1
an enchantment spelled
in the blue whisper of your voice
disembodied in the dim light–
a pretense of sushi and saki–
a stolen hour
2
the stitches accumulate,
suspended from needles
awakening color and fiber
into patterns, images,
ideas, dreams
3
a glittering ocean of blue
starlight afloat
massive celestial waves
unmoored no longer conjoined–
an ancient sentient land
4
how can I remain here,
undecided on the edge,
an intruder seeking
to override forces
I neither recognize nor understand?
5
all tautness,
the bow hovers between
contingencies, conclusions, desires–
I hold my breath
inside the heart’s beating wings
The NaPoWriMo prompt today is to write a poem in which you first recall someone you used to know closely but are no longer in touch with, then a job you used to have but no longer do, and then a piece of art that you saw once and that has stuck with you over time. Finally, close the poem with an unanswerable question. A prompt that seems ready made for a cadralor. The first four stanzas answer the prompt. Stanza 5 is the conclusion required by the cadralor form, the one that illuminates a gleaming thread that runs obliquely through the unrelated stanzas and answers the compelling question: “For what do you yearn?”
K. 
Even as it offers answers, life remains a mystery.
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Always. Thanks Ken.
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Love it, and what a good idea to make a cadralor from the different segments. The opening stanza is beautiful, a memory to keep in the dark, wrapped in tissue paper.
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Thanks Jane. Writing about it made me see some things I failed to notice at the time.
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We all get older, but if we’re lucky, we get wiser.
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Or at least we learn to pay closer attention.
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True. And paying closer attention implies a desire to learn more about it.
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This is so beautifully done, Kerfe! The cadralor is perfect for this. I particularly like the first and last stanzas.
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Thanks Merril. This was a thoughtful and thought-provoking prompt.
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You did it so well.
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I think you did choose the perfect form for this prompt, and you made it sing!
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Thanks Ingrid.
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and I’m just popping by to say how exciting it is to see the human figure in your accompanying painting.
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Thanks Phil. Redon often used semi-drawn faces in his paintings, and that was what I was trying to emulate. I used to do a lot of faces, but not so much lately.
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