By dawn the flies
released their shape into
the soothing wind and what
came back was the weary pulse
of dying wings grafted to the day.
What world was this inside their
dark heads that honoured the
photograph over the experience,
that held up frivolous wealth like
a deserved trophy?
What faith was plucked with the flowers
as all their little tongues reached out to pocket
the short-term scent?
The flies live in their high castles like undergrounds
enjoying only the drive and privileged complaints.
They call themselves the philanthropists and
the even-tempered elite.
But I see them in the honey jar
and count them as already gone.
Copyright © 2004 by Allison Grayhurst
First published in “The Write Room”
You can listen to the poem by clicking below:
“Allison Grayhurst intertwines a potent spirituality throughout her work so that each poem is not simply a statement or observation, but a revelation that demands the reader’s personal involvement. Grayhurst’s poetic genius is profound and evident. Her voice is uniquely authentic, undeniable in its dignified vulnerability as it is in its significance,” Kyp Harness, singer/songwriter, author.
“Allison Grayhurst’s poems are like cathedrals witnessing and articulating in unflinching graphic detail the gritty angst and grief of life, while taking it to rare clarity, calm and comfort. Grayhurst’s work is haunting, majestic and cleansing, often leaving one breathless in the wake of its intelligence, hope, faith and love amidst the muck of life. Many of Allison Grayhurst’s poems are simply masterpieces. Grayhurst’s poetry is a lighthouse of intelligent honour… indeed, intelligence rips through her work like white water,” Taylor Jane Green, Registered Spiritual Psychotherapist and author.
The River is Blind chapbook review:
“An existential curiosity courses through Allison Grayhurst’s latest collection. It’s Grayhurst’s physical constraints that comfort us: a box sitting at the top of the stairs, housecats in states of wakefulness and sleep, the “snails and moss” that preoccupy her. Indeed, The River Is Blind situates itself firmly in the familial but imbues those relationships and domestic touchstones with a disembodied calm. Ambition and disenchantment linger along the fences of Grayhurst’s property but she remains candidly in the present.
“In lesser hands, muses such as these might’ve resulted in verses of weak-kneed contentedness. But Grayhurst’s voice remains one of detachment, webbing daily pleasures into greater meditations on love and God. Through spiritual lens, poems like “Everything Happens” and “Flies” counteract steadfast faith with insights on the material world, a separate world; a place where people grind flowers for honey,” Ryan Pratt, Ottawa Poetry Newsletter, January 30, 2013