Her mother is rolling cigars in the factory.
She is best of all, even perfect. She taps
the woody threads, immaculate, into the acrid
raw silk of the wrapping.
Best of all, she can do it without thinking or asking,
could do it while talking, but doesn’t, ever.
And so she could never be the cackling
floor-boss or the foreman who stands there
tethered to the watch. She’s in it, for good,
on the floor, for life, watching the strings
tucked into their casings, each brown bud
taut below her long white hands.
And just her one thought—this is my
machine—the shroud around the shadows.
You, genre painter, who finds in this beauty
and who, from this, would make an enduring thing,
or you who could build from this some plot strung
with ornaments, constructing a monument
at the site of its senselessness,
turn away, turn from the din and the dust,
and choose someone else—not her.

:: Susan Stewart, The Forest (Chicago, 1995)

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