Return to site

41st Literary Award Winner for Poetry

Robin Myers of Washington, VT

Robin Myers 

Love Poem for Carl Sagan

The Pioneer 10, the first spacecraft to leave the solar system, carried with it a six-by- nine

inch gold-anodized aluminum plaque engraved with a message—information on the

origin of the spacecraft and on the human form—in the event of its interception by

advanced extraterrestrial life. The plaque includes an outline drawing of a nude man and

woman. Carl Sagan co-devised the message, and his then-wife, Linda Salzman, made the

drawing.

A man and a woman float, not touching, through space.

Space is a word we use for emptiness,

which is to say, somewhere without us.

Engraved onto their metal plate, they float, the man and the woman,

their hands apart, toward whatever kind of void

may absorb them, whatever kind of creature might someday

reach out an appendage, membrane, vacuum,

or other mysterious receptor it might possess

to receive them, or not, in an attempt to learn, or not,

what a woman is, what a man is,

how their calves are shaped, how they fix their fingers

in a gesture of greeting or rest.

The man and the woman, floating in space,

don’t touch each other, lest the unimaginable creature

mistake them for a single organism,

amorphous, semi-symmetrical,

conjoined at the hinge we experience as hands.

The man and the woman who don’t touch

are each a solid outline, placid-faced, blank

by design, their bodies emptied of color, organs, accessories

that would reveal their particularity to Rio de Janeiro, say,

or the Bible Belt, the Congolian forests, the Sahara Desert,

or anywhere else.

The man’s penis is present and flaccid.

The woman’s vagina is neatly triangular, unclefted,

appeasing the censors. There is,

let me be clear, absolutely no touching.

Oh, Carl Sagan, the pressure!,

the harrowing weight of responsibility

wrought into metal, now hurtling chastely

through the infinite virginity of space.

What a task, this immutable 2-D lesson

in everyone’s anatomy: pasteurized

into lines, decorum, and approximate proportions;

no flesh, no function, no friction of any sort,

no moles or scars, no assembly line amputations,

no beards, most definitely no vulvas,

and no involvement, in the sense

that my foot is involved with its sock, its shoe, the throw-rug,

the doctor involved with the thermometer

she tucks into the old man’s armpit,

and so with the man to whom both arm and pit belong.

Above us, a man and a woman,

not touching, now untouchable

forever in memory of us,

float through space,

godly, finally, as we have always wanted,

or at least in the only way

we have ever imagined.

All right, Carl Sagan,

all right, it’s true.

With the sketch of any human form

as the ultimate portrait of what we are and do,

there would be simply no way around mutation:

a girl on a bike turns mythical,

a gentle beast with two-wheeled wings

and edges that change shape in the wind.

What would they make of us, the inconceivable others—

foreign to us in the texture of their flesh, if they have flesh,

in their intimacies with time, if they count time,

in the question of whether they too thirst for salt,

if they thirst at all, if they are a they at all—?

Behold, indeed, the menagerie:

Man and woman holding hands, then letting go.

Man combing daughter’s hair.

Woman passing tongue along woman’s collarbone.

Man seizing man by throat.

Woman and man and man and woman and woman and woman

and man and woman and man and woman huddled against each other

involuntarily on subway.

Woman tearing pork from bone with teeth.

Man cradling pistol.

Girl touching self to sleep in shack with corrugated tin roof.

Boy kissing boy in shadows of lake and waiting

sixty years to speak of it.

Man reaching to woman on memory foam mattress,

which nonetheless forgets them as they struggle

to meet each other at the molten center of what they feel

and vanish into the space between them.

Not long ago, a man and I sat beside a waterfall

with our legs in the current and our shoulders touching.

I know I felt the vast feral body of the river

and the brief warm body of the man and I know

my body was involved with both, and who can say

that we didn’t make, together,

even for a moment,

a new animal?

About the Author

Robin Myers (New York, 1987) translates Latin American literature and writes poetry. She was a resident writer at the Vermont Studio Center in 2015 and the first-place poetry winner of the Enizagam Contest. Robin is currently based in Mexico City.​

You can connect with her on Twitter here.

Express yourself, share your

thoughts, and congratulate Robin

in the comments below.

July 31, 2016 is your last chance to enter Awards Contest 42!

All writing levels are welcomed and encouraged.

Poetry • Fiction • Flash Fiction • Nonfiction

You can also grab a copy of the 24th anthology or join NMW's email list.

All Posts
×

Almost done…

We just sent you an email. Please click the link in the email to confirm your subscription!

OKSubscriptions powered by Strikingly