Music I heard with you was more than music,
And bread I broke with you was more than bread;
Now that I am without you, all is desolate;
All that was once so beautiful is dead.
Your hands once touched this table and this silver,
And I have seen your fingers hold this glass.
These things do not remember you, beloved,
And yet your touch upon them will not pass.
For it was in my heart that you moved among them,
And blessed them with your hands and with your eyes;
And in my heart they will remember always,
—They knew you once, O beautiful and wise.
I love all films that start with rain:
rain, braiding a windowpane
or darkening a hung-out dress
or streaming down her upturned face;
one long thundering downpour
right through the empty script and score
before the act, before the blame,
before the lens pulls through the frame
to where the woman sits alone
beside a silent telephone
or the dress lies ruined on the grass
or the girl walks off the overpass,
and all things flow out from that source
along their fatal watercourse.
However bad or overlong
such a film can do no wrong,
so when his native twang shows through
or when the boom dips into view
or when her speech starts to betray
its adaptation from the play,
I think to when we opened cold
on a rain-dark gutter, running gold
with the neon of a drugstore sign,
and I’d read into its blazing line:
forget the ink, the milk, the blood—
all was washed clean with the flood
we rose up from the falling waters
the fallen rain’s own sons and daughters
and none of this, none of this matters.