
The puzzle’s large enough —the image
that of a sweet, sunny summer afternoon: a man lazes
in a hammock wearing a paper hat and drinking
a pint glass of Guinness Stout,
an advertisement from 1960.
When was it? —just the other day we found ourselves
explaining the same thing
to each other about that balance one needs to strike
between aching for that one piece you need to find,
convincing yourself it’s lost or doesn’t exist,
then go-finding some other fitting shape
given up on previously,
how you claim finding —that— your due reward
for genius not luck—how ten more pieces
then fall into place so effortlessly.
The art of this process: pressing
then not pressing for result.
Soon we’ll likely finish; might leave the thing
out a day or two.
Then it will be put back in the box, broken down again
into a thousand pieces.
I mention this at breakfast and, before I can tell her
I’ve made the same connection, she compares this
to the way those Buddhist monks regathered the sand
painting they’d done: an intricately patterned mandala
composed, grain by colored grain.
Weeks of work; we’d watched them at it
then the ritual when finished: sand swept into a bucket,
carried in solemn procession across the college campus
to the edge of a pond.
Unintelligible prayer-chants, then silence.
The sand thrown in clouds over the water.
A whispering sound as each particle struck
the water’s surface.
—kiss—kiss—kiss—
My mother’s old wry line comes to mind.
“Kiss it up to God,” she’d say.
—kiss—kiss—kiss—
It was advice about disappointment, I think,
about letting it go, or accepting it, usually meant
more as humor than wisdom.
“Kiss it up to God.”
I hear her voice and wonder
if I’ll find the place for that to fit.









