
Fierce With Electric Love
The winner of our first New Poets Prize gives us three big-hearted, sharp-minded poems on holding tight, oranges in winter, and discussing impossibilities with a child.
New Poets Prize-winning poems. Kentucky poet. Emma Aprile.
BEFORE SHE KNEW HER OWN STRENGTH
They all clutcafter Joshua Reynolds’s Miss Jane Bowles (1775–76)
They all clutch small animals like that,
pulling a warm, pulsing neck to their chest,
as if the dog is a pillow, or the cat is a doll.
My daughter and our aging dog fight for
a spot on the vent on this cold winter morning,
like they do from December through till spring,
for a little longer, for this last year before
she goes off to college.
she goes off to college.Maybe, like I did,
she’ll return before Thanksgiving; maybe
she’ll hit the ground running. The dog will have
the vent to spread out over, unfettered,
unencumbered. My daughter’s still-thin
arms wind through my own, as we walk
a loop through our chilly neighborhood
on days when the sun comes out. February
is full of gray hoodies and boots, but some afternoons
the sun bursts through, and we hug it to us
like a child holding a dog to her chest, fierce
with electric love running up and down her arms.
New Poets Prize-winning poems. Kentucky poet. Emma Aprile.
ORANGE SEASON
The oranges in The Godfather presage death,
but they say no one meant for that to happen.
I eat oranges in slices, fat and short, small versions
of Brando’s own as he plays with the Don’s grandsons,
another death hovering on the doorstep. The mother
of my friend moves in circles from absent-minded
to forgetful, while my friend returns to cleaning bodies,
changing diapers like we did for our kids, who still
ask us as they head out the door if they’ll need keys
when they get home. This year, a bowl of oranges
sits on my counter all winter long. One friend’s daughter
learns to drive, but mine is waiting for a calmer week,
a calmer month, the end of the school year, maybe
for people to be safer than they are.
In The Godfather, bowls filled with oranges started
as pops of color meant to brighten up dark scenery,
but all that murder made them into omens. In our small
city, we are lucky to live in walkable neighborhoods,
though I have to drive someone somewhere most days.
This winter, I’ve eaten an orange almost every day.
An old friend texts from their parent’s bedside:
Death has arrived. When I slice an orange on the counter,
I don’t use a cutting board, though I know I should.
My father postpones a surgery until his infection clears.
The tiny tears on my fingertips pop when I cut into an orange,
acid stinging like a sparkler. I am waiting for the next text,
the next phone call. I hear oranges are everywhere
in Sicily; I’ve never been. Parts of my family were
Sicilian, once, though not like in The Godfather—
ours came south, away from the others, to this river,
its growing town. Earlier in the film, the Don
buys himself oranges at a gray fruit stand, but the fruit
ends up spilled in the street while his grown son
waits, frozen, seated in his father’s dimly lit car,
too scared to stop the bullets or save his father.
My parents had kids when they were young,
but I waited longer. Today, afternoon sun breaks
through our low-slung background clouds,
and its sharp, angled light is warm as citrus.
We are always making plans for the unknown.
I tear the last bits of pith and peel apart when I separate
the orange slices. I feel young, but I’m older than
I think I am. When my friends and I were kids,
there was always a stand with an Italian-sounding name
selling oranges around the corner. When I was born,
my great-grandfather had been dead for a decade, and
no one left spoke Italian. I didn’t know he’d sold oranges
from a covered cart across the river till I had kids
of my own. Many of our parents remain in good health.
Back on the screen, the Don dies when no one is looking,
orange peel stopping up his mouth, under the vines.
New Poets Prize-winning poems. Kentucky poet. Emma Aprile.
BEFORE BREAKFAST, A FEW IMPOSSIBLE THINGS
I’m tiny, my little girl says, squinching up her face
I’m tinto match her squinchy voice.
I’m a kitty, she says, and for a while longer she is
I’m tinthat small, small enough
to curl up on my lap, to sprawl out and still be held,
I’m tinjust, within the hammock
of my arms and knees. I’m big, she says, like her brother,
I’m tinbut I’m tiny, she says,
both together for her, though big, really, remains outrageous
I’m tinimpossibility—how she’ll tower over me,
how one day she’ll stand up and see over the top of my graying hair,
I’m tincaterpillars in the lilies
no longer the thing she’ll reach for. When I am reading to them
I’m tinabout dinosaurs, trying to explain
extinction to my kids whose map of life has death laid out
I’m tinas, for now, that mysterious blue
wash of uncharted waters at the edge, represented by
I’m tina series of hamster corpses,
two turtles, an iguana, and a single sad tarantula populating
I’m tintheir preschool years,
when I try to explain to the kids where the dinosaurs are,
I’m tinor where they aren’t, not any longer,
the world spins away from me, drenched in the gray, washed-out,
I’m tinwatery smell of futility,
our blip of existence on the timeline barely a fraction of the Cretaceous
I’m tinand I agree with my daughter,
kitty, baby, we are big, we are tiny, impossible to believe,
I’m tinimpossible to hold.
Emma Aprile's poetry has appeared in online and print publications including Shenandoah, Antiphon, Still: The Journal, and Salvation South. Emma holds an MFA from George Mason University, and works as a copy editor of literary fiction, nonfiction, and poetry for independent presses. She lives in Louisville, Kentucky.