Sharon Olds: Portrait of a Child

(Yerevan, capital of a republic set up by those Armenians who had not been massacred by the Turks. In 1921, Turkey and Russia divided the republic between them).


His face is quite peaceful, really,
like any child asleep, though the skin
is darkened in places, the curved eyelids
turgid, part of the ear missing
as if bitten off. He lies like a child
asleep, on his side, one arm bent
so the hand curls near his face, one arm
dangling across his chest, fingertips
touching the stone street. His shirt has
two rents near the waist, the slits hunters make
in the stomach of the catch.
Besides the shirt he wears nothing. His abdomen is
swollen as the belly of a pregnant woman
and sags to one side. His hip-joint bulges,
a bruise. His thigh is big around as a
newborn's arm, and from hip-bone to knee
the tendon runs sharp as a crease in cloth,
the skin pulling at it. His knees are enormous,
his feet peaceful as in deep sleep,
and across one leg delicately rests
his penis. Pale and lovely there
at the center of the picture, it lies, the source
of the children he would have had, this child
dead of hunger 
in Yerevan.




Sharon Olds, The Dead and the Living, New York, Knopf, 2000.

Sharon Olds: Mrs. Krikorian

She saved me. When I arrived in 6th grade,
a known criminal, the new teacher
asked me to stay after school the first day, she said
I’ve heard about you. She was a tall woman,
with a deep crevice between her breasts,
and a large, calm nose. She said,
This is a special library pass.
As soon as you finish your hour’s work—
that hour’s work that took ten minutes
and then the devil glanced into the room
and found me empty, a house standing open—
you can go to the library. Every hour
I’d zip through the work in a dash and slip out of my
seat as if out of God’s side and sail
down to the library, solo through the empty
powerful halls, flash my pass
and stroll over to the dictionary
to look up the most interesting word
I knew, spank, dipping two fingers
into the jar of library paste to
suck that tart mucilage as I
came to the page with the cocker spaniel’s
silks curling up like the fine steam of the body.
After spank, and breast, I’d move on
to Abe Lincoln and Helen Keller,
safe in their goodness till the bell, thanks
to Mrs. Krikorian, amiable giantess
with the kind eyes. When she asked me to write
a play, and direct it, and it was a flop, and I
hid in the coat-closet, she brought me a candy-cane
as you lay a peppermint on the tongue, and the worm
will come up out of the bowel to get it.
And so I was emptied of Lucifer
and filled with school glue and eros and
Amelia Earhart, saved by Mrs. Krikorian.
And who had saved Mrs. Krikorian?
When the Turks came across Armenia, who
slid her into the belly of a quilt, who
locked her in a chest, who mailed her to America?
And that one, who saved her, and that one—
who saved her, to save the one
who saved Mrs. Krikorian, who was
standing there on the sill of 6th grade, a
wide-hipped angel, smokey hair
standing up weightless all around her head?
I end up owing my soul to so many,
to the Armenian nation, one more soul someone
jammed behind a stove, drove
deep into a crack in a wall,
shoved under a bed. I would wake
up, in the morning, under my bed—not
knowing how I had got there—and lie
in the dusk, the dustballs beside my face
round and ashen, shining slightly
with the eerie comfort of what is neither good nor evil.

Sharon Olds, “Mrs. Krikorian” from Strike Sparks: Selected Poems 1980-2002. Copyright © 2004 by Sharon Olds. Reprinted with the permission of Alfred A. Knopf, a division of Random House, Inc.

Raised in Berkeley, California, Sharon Olds’s (1942—) poetry often focuses on confessional or autobiographical themes. Her collection The Dead and the Living has sold over 50,000 copies. From 1998 to 2000 she was the New York State Poet Laureate. Olds currently resides in New York City, where she founded the Writing Program at Goldwater Hospital for the severely disabled.