We’re crossing Depression Era bridges
and she is becoming more beautiful,
driving with both hands on the wheel
as we head inland: away from saltwater eddies
where every few months an empty row boat
falls victim to the current, recirculates
against the rocky shore for weeks
before splintering its wooden hull
on the land’s dull and uncompromising teeth.
Rembrandt’s light always came from the left.
He painted and hoped the canvas would keep
his shadows, the eye drawn to where the flesh
was softest and the most tired: just beneath
the eyes where we keep our hurt and our joy,
where we seldom touch for how easily
the thin skin can bruise. Evergreens
invite us to agree on beauty. The fenced-off pier
begs for passengers. She says the light
is bleeding from the clouds. The pavement,
the undersides of leaves: every darkness shining.