The plant etched on the wall sits in its potas calm as anything—as any thing nothuman. The cars sough by, less frequent than at day.If I switched off the lightagain, I’d see again how theytrace ghostlike, restless lights across the walls,emblems of human hunger.The old wood mantle-clock callssomeone, me, to task—more briskly than a heart.The shadow clearly forms a parrot, perchedon the edge of the pot,its head turned to the right—above it, on one side,a stem with paired leaves stretching out like arms,and on the other sidea single leaf shaped like a heart.Perfectly composed and colorless,it mocks what it is not.The errorless bird is absolutely still,having no need to stir or speak at all,not being in need of a mate, or hungry, or real.—Jeredith Merrin, “The Shadow Plant”Art Credit Carol Crawford

The plant etched on the wall sits in its pot
as calm as anything—
as any thing not

human. The cars sough by, less frequent than at day.
If I switched off the light
again, I’d see again how they

trace ghostlike, restless lights across the walls,
emblems of human hunger.
The old wood mantle-clock calls

someone, me, to task—more briskly than a heart.
The shadow clearly forms a parrot, perched
on the edge of the pot,

its head turned to the right—above it, on one side,
a stem with paired leaves stretching out like arms,
and on the other side

a single leaf shaped like a heart.
Perfectly composed and colorless,
it mocks what it is not.

The errorless bird is absolutely still,
having no need to stir or speak at all,
not being in need of a mate, or hungry, or real.

Jeredith Merrin, “The Shadow Plant”
Art Credit Carol Crawford

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    Ruminations on perfection, the last line like the closing of a door.
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