top of page

Enigma of the Hour

Three figures at five minutes

Before three o’clock, a white circle

Of Roman hours above an arcade of brown

Shadows. And beyond, a sky of verdigris

That doesn’t say night or day.

Which three o’clock is it?

Golgotha’s or the hour of suicides?

To the left of the minute hand,

Framed by the square hallway window,

The farthest figure cuts a diminutive

Silhouette hunched over the parapet

Above the arches. Is it there for a breath

Of fresh air, or is it going to jump?

Below, under the second arch

From the right, a darker, faceless

Apparition emerges from the chiaroscuro

Of the wall behind. It seems to hesitate,

But perhaps only to watch its steps

In the twilight, before descending

Into an almost empty courtyard

Where the third figure, white

And standing so still as if wrapped

In a shroud, seems to be waiting.

​

His back towards us, we cannot see

His arms, and his shadow

In the diagonal light is cut by the frame.

What looks like the flounces

Of an Arab kaffiyeh are unruffled

At his nape. There is no wind.

But why is he loath to look

At the dry fountain beside him?

Is he pointing a gun or just shivering

In the chill? What cosmic triangulations

Do these figures compose, what dire

Premonitions converge with them?

We will never know, because

Giorgio de Chirico never said, “Symbols!”

And I knew far less the first time I saw

Enigma of the Hour. The frame was

Narrower, an upright rectangle.

I don’t remember which figure

Was cropped away. It was used

As cover for a 1970s Penguin edition

Of Franz Kafka’s The Castle.

                                                                              (26 August 2008)

​

​

​

bottom of page