Unfinished Landscape with a Dog

Not much of a dog yet,

that smudge in the distance, beyond the reach

of focus. It's just an impressionist

gesture, a guess. From the edge of the clearing, the farmhouse

materializes, settles

into wall and stone. The water,

making the surface

of the stream, makes

reflections. So why shouldn't the dog

accept limits, become

a figure? Is he like the girl who sits

in the hall closet and says she's not

hiding? She's inside—

listening without the burden

of sight, letting locations

release hold. Out of body,

they seem lighter: her parents' voices no longer

hooked to their mouths. They seem

cleaner. Even the electric can opener;

the sounds of the children

that rise from the yard, and fall; the opening

window, these are no longer

effects, things expected

of a subject and verb. The world anyhow is too

straightforward.

Maybe the dog

does not want to be a dog, does not want

to be turned into landscape

but to remain in the beginning, placeless: with the wind opening, the wind

a vowel, and the stars and waters

that flash, recoil, and retch

unnamed as yet, unformed, unfound.