(Droplet) no peace at all.

St. Sauves, Henrique Pousão, 1881

Children picking up our bones
Will never know that these were once   
As quick as foxes on the hill;

And that in autumn, when the grapes   
Made sharp air sharper by their smell   
These had a being, breathing frost;

And least will guess that with our bones   
We left much more, left what still is   
The look of things, left what we felt

At what we saw. The spring clouds blow   
Above the shuttered mansion-house,   
Beyond our gate and the windy sky

Cries out a literate despair.
We knew for long the mansion’s look   
And what we said of it became

A part of what it is … Children,   
Still weaving budded aureoles,
Will speak our speech and never know,

Will say of the mansion that it seems   
As if he that lived there left behind   
A spirit storming in blank walls,

A dirty house in a gutted world,
A tatter of shadows peaked to white,   
Smeared with the gold of the opulent sun.

A Postcard from the Volcano, Wallace Stevens.

There’s no peace at all. I came nearer to the sound, a day cast by a wax-white sun that swelled with a tepid aura, and oozed suavely into the shade of the bushes. There’s now but serried bricks and mounds of pale rubble, spotted with blackness that would trail into the brambles and blackberries. My father’s childhood home is now a print of a time that moves in all directions, and not a speck of memory stands within the reticulated squares which were once rooms, not a piece of tinged cloth used to press a pan, not a foot of an old cabinet, or shards of a vase, not even ash from when the house was consumed. Even a ghost by my side, in a deadness as potent as that which whispered by, would undoubtedly find itself sucked dry of its hyaloid windiness. The only thing hammering the mind were flocks of motors rushing upwards nearby; the first national road of Portugal, built years prior to my father ever seeing the first haze of light, was still intactly conserved, heat bounced off the new asphalt like a transparent scourge, dead as the aurora of the derelict, and cars seemingly flutter along a road that has seen wastelands become radiant settlements and return to wastelandishness in the span of a decade or two. A crooked path finding itself stuck underneath the skeletons of the cycles.

There’s nothing left for us. In a land treacly with the scent of orange, pear and grape, a soil thick with bounty, a mantling velvet hued of peridot, there’s a legacy of small bones and abandonment. One of my aunts, taken by typhus at a count of no more than three years, rests earthed-up somewhere along the rocks, near a cork-oak; she was taken to silence before she heard even a song. Beneath the unstained, swelling sunlight, my grandmother had ten children, surviving two of them. The other she did survive ran sylvan in my imagination when I was a child; he was a poet, they say, gifted at the conjuring of words, talents he exhibited from young age. He’d stride the village clamouring his tunes, a chamberless troubadour, a puerile Baudelaire collecting lent lilles and gifting them to the damsels along with mellifluous sonnets. From while to while, however, he couldn’t hold himself against the streak, and was pursued by a bout of inner demons that, seemingly out of nowhere, would give him implacable depressions. Out of all he did write, only a handful of letters he sent from Lisbon to his mother and siblings survived; and, despite my trials, I was never granted a chance to read any. I fill, then, with buckets of vivid paint, what he might have expressed and how he might have impressed it, how his heart may have been burn-bitten, how what environed him as a child and adolescent, the squalid house in which he grew, the indigent life he likely lived, all serve to create this warm, celestial dream in which I conceive of him not as a lost genius, but a genius at trying, beyond his means of trial and beyond the disinterest he was probably met with, as one may assume by the lack of surviving papers.

He died relatively young, purportedly of epilepsy, resulting from complications he had at birth. Unlike the youngest sibling he lost, however, his tombstone still lies in a common graveyard, next to his mother, not two kilometres beyond the forsaken ruins of his childhood. Of what he left, like a pool in heat, all has but dissipated along the web of his multitudinous siblings.

A little ways forward from the derelict house, I can sit atop the brims of a century-old bridge over-crossing a faded stream, upon which only flows a capillary of water, and overlook the fields: there, in the distance, before the hills preclude the view, I still find no peace at all. Peeling back the cover of humidity that beclouds my eyes as the dry sunlight penetrates them, there stands a field of potatoes that was once arable year upon year, owned by a man that raised me year upon year; there, I first had laid a seed, and first harvested the bulb of my seeding. There, I owned my first dog, Estrela, that every afternoon would be released and wander through the entire village, be petted by the baker and the paperboy, the priest and the butcher, and upon the unmistakably voluble and striking whistle that man produced, she would return immediately, without falter. It was a mechanism, a discipline, that I find branded in my stringent mind in form of a whistle that I will never obliviate. There I first fed chicks and was first pecked when I took their eggs, and first darted around twisting reeds river-side so I could break one off and use it as a sword, or a spear to look for spider burrows along the mounds of excess earth from the ploughings.

The field, as the stream, has now all dried-up, and a sheet of hearty gold overlaid it through all manners of desiccated shrubbery. In all of its slumbering victory, looking at it now, from afar, from an underworld of beastly distance, it gives me a terrible cold. There’s no peace of all. The man who raised me there is buried not twenty-steps from the grave of my poetic uncle, which is two metres from my endlessly sacrificing grandmother, which is two kilometres away from my aunt which will perpetually rest in a youthful silence. There comes a point in one’s life where home is but a vast geometry of longing, an unbearable resting place, a cold light. A place shadowed by the towers of our loss. A place with no peace at all, that no one left.

Casas Brancas de Caprile, Henrique Pousão, 1882