Modern Age - Winter 2018 - 145

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And before our return to that same dust, each of us, like fallen
Adam, must labor as does a weaver who works all day to buy
win- ter firewood for his family: "The shuttle flies for hours to and
fro, / Directed by strong fingers, long and deft, / Weaving red
fabric on a brown oak loom" ("Weaver Facing Left with Spinning
Wheel").
In some of her poems on Van Gogh's portraits, Mooney allows
the model to speak-Sien the prostitute, who poses as the wife
she says she can never be to Van Gogh; or Roulin the postman,
who says that the uniform he wears defines only his public self, not
the private man within. In another por- trait poem, "Self-Portrait
with a Dark Felt Hat," Mooney addresses Van Gogh, asking him
why he made this picture of himself "in middle-class attire" that
hides his true nature: "But where's the fire / In your gray eyes?"
Here is "No artist's smock, no signa- ture straw hat, / No pipe, no
missing ear, no slanted eye."
Such changes in perspective continue in what might be called
"double-ekphrastic" poems on Van Gogh's paintings that are
themselves imitations of paintings by masters such as JeanFrançois Millet and Eugène Delacroix. Mooney's sonnet on Van
Gogh's imitation of Millet's "The Angelus" concludes:
. . . The triple stroke repeats
Three times, nine peals to summon faithful folk
To cease from toil and contemplate the birth
Of Word made flesh. Day's work is now complete;
Now angelus bells prompt them to invoke
The God who blesses virgin wombs and earth.
-"The Angelus (after Millet)"

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Modern Age - Winter 2018

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Contents
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