after Ravel
Their Corolla concerto warms
the cold city, mink and morose
behind drawn glass. Police shoo
traffic off Blue Hills Avenue.
Rubbernecks can’t help but look
at the body. Perhaps he’s risen,
buoyant in death. What is left
behind sits politely: wearing
a seatbelt, hands folded over
his lap. Here comes The Ghost
in a shroud. An officer waves
a baton like Karajan at the coda:
a morning auspice of levity,
where even percussion floats.
Click here to read Matt Vekakis on the origin of the poem.
Image by Winston Chen on unsplash.com, licensed under CC 2.0.
Matt Vekakis:
“Drive-by Apothéose” attempts to thread two poles of the human story. In the summer of 2016, I witnessed the aftermath of a drive-by shooting in Boston’s Roxbury neighborhood. I remember little of what I saw. But the incident shattered my young and very naïve idea of the human capacity for violence. Following this figurative thread to its opposite pole, I have long been inspired by the zeniths of human ability. “Apothéose” draws sound and texture from Maurice Ravel’s Ma mère l’Oye: a concentrate of zeniths that culminates in a bevy of percussion floating across the ear. The tension of “Apothéose” lives here — with both poles facing the other. Damningly, we must consider our own potential for brilliance and depravity.
Matt Vekakis is a queer poet and recent graduate of the MFA program in poetry at the University of Florida. His work has appeared in The Sewanee Review, Prairie Schooner, Great River Review, and Southern Humanities Review. He lives with his husband in an old mill on the Blackstone River and runs the Writing Lab at Rhode Island College.
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