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The Book of Lamenting

Lory Bedikian

Levine Prize in Poetry (2010)

Lory Bedikian's The Book of Lamenting begins within a foundation of lyricism -- "On the back of every tongue in my family/ there is a dove that lives and dies." Bedikian recognizes the genuine world of the imagination, one we inhabit but often lose sight of -- a world with "floating hieroglyphics of flame," where sometimes one must "[e]mpty your pockets/ of the noise you carry" and "count olives/ in place of coins." Wisdom rises up through the losses in Bedikian's poetry. One poem begins -- "The year 1997 rose like a spiral staircase/ into a ceiling of darkness." The Book of Lamenting ascends into the darkness in a similar way -- bringing us gifts of light and memory, so that the small doves at the back of every tongue might sing. -- 2010 Levine Prize judge Brian Turner
These are poems that make a rare intersection between history, the intimacy of memory and an unswerving attention to craft. They are attentive and melodic and we follow the speaker from dark to light, and back again, in poem after poem. This is a wonderful debut collection. -- Eavan Boland
Lory Bedikian's The Book of Lamenting is a well-made vessel of inherited memory and experience where family becomes a country -- a country of the soul that matures on the border of an urbane psyche. Each poem brims with darkness and light that reflect personal and cultural tensions. Thus, the emotional landscape here is rounded and shaped through an imaginative exactness and sobriety. A pure pleasure lives in The Book of Lamenting, but never purely for the sake of art; these fluid, urgent lines engage the humanity we all share through memory. -- Yusef Komunyakaa

Book Cover Goes Here

Cover: Ephraim Rubenstein, "Still Life with Burned Books"


Beyond the Mouth

On the back of every tongue in my family
there is a dove that lives and dies.

At night when my aunts and uncles sleep
the birds comb their feathers, sharpen beaks.

They are carriers, not only of the olive
branch, but the rest of our histories, too.

As from the ark, we came in twos
with tired eyes from Lebanon, Syria,

the outskirts of Armenia, anywhere
safety said its final prayers and died.

Like every simile ever written, the doves
on our tongues are tired and misread.

Dinners begin with mounds of bread,
dialogues piled between the older men.

Near our dark throats, the quiet
birds lurk to watch meals descend,

takes phrases that didn't reach
the truth and spin them into nests.

Now and then, we spit them out in shapes
of seeds, olive pits, spines of fish.

The men never watch what enters past
their teeth, what leaves their moving lips,

and the doves know this. The women shut
their mouths when they don't approve

of the squawking laughs. There is a saying
(or at least there should be) that if one doesn't

believe what is said or true, they can ask
the dove on the back of the tongue

and it will chirp the ugliness or the pitted
truth, of how we choke on what we hide.


The Book of Lamenting

begins on edges of highways

where the sun raises its swollen belly,
grasses outgrow themselves,
vineyards wither their nerves.

The sun cracks the dashboard,
slithers between rows of eucalyptus, juniper,
rolls along the wheels of trucks.

Past crows that caw, pod atop railroad crossings,
the engine cranks its monotonous pulse, distracts me
from posted signs, the yellow snake that guides me along.

This is where I find reasons to question the living,

my father's face held
in his hands, his brows etched
in the stained glass of the missions,

my mother's sacrifice dwelling
in deserted turnpikes, her eyes
gazing from overgrown orchards.

Trees disappear. Dried brush crumbles
into camel's fur. In the distance, no horizon,
but tumbleweed large as sheep.

This is where I am when the world has closed its ears,

alongside rusted tractors, abandoned fruit stands,
roaming for hours, nothing but barbed-wire fences,
nothing but the smells of harvest and gasoline.

The road matters more than the earth,
more than those on the road, it turns
into a spine, ladder of teeth and bone.

In the passenger seat, my grandmother's ghost
holds a palm full of seeds, scatters them
skyward for the crows to eat.

All of it behind us now. She tells me
not to tangle my nerves, not to stop
the creed of the open road --

nothing that runs can stay the same.


Self-Portrait with Crane

On road trips, no coastal fog rolling in
brings me the sea gull or sandpiper

shifting from water to sky,
but the common Armenian crane

who treks across the Atlantic,
breaks through California clouds,

haunts the laurels, the eucalyptus,
a message tucked in its beak.

In riffs strummed on midwestern guitars,
I can hear the duduk hound me

with its drone of apricot wood,
piping a monotone dirge, driven

like the tumbleweed. In New Mexico,
each flute player's eye turns

into the pomegranate seed.
Going east should bring foliage

but I see the blue eye in trees.
For days, New England's sediment

drops into riverbeds, bends
into Gorky's brush strokes.

No relief. Ghosts float west
from Ellis Island, crosses tattooed

on their forearms, worry beads
pebbled in their grip. Even as I watch

the World Series, a fly ball
turns into the crane.


The Book of Lamenting - Available now from Anhinga Press

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Document last modified: August 17, 2012 12:39 PM