Nowhere Was a Lake
Captivated by the simultaneously routine and disruptive nature of violence and desire, Nowhere Was a Lake marks a luminous debut from poet Margaret Draft. “What do you do when a horse dies? / You hollow out the land, // you try to make enough space, / and when you think you have enough, // keep digging.” In these poems, our own tenderness endangers us, and yet — when faced with the enormity of our hunger, an appetite that proclaims both the bounty of nourishment and our capacity for loss — Draft keeps digging. “He said this because // he himself had to enter the hole / with the horse and shovel, // shift the legs, reposition the head.” The speaker here has an unflinching pragmatism, a characteristic that paradoxically makes her emotions all the more tangible. This is how you prospect a grave, she seems to say, but you’ll be in it, too. You with your body among the other bodies. Draft rejects simple binaries, insisting that oblivion can be a place, that fidelity and betrayal can coexist in our most intimate relationships, that to live as a human animal means embodying both hunter and prey. Deft in its exploration of female sexuality, the emotional complexity of polyamory, and the distinction between freedom and abandonment, Nowhere Was a Lake mesmerizes with its erotic pastorals and frank prose poems. “Edge” interrogates “the dialectic of trust” structuring romantic relationships and negotiated through sexual physics: “It is not a question of whether you will / harm me, but whether you will / stick around long enough / to hold me when I am harmed.” The risk and reward of such exploration is uncertainty: anything could happen, but anything could happen. “In no place, going someplace, I know. / There are so few things I can say I know definitively. // But this must be the definition of plenty. / The sun slowly setting over the valley.”  And, yes, love may wend through the field as we thresh it. And, yes, we are in the light as it goes down.
1144472520
Nowhere Was a Lake
Captivated by the simultaneously routine and disruptive nature of violence and desire, Nowhere Was a Lake marks a luminous debut from poet Margaret Draft. “What do you do when a horse dies? / You hollow out the land, // you try to make enough space, / and when you think you have enough, // keep digging.” In these poems, our own tenderness endangers us, and yet — when faced with the enormity of our hunger, an appetite that proclaims both the bounty of nourishment and our capacity for loss — Draft keeps digging. “He said this because // he himself had to enter the hole / with the horse and shovel, // shift the legs, reposition the head.” The speaker here has an unflinching pragmatism, a characteristic that paradoxically makes her emotions all the more tangible. This is how you prospect a grave, she seems to say, but you’ll be in it, too. You with your body among the other bodies. Draft rejects simple binaries, insisting that oblivion can be a place, that fidelity and betrayal can coexist in our most intimate relationships, that to live as a human animal means embodying both hunter and prey. Deft in its exploration of female sexuality, the emotional complexity of polyamory, and the distinction between freedom and abandonment, Nowhere Was a Lake mesmerizes with its erotic pastorals and frank prose poems. “Edge” interrogates “the dialectic of trust” structuring romantic relationships and negotiated through sexual physics: “It is not a question of whether you will / harm me, but whether you will / stick around long enough / to hold me when I am harmed.” The risk and reward of such exploration is uncertainty: anything could happen, but anything could happen. “In no place, going someplace, I know. / There are so few things I can say I know definitively. // But this must be the definition of plenty. / The sun slowly setting over the valley.”  And, yes, love may wend through the field as we thresh it. And, yes, we are in the light as it goes down.
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Nowhere Was a Lake

Nowhere Was a Lake

by Margaret Draft
Nowhere Was a Lake

Nowhere Was a Lake

by Margaret Draft

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Overview

Captivated by the simultaneously routine and disruptive nature of violence and desire, Nowhere Was a Lake marks a luminous debut from poet Margaret Draft. “What do you do when a horse dies? / You hollow out the land, // you try to make enough space, / and when you think you have enough, // keep digging.” In these poems, our own tenderness endangers us, and yet — when faced with the enormity of our hunger, an appetite that proclaims both the bounty of nourishment and our capacity for loss — Draft keeps digging. “He said this because // he himself had to enter the hole / with the horse and shovel, // shift the legs, reposition the head.” The speaker here has an unflinching pragmatism, a characteristic that paradoxically makes her emotions all the more tangible. This is how you prospect a grave, she seems to say, but you’ll be in it, too. You with your body among the other bodies. Draft rejects simple binaries, insisting that oblivion can be a place, that fidelity and betrayal can coexist in our most intimate relationships, that to live as a human animal means embodying both hunter and prey. Deft in its exploration of female sexuality, the emotional complexity of polyamory, and the distinction between freedom and abandonment, Nowhere Was a Lake mesmerizes with its erotic pastorals and frank prose poems. “Edge” interrogates “the dialectic of trust” structuring romantic relationships and negotiated through sexual physics: “It is not a question of whether you will / harm me, but whether you will / stick around long enough / to hold me when I am harmed.” The risk and reward of such exploration is uncertainty: anything could happen, but anything could happen. “In no place, going someplace, I know. / There are so few things I can say I know definitively. // But this must be the definition of plenty. / The sun slowly setting over the valley.”  And, yes, love may wend through the field as we thresh it. And, yes, we are in the light as it goes down.

Product Details

ISBN-13: 9781954245891
Publisher: Four Way Books
Publication date: 03/15/2024
Sold by: Barnes & Noble
Format: eBook
Pages: 90
File size: 1 MB

About the Author

Margaret Draft is a poet based in Bennington, Vermont. She holds an AB in English Language & Literature from Smith College, where she was awarded The Ethel Olin Corbin Prize, and an MFA in Creative Writing from the Program for Writers at Warren Wilson College. She has worked at The Emily Dickinson Museum as a House Manager and The Frost Place as a Work Fellow for their Conference on Poetry. Her poems have appeared in Radar Poetry, Southern Humanities Review, and on Poetry Daily. This is her debut collection of poetry.

Read an Excerpt

“Hand Me That American Spirit”

Because you can never canter 
back whence you came, 
coming over the tracks, soiling 
the rails—

or so I have been told— 
but I have been told so many things,

so many half-truths.
How horses, decades dead, are neighing in the pasture.

How strangers lock eyes in a bar every hour, 
but rarely are both people changed by this.

Table of Contents

Contents

Colic

I

What Happened to James E. Tetford

Appendix

Mobile

Feral

II

On the Disappearance of Paula Jean Welden

She Didn’t Want Another Child

Fledgling

June Thoughts

To the Stars on the Wings of a Pig

Floriography

Unsent Letter #6

I Can’t See the Forest for the Trees

Elegy for the Elusive Ivory-Billed Woodpecker

Interrogating the Ghost

Mouse in the Cardboard Box

Postmortem

Your Lips Taste Like Someone Else

The Angler

Limerence

Where There Are Tracks, There Are Also Beds

Dear Metamour

When a Dog Runs

Edge

A Disturbance

The Doe

III

Finding the Woodsman

Rebound

Story About a Body

The Campbells Will Always Sleep at the Red Roof Inn

Hand Me That American Spirit

Headway

Plain Meeting House Cemetery in West Greenwich, Rhode Island

Plums Out of Your Palms

Purview

Laying Her Upon the Bale

Traveling through the Dark Again

Lucid Dreams & Small Nightmares

A Little Wild

No One Steps in the Same River Twice

Hearth

Dissection: Field Vole from the Foothills of Ovando

The Initials of Other Women

Fidelity

Little Prayers

Bow Saw

Laceration

Heel Striking the Harvest

Two Tracks

Notes

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