, for stolen gossamer.

Raindrop to pavement softer, just a touch, than one footstep in the night.

Her square Pan Am bag holds her skirt down in the back at long last, the train.

Ford F-150, curbside, signal blinking, some armor sans a knight.

I take this long drink of cool air through my window, savoring nightfall.

Two crows on the track one without a bite of bread follows the one with.

Wind doesn’t whisper it reminds us of how we’ve mislaid memory.

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Andrew Hamlin's "Haiku 19" is a string of tiny snapshots, each one a scene a watcher might notice on a walk or a train ride. An old woman naps in the sun. A woman with purple hair carries a guitar. A fly bumps against a screen. A pickup truck sits at the curb with its signal blinking and no driver. The speaker doesn't explain any of this. He just looks closely and lets odd details do the work, like the worn floor that seems to show faces and continents.

Underneath the city observation runs a quieter feeling. The speaker wonders if he's watching the terns for the last time, savors the cool night air, and says the wind reminds us of lost memory. The mood is gentle, curious, and a little wistful. Even the crows, one following the other for bread, feel like a small story about need and company. The poem seems to say that paying attention is a way of holding onto things.

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