The Ring in the Window

I recently came
upon your ring at the back
of the bedside chest.

I had imagined
it stayed on your finger through
fire and ashes as

they fanned over the
Pacific to join the whales.
Rose gold with tiny

diamonds and a
red berry. Apokata-
stasis! The creed re-

vived by Milosz: It’s
true! The ring we chose that day,
surprised by its per-

fection in the win-
dow, survived us, going be-
yond love’s mystery.

Author: Tom D'Evelyn

Tom D'Evelyn is a private editor and writing tutor in Cranston RI and, thanks to the web, across the US and in the UK. He can be reached at tom.develyn@comcast.net. D'Evelyn has a PhD in Comparative Literature from UC Berkeley. Before retiring he held positions at The Christian Science Monitor, Harvard University Press, Boston University and Brown University. He ran a literary agency for ten years, publishing books by Leonard Nathan and Arthur Quinn, among others. Before moving to Portland OR he was managing editor at Single Island Press, Portsmouth NH. He blogs at http://tdevelyn.com and other sites.

2 thoughts on “The Ring in the Window”

  1. The poem takes the reader through the open whole of composition, teh true ring composition which does not leave us where it found us but moves us into the beyond. The poet starts by saying he has found the ring and at the poem’s close we find that the ring has outlived the poet and his beloved as they make each other, and yet it both symbolises and by being itself creats and enacts the bond of love that defines them. So it lives on beyond the return of the poet to himself as bereaved and simultaneously draws him and us towards the open whole of the hereafter. THe poem is both bittersweet and comforting, full of resonant finesse. Having read it you come away feeling that the reading is even more than what you and the poet and poem have done and something has really happened.

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    1. Wow! Ring composition! You learned that lesson well! Your ability to penetrate the structure of desire, the erotic metaphysics of the poem, puts me in your debt. Your commentary is itself contemplative, but then you learned how to do it at Cambridge U under Dronke with the poems of Hildegard of Bingen.

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