(by Daniel R. Jones)
I never had the surgeon’s steady hands to produce
hyper realistic depictions of the natural world.
Neither is my mind a fertile field. And when readers
crack open my prose and close their eyes,
splendorous visions don’t spill through the ether,
transporting them, at once, to the scene I’ve described.
But today, I sat in a public park, that small corner of pastoral-
life still afforded us city dwellers. And I heard a melody.
I wouldn’t call it a song
if it was indistinguishable from the sound she copied.
I wouldn’t call it a song
if she reproduced it perfectly, note-for-note.
Frankly, I’d be annoyed.
Nobody revels in a car-alarm sound bath, after all:
that blathering horn of the Hyundai-inaptly-named-“Sonata.”
But it was the gulf between subject matter and facsimile
that rendered this music.
Wrung through the miniscule vocal cords of a mockingbird,
a grating car alarm becomes delicate birdsong–
crafted from the same stuff as peony fragrance
and moonbeams and the wisps of cirrus clouds.
In such a way, dear Reader, I know my poetry seldom scans.
But maybe, cockeyed and birdbrained though I am,
you’ve read this far.
Perhaps, on occasion, you’ll even tilt your head and say:
It’s such a crude approximation,
that it’s barely recognizable.
But through the distortion,
it’s somehow more like a song.
And less real,
it sounds more true.