The ambulance wends its way through conifers. All screams
déjà vu. They give you room 16. It reminds me of our hotel
in negative. I share a sense of prescience. You on a gurney
say ‘it’s by design’, which again was expected.
Shuffled in, your glass doors open to a garden of squirrels.
Close, the jingle of an ice cream van. You slurp a cornetto,
sure it’ll make you puke. A final wish, with fizzy lemonade.
Ice cubes too, on tap. Ice gold, nil by mouth. Every sip, bliss.
Doctors crowd round with clipboards, a welcoming party. No
prophets of doom. Smiling receptionists. They list objectives.
They come, go. They begin sentences with so. You ask to be
‘safe, happy.’ I talk of ‘art class, garden visits, lucid chats.’
Outside, benches where we’ll slow and squeeze a lifetime,
pretend our future veranda. This jolts a small resurrection.
‘Fling open the doors, windows,’ you cry, ‘let the squirrels in.’
I comply. Wind catches curtains, sends the cactus spinning.
By day, more dreamlike than dream, a way-station. The light’s
tinged, a polaroid, like this already happened, was meant.
The full sunlight, inappropriate, the solstice ill-timed, spent
as I sit by your bedside, whisper though light-headedness.
I say everything – again – everything I want to say. Words
dense, right into your ever-waking ear. The final sense. Last
words, you requesting your hair washed, the hairdresser and
aromatherapy lady. So random, far from drama, non-events.
Then comatose days. Corridors, nodding nurses, nulled time,
snack bars, numbed out, peering through slats, wax, soap-like,
Madame Tussauds, open mouths. No yawn. By night, to your
door, moth-like, your lamplight through the nightmarish gap.
I catch your breath, nothing else. Nevertheless, it’s etched,
taken back to the camper bed. Routinely I enter, reassure you,
how close my vigil. Quick, before leaving, I kiss your forehead.
Next morning I’m told your lips are white. I check fingertips.
Outside’s sickly warm again. Volunteers knee-deep in weeds,
lawnmowers dragging a din. Likewise, inside, hoovers mutter,
say we’re earthly still. Vitals no longer matter, just measures
of distress. The room smells of cabbage, your skin porcelain,
hair spread, Pre-Raphaelite. The CD player spins, loathsome
notes, panpipes. You talk with an eyebrow. That and twitches
of your cruicked arm. Your lips, paralysed. A straw no longer
knocks your nose pipe. Your hands warm, as they were at home.
I dim your side lamp with a scarf. The gestapo bulb overhead
gives me a migraine. Syringe drivers bleep, end a programme,
and a sparrow sings like a normal day. Pine trees surround
the grounds, while your observed breath beats, primitive.
Through doors, dandelion seeds swarm, souls in June heat.
They drift, orbs. They drift, fall. They are, I think, past residents.
A pastor offers a sticking plaster. I confess, want to follow you
to fields of patchy grass, roundabouts. I dream of tumbleweed,
wait for a knock at my door, on pins, wait for the knock, news
of a change of rhythm. Hours pass, lighting candles, listening
to news 24. Panic managed, diazepam, a fact sheet. A scream,
withheld, says why are you not doing more. Surely a remedy,
the vestige of hope. I just mop your legs with frankincense.
All I do is say – again – how I’d gift you my every limb. This
as fatigue overwhelms, cells go haywire, your body turns on
itself. A bee stinging, which stings and takes the consequence.
Vinyl butterflies cling to your bed. You’ll never notice them.
They take the place of eloquence. I recycle those same words,
repeat them again. I kiss your fringe, stroke your lobe, mourn
those wispy bits on your cheekbone, lashes the nurses praise.
I call to angels in agnostic space. I am here for the vapours,
for the portents. I am here as witness. Only now should I pray?
Enough of this horror show. Enough of this pincushion flesh.
Enough of vomit, faecal taste. Enough’s enough she finally says.
About Patrick:
Patrick Wright was born in 1979. He completed a PhD in English at the University of Manchester in 2007, supervised by Professor Terry Eagleton. He graduated, more recently, with an MA (Distinction) from the same university in Creative Writing, and is now working towards a second PhD at the Open University, focusing on ekphrastic poems in response to modernist painting. Here he also teaches Arts and Humanities modules, including Creative Writing. His poetry pamphlet, Nullaby, was published by Eyewear in 2017. His poems have appeared in several magazines and anthologies, and he has been shortlisted for the Bridport Prize.
