Charlene Stegman Moskal

Should I Reveal Specifics?

& Any Small Mercy &

S-Curve

Should I Reveal Specifics?


How do I tell my stories

when they come to me

as dusty symbols on a wall,

fading cartouche, hidden from the sun?

I was the darkly bright bird who slept

with head tucked under wing,

the bird who could not admit

that she would sometimes look,

open one eye, reveal her face,

quickly retreat under feathers

pretend to not turn cold

by what she saw.

I was one of the shackled ones

who never tried hard enough

to loosen the bindings - waited

for someone who had the key.

Should I reveal specifics,

give you reasons to remember

the texture of crystalline powder,

the burn of good scotch whiskey,

the eye colors of who was in the rooms,

what the rush was like

or the trip where cattails were sabers

and I walked naked without armor?

Should I write of the different scents

of sour sweats and patchouli incense,

when the body stifled the words,

I just need to be held?

How much sharing is enough,

which secrets held under the wing

of that dark bird need to be shaken out

at daylight, prompted to fly straight?

Readers, your quiet smile confirms

you know all the parts I’ve left out.


Any Small Mercy


The waiting seems so heavy, outside myself

like summer heat when a closed door opens

or song lyrics heard faintly from a distance.

I expect answers to what I already know

anticipate the words, the explanations

that fill the void with protective amulets,

offer reprieve and the possibility

of some measure of who I used to be.

I imagine the worst,

anything less will be a relief,

a sigh that waits to refresh the air.

A kindness behind a stranger’s smile;

my eyes must look like beggars.

I will take any small mercy

and build a future with it.


S-curve


There was the Schwangunk Mountain

It might have been October.

and there was me, my sleeping bag,

some wine, some matches, some tinder.

At the end of dusk I walked

a wide enough path with an S-curve,

the bulk of the mountain cozying up

to the side of the trace before it fell away.

I stopped, startled. She was solid

huge, infinite, predatory, dangerous

the color of almost ripe persimmons.

We stared at each other.

The ocean in me pulled towards her.

every liquid atom that coursed in my body

reached out, yearned to be reunited

with a lost sister who glowed, beckoned me,

called my tides home to the beginning,

into the saffron lushness of the disk.

Steps from the edge, so easy

one foot then the next.

I was a silhouette, a figure drawn in black

two dimensional against a Chinese Lantern

hung in the indigo cavern of night.

Suddenly fearful as if slapped awake,

I stopped moving forward, sat down

folded knees to chin, watched

as she got tired of waiting for me,

watched as she became pale,

ascended to her place among the stars

and I returned to mine below the firmament

on rocky ground with a sleeping bag, wine,

and a fire to remind me of the moon.


Charlene Stegman Moskal is a Teaching Artist for the Alzheimer’s Poetry Project in Las Vegas, Nevada, under the auspices of the Las Vegas Poetry Promise Organization. She is also a visual artist, a performer, a voice for NPR’s Theme and Variations as well as a writer. Charlene is published in numerous anthologies, magazines, and online, including Connecticut River Review, Humana Obscura, Global Poemic, Dark of Winter, (Milk & Cake Press), Sandstone & Silver, an anthology of Nevada Poets, (Zeitgeist Press).  Her first chapbook is One Bare Foot, (Zeitgeist Press) with a second forthcoming from Finishing Line Press in 2022.