Before the Levee Comes Down
by Kyle Laws
Murals stretch up in the afternoon sun
and what’s reflected back into the river
are primary colors painted on the levee
by those who dangled by ropes from the top:
reds, yellows, and blues.
And as the river flows east the blend of primary
becomes secondary: red and yellow become orange,
yellow and blue become green. This is the function
of levee—creation of color as river moves over stones.
Where the river eddies, in the swirl where kayaks
hope not to tangle, are remnants of last night’s party:
barbecued pork rinds mingled with burnt twigs.
Underfoot is a crush of rock that is trail. My boots,
thick-soled, can scale the opposite bank. I can pull
myself up by saplings that know there is water,
that have roots enough to get me to a place
where I can see the murals, not in reflection,
but as if atop the horse Lady Godiva strides
that’s next to the rendition of Joan of Arc.
Even with the smell of algae, I want to drink
of the river, submerge myself hidden in a cluster
of trees, know that as I arch my back to rinse hair
of debris, green will trickle into my mouth.
I stumble down the wooded bank, take off boots
and orange-ringed socks, watch paintings for what
could be the last time while feet whiten cold and
stiff in the river from a slip of rock that extends
into the Arkansas on its way to Kansas.
Previously published in Turtle Island Quarterly and in Ride the Pink Horse (Stubborn Mule Press, 2019).
PHOTO: Mural on levee along the Arkansas River in Pueblo, Colorado. Started in the late 1970s as isolated patches of graffiti, the sprawling mural grew to become almost two miles long and 58 feet tall. (cpr.org).
NOTE FROM THE AUTHOR: The levee along the Arkansas River through Pueblo, Colorado, built for flood control, featured the longest outdoor mural in the world. In 2014, the top layer was taken off for repairs and the height shortened. All the paintings were lost except for a small section that contained ashes of the artist, Judith Pierce.
PHOTO: The levee in Pueblo, Colorado, after the top layer was removed, before what remained was resurfaced. Photo by Allison Kipple, used with permission. For more about the mural, visit cpr.org.
ABOUT THE AUTHOR: Kyle Laws is based out of Steel City Art Works in Pueblo, Colorado, where she directs Line/Circle: Women Poets in Performance. Her collections include Ride the Pink Horse (Stubborn Mule Press, 2019), Faces of Fishing Creek (Middle Creek Publishing, 2018), This Town: Poems of Correspondence with Jared Smith (Liquid Light Press, 2017), So Bright to Blind (Five Oaks Press, 2015), and Wildwood (Lummox Press, 2014). With eight nominations for a Pushcart Prize, her poems and essays have appeared in magazines and anthologies in the U.S., U.K., Canada, and Germany. She is editor and publisher of Casa de Cinco Hermanas Press. Find her on Facebook.
Silver Birch Press 