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coasting across your throat:

In a lecture hall, Hannah is addressing her audience, giving a recruiting speech which has turned into an autobiography of why and how she has escaped from Hungary to work on a kibbutz in Israel. She has moved into reading a poem about loving her new girlfriend Mariet, who is a political refugee from Poland and who is not present physically. It is the Jewish New Year, 1940, but she is addressing a 2005 group:


HANNAH: I hope you like it; it's like a song, really ... this poem I wrote ... afterwards;

And even if it's afterwards, the title is "Now".

[she picks up a scroll]

Oh, this is new too, I wrote on a scroll, so I could find all the words again, they can't get lost if it's all on one page, it's safe!

It's a little hard to see you, this light is pretty bright, I guess if you talk at meetings all the time you get used to it?

[she peers out]

Is anybody there?

Oh, okay, there you are.

Now. "Now" by Hannah S.


How we make a single line
Where your thigh touches mine
Now watch the line melt into hot wax
Watch more line melt into heat
Watch our line melt into forever
Watch my watch vanish

And from yours from mine
One breath spirals to the sun
Though it might be night
Through the rest of the world
In ours there is none
In ours there is noon
Only noon and heated dance

Torpid dancing through the swirls of your hair
From my lair I watched your prowling mouth
Now do I writhe happily in your snare ...
Would you guide me out of your liquid trap
For the whole life of our candle torch I would not
I would not move now
I would not move a millimetre
From where my hands are now
Nor move a single whisper distance away from your ear
Nor lick less than a river of drops from your tongue
To flood your fluids upon mine
We taste of musk and myrrh and wine
Orchards and forests grow gold over our farms
Inside the crystal chalice of your arms
I chase the trickles of wine
As we press it
With our feet
With our knees
Along our whole wet lengths
Along all our orchards in the mounting rain

[MARIET materializes from behind her and HANNAH begins to notice her and read to her]

Watch the lamp in your eye as bright as your knife
I stretch and arch, caress me and I surrender
Here we are captive with each other
Close to closer
Plow to furrows
Edge to blade
Under my lips your knife melts into nectars
Sinking into your collar bones
Coasting across your throat:
Cat and vixen,
Bread and oven,
Conqueror and slave ---


Then we can change
One to another it is all all is one --


I would trick you too
If you are willing ...
I would hold your wrists with my ankles with love
i would grow your wrists' branches between my knees,
I would measure the points over your open hips,
Mapping damp and shining vines
Tracing your veins reaching past mine
Planting seeds as deep as deep is ...
Now you are found
Now we are found
I would not move my hand forever
I am the sun to your ground
I am the rain to your sun
You are the petals on my stems
Your valleys to my hills
I offer you pollen, our food for forever

Over the twine of our ribs and the ebb of the day
We grow slick from the honeys and the drums of our pulse
Ebb and flow underneath our canopy dark:

[HANNAH reads the next lines from her scroll to the audience as MARIET speaks in unison looking directly at her]

Safe from the knife and the desert dafe

Safe as I wrap in your cloak
And you curl in my hood all is safe
All is one in the lighted shadows safe
Safe in the moistures of eternities safe


[Pause. MARIET disappears again, during the whole talk she has actually been sitting two blocks away in a cafe waiting for HANNAH to finish ...]


excerpted from :Brad Butler, KIOTARALIGHT (c) 2005, 2006
inspired by the photoart of Kiota Bandal


( 2 comments — Leave a comment )
Nov. 29th, 2007 06:07 pm (UTC)
I remember that :)
Nov. 29th, 2007 09:45 pm (UTC)
Do you also remember the whole play and what you told me about wanting to be in the cast?
( 2 comments — Leave a comment )


kiota too late for the stars
Moonfire Marion Bridge / Brad

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