“MILL HOUSING” and “ROADSIDE POND”
By Mark Belair
MILL HOUSING
His was a broken-down rental
where our street’s dead end
met the mill’s chain-link fence, a house
notorious for its sequence of
broken-down tenants.
Mine was built the same,
but kept as a tidy two-family affair
at the other end of the street, where
it opened out
to our small Maine town.
His was an inattentive mom
who let him run wild in dirty clothes
and eat alone on the porch—cold
grub he scrounged from a kitchen
in which she never cooked.
Mine was attentive, hung fresh laundry,
had pots steaming and pans sizzling
for our family dinner, one we shared
with my grandparents, who came up
from downstairs.
The boy and I never spoke.
We just observed each other from a distance.
I envied his freedom: Nobody cared
what he said, where he went, what he did.
He envied my care: He’d always stop
to watch my mom when she called me in.
Then his mom was arrested and incarcerated,
and he was confined to reform school.
Then we moved to a mill-free town in which
my mom—within bounds—let me run free.
Though I kept the habit of obedience
when she called me in.
And kept the habit
of dreaming
of the disobedient boy’s
daring reform school escape.
____
ROADSIDE POND
A small, ruffling pond
borders a highway, traffic speeding
past it, no houses near it, no paths
to it since marshland encircles
the rest of it.
It stands, for all the hurly-burly
beside it, in primitive seclusion,
host to underwater life
spawning and growing
in isolation, the pond—
unwatched, untouched, unchecked—
the hermetical haunt, beneath
its sluggish surface, for emergent strains
of strangeness.

Author of eight collections of poems—most recently Settling In (Kelsay Books, 2024)— Mark Belair has also published two works of fiction: Stonehaven (Turning Point, 2020) and its sequel, Edgewood (Turning Point, 2022). He has been nominated for a Pushcart Prize multiple times.