The endearment ending “peaches” was published a couple weeks back as part of the 100,000 Poets for Change anthology at Fieralingue. This is really a coincidence of timing—it happened to be ready, and the anthology call was there, a confluence which serves to foreground some things about the poem that I had formerly been muttering about to myself only.

For so long I had the best-words part of this endearment, but the best order for them eluded me. So a narrative emerged to help me as I revised. “Cease,” “ash heap” and “cheep” suggested a phoenix to me—burning up, then resurrection. “She paces, hep as cash” felt like the push against the feminine that I sometimes feel. The “she” in my mind was wearing tweed, and a little cap, possibly. Expecting trouble but brazen in the face of it. About to change. Maybe to embody the gender he really was. Maybe just to bust loose.

I said the story about resurrection and about gender to A. a while back and he did not buy it. It seemed too far-fetched to him. I was disappointed, but as I have mentioned before, this circumstance is okay—the phoenixical skeleton upon which I have draped the poem as I’ve worked on it is not an essential part of the finished poem. It is less skeleton than clothes-horse. I pat it on the rump, say thanks, and let it run off into the field where retired clothes-horses spend their days.

Because I don’t want that framework to determine an end-meaning for the poem. It can’t, realistically; it’s not part of the poem proper, and the markers that originally suggested it often change as I revise. “Cease” became “Cease speech”; that and the “cheeps” at the end may say something about language. A change of language. A good silence, then (a) great cheer.

On September 24, the day of 100,000 Poets for Change, I’ll hand out broadsides of the peaches endearment. If you would like one, you can let me know. I am for change.