A Study of Horses
Matthew Wimberley | Poetry
Once, I turned catching the light of a late afternoon
through the maples—coin tossed to the dying
grasses and late summer clay and nothing else.
A little ways up the road, the Seventh Day Adventists
sold oranges and because I didn’t have any money
I pulled over to watch a horse I’d passed
by for years—always wanting to do just that
and always in too big a hurry to see the flies
which swarmed through the heat, mated, or died or
whorled around her face, and also how the dark hood
over her eyes looked uncomfortable, slightly crooked
not really lined up so she might see—the holes like holes
cut in a homemade costume a single mother
once made her child for Halloween out of an old sweater
—hose rolled into a headband to make ears
and a symbol drawn on paper and taped to the chest,
a garbage bag for a cape—the knot at the neck coming loose.
I don’t know why I’m thinking of it now
only how at this distance she stood so still. . .
how in her posture were all the possibilities
you could be trampled by—the invisible scrawl
her tail drew in the air dispelling the flies,
and the open sores making
a constellation of half-visible wounds
in the fur. For the rest of my life
this won’t change, no matter how hard
I squint into the bright day.
This dust, trampled earth, a horse whose eyes
seemed to glow behind their crude screen
like the phloem of black locust beneath
the bark—chatoyant, impossible to recreate.
I knew a girl in high school
who had to learn to speak again
after getting thrown from the back of a pick-up
after a football game one weekend. I heard she got better,
and works in a bar in Atlanta now
where they wear almost nothing and where
each night she makes mixed drinks—margaritas
and Johnny Apple Mules, and doesn’t get home
until the sun rises. She studied poems in school,
like me, and hasn’t been touched in years and so
maybe has figured out, if I had to guess, a way
to remain pure and indelible. In those days
the girl’s father raised Percherons
and sold them to farms to work
on hillsides covered in milkweed growing right up
to the crooked fences which had been there
for generations. And the horses were giants,
having descended, it seemed,
from the Holy Bible and the mouth
of God, how they commanded your attention
as they lumbered out of the morning, or dipped their heads
to drink from a vein of creek water, how they stood
upright on the crest of a hill at dusk.
Breath by breath the days fell away
—the crosses erected to mourn the dead, wreathed
in flowers and placed along roadsides disappeared. Storms
brought down trees on billboards advertising
year-round ATV rentals and salvation. Work
was never scarce—the tourists coming in from Florida
and New York, escaping the heat each May
stayed a little longer year after year
and complained when no one was available to clean their gutters
to the clerks behind the counter at the general store.
Before the ordinances designed for the tourists’ satisfaction,
when I was maybe seven, in church, I’d taken communion
and the blood of Christ was semisweet in my mouth
and reminded me of the almost metallic scent
of warm pavement in a short rain on the narrow roads.
And I figured out much later
how appearance becomes action, gradually, by doing
nothing at all. Every now and then, someone would slip a few dollars
from the collection plate and no one got caught. Then,
I wanted to come to a place I could be forgiven, and
maybe it is here, though the light has broken through the maples at just
the right angle to blind me, to make me look away
for a moment. What was the scattering
of leaves in the wind and the whoosh of water
in the river behind me, the white noise in the ear
the aftermath of ringing, like the church bell signaling the hours?
Out past the beech forest, and west
the sun is beginning, at last, to disappear and this pasture
is going on to become a remnant. And maybe
across town a woman who has lived alone
for fifty years in the house she was born in
sits down and closes her eyes to picture the woods
before they were leveled for condos all around
her now—so that it looks out of another time.
As a child I saw this place as mostly empty and quiet
and watched my stepfather wake in the middle
of the night to respond to structure fire,
and then at last return for good as my father. Somewhere
through that rough darkness—the radio
still clicks with his voice here and there
in the bedroom where my mother would stand—I can see her
in a white nightgown and the moon over the ridge
through the window—in the absolute center
of silence, and she must be praying, mouth closed,
though she says nothing.
And me? I’ve been studying,
just like the dark has, how this horse cocks one ear
in my direction at all times. By now
night has fallen on her back, and she has begun
to carry it over the hill and up toward
the bales of hay which listened
and I could hear it too—alone
with my thoughts. It hummed a little in the background—
like Time, like a prison guard
with a tune stuck in his head, one I learned
as a boy—there in the passenger seat
looking across this same open field and the quiet
that afternoon which once could have been
the last day on earth—
just a slash on a concrete wall now, and the horse
in a crooked amble across the empty field.
Matthew Wimberley grew up in the Blue Ridge Mountains. The author of two collections of poetry, Daniel Boone’s Window (LSU, 2021) and All the Great Territories (SIU, 2020), Wimberley’s work has appeared or is forthcoming in 32 Poems, Image, Orion, Poem-a-Day, The Threepenny Review, and elsewhere. He lives and teaches in the mountains of his childhood.