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    Ansel Adams, “Georgia O’Keeffe and Orville Cox, Canyon de Chelly National Monument, Arizona,” Gelatin silver print, 1937)

Ansel Adams’ Photo,
“Georgia O’Keeffe and Orville Cox, 
Canyon de Chelly National Monument 1937”


Surrounded by so little 
we were unmindful of the clouds 
sifting into that long wash, 
that slow cut of time, as it sloughed 
another of its half-bright skins. 
You buttoned your jacket and leaned into the wind, 
my pale wrist was a flower there, bent 
toward you and the unassuming skies.
And so our plain features 
just fell into agreement 
with a fading world of clouds - 
and behind us, the ghost riders, 
our heart’ white horses turning grey. The West has almost disappeared except 
in films where cowboys in black and white 
are as humble in their hats as we 
before a far and still horizon.

And given these long ropes of clouds, 
their knots of loss largely overlooked, 
this might well be all of this earth 
we’ll recall before we’re ridden out 
on the spare and uncoaxed focus of the light.

By Christopher Buckley

    Ansel Adams, “Georgia O’Keeffe and Orville Cox, Canyon de Chelly National Monument, Arizona,” Gelatin silver print, 1937)

    Ansel Adams’ Photo,
    “Georgia O’Keeffe and Orville Cox,
    Canyon de Chelly National Monument 1937”


    Surrounded by so little
    we were unmindful of the clouds
    sifting into that long wash,
    that slow cut of time, as it sloughed
    another of its half-bright skins.
    You buttoned your jacket and leaned into the wind,
    my pale wrist was a flower there, bent
    toward you and the unassuming skies.
    And so our plain features
    just fell into agreement
    with a fading world of clouds -
    and behind us, the ghost riders,
    our heart’ white horses turning grey. The West has almost disappeared except
    in films where cowboys in black and white
    are as humble in their hats as we
    before a far and still horizon.

    And given these long ropes of clouds,
    their knots of loss largely overlooked,
    this might well be all of this earth
    we’ll recall before we’re ridden out
    on the spare and uncoaxed focus of the light.


    By Christopher Buckley

     
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