DEAR PINA,–Part Three — Summary

Mary F. C. PrattContemplative

Watch: these are my words these shapes on the page Watch me tilt, orient differently-- tilt, pivot, zig zag, tilt, give the back a break, tilt, pivot, zig zag, tilt, give the head a break, tilt, pivot, zig zag, tilt, and circle into self to adjust placement to start again. And circle into self to adjust placement to start again. And circle into heart to adjust placement to start again. And circle into self to adjust place meant to start again. And circle into self again to just the place to start again.

I mean to start. Again.

My path is on the outside track. I’m carried in the head, not the leg-- head through the space in the arm, head towards the left shoulder, head resting on the neck, head into the pivot, head down.

Look at me, if possible. Hold my head while I circle into self to start again.

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The speaker asks us to watch, and then shows us what watching means. The words on the page tilt, pivot and zigzag, and the lines themselves step down the page in a staircase, then loop back on themselves. The repeated phrase "circle into self to adjust placement / to start again" keeps returning, slightly altered each time, as if the speaker is stuck in a rehearsal and can't get it quite right. Even "heart" slips in for "self" once.

The language of the body runs through the poem: the back, the head, the neck, the shoulder. It reads like someone describing a movement or a way of being carried, with the head doing all the work. The speaker seems tired but determined, and a little exposed. The ending is a quiet plea: "Look at me, if possible. / Hold my head." The mood is patient, vulnerable and slightly weary, a struggle to begin that turns into a request for care.

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