Marie Ponsot’s Ever-Fixéd Mark

Abstract

Marie Ponsot’s Ever-Fixéd Mark David Yezzi (bio) Every poet has her tutelary gods—those guardians, daimons, or genii of place that guide her and watch over her. Often, though not always, these are fellow writers—colleagues or eminent predecessors conjured by a Lararium of photos tucked on bookshelves or tacked above the writing desk. Their familiar faces keep watch, radiating encouragement and occasional censure, but always with an offering of fellowship, founded on a shared experience of craft and cunning. Such kindred spirits offer proof that many have spent and others will spend their lives in the pursuit of the peculiar activity of writing poems. They, too, overcame fallow periods and the loss of faith, in order to fashion something striking out of words, something life-filled and, perhaps, even lasting. Such household deities offer courage. Many such guiding spirits peer out from the poems of Marie Ponsot who, now in her tenth decade, has been recording their voices and lives in a half-dozen books of poetry, beginning with True Minds in 1956 and up through her most recent volume, Easy from 2009. (Her gods have also seen her through dozens of books translated from the French, including her brilliant versions of the Fables of La Fontaine.) Ponsot’s women—for her poem-portraits are almost always women—lead by their example. These mothers, daughters, teachers, lovers, bohemians, adventurers, scholars, and poets act out of a fierce resolve to face down successive challenges, both the ordinary and extraordinary. Let the fearless Eunice B. Winkless, photographed midair on horseback in 1904, serve as an example of the extraordinary. Winkless’s daring speaks to anyone—parent, traveler, artist, teacher—who is called upon repeatedly to take a leap of faith. Imagine the scene: it is the Fourth of July in Pueblo Colorado. Eunice Winkless rides past a crowd of eager spectators atop a tall white mare, her Gibson-girl hair swept up high on her head and tied with a black ribbon. Ponsot’s poem fixes her there: Regal as Iphigenia taking the upward course in a drift of white eyelet muslin she rides the animal horse. Merrily fife & drum pace their climb. Women think prayers, set to not-look, just in case. Men do not snigger, forget [End Page 506] their faces/ladies/bets, and stare once she reaches the platform. The crowd—women preparing to look away, men staring unflinchingly—has come to see a woman ride a flying horse (Pegasus being, as Ponsot knows, the symbol of poetry) out into thin air. What runs through her mind as stories below her, “[t]he pool glints like a tame star on the ground”? Before she has time to ruminate, the decisive moment arrives: Out & groundless horse & girl drop flying clear of equilibrium Her body jockeying air touches only bridle & with one knee, horse, as nothing to spare they head for the hope they head in dread in dread for the pool. Then follows a stanza break, like a caught breath, after which Winkless’s relief mingles with rue: To herself she says among her wet hair, “Did it again. Damn fool.” A photo of the horse and rider, caught halfway between the platform and the pool, hangs in the Smithsonian, but Ponsot’s act of ekphrasis does more than exhibit the scene or breathe life into the airborne heroine. An italic passage, which ends the poem, brings Ponsot herself into the frame: I need her dreadful ease, its immense self-reference. I watch to catch her hand-span skill addressthe radius of her practice then guess, self-tested, at its circumference. Such immense skill may only be guessed at: here is as powerful a figure for the artist as the bell-casting scene in Tarkovsky’s Andrei Rublev or the life-or-death fabulations of Scheherazade. The trick rider and the poet belong to the same guild; both know that in order to get the job done you have to leap. The story has a telling footnote, one which could not have been lost on Ponsot: According to a squib in Time magazine, Winkless “accepted being a part of a horse dive as a dare...