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When I met Amadeo Modigliani,

I knew of hunger

what did I know of love?

I was in Paris. On my honeymoon.

As my new husband met with other women

i met with Amadeo, an impoverished Italian Jew.

His paintings not yet famous.

We would walk Parisian streets

in the warm summer rain

and snuggle under his black umbrella

and recite by heart poems from Verlaine together.

He begged me, don’t go back to Russia.

Russia? I said, where is that? It’s Russiya.

Don’t go back to Russiya, Anna.

I did.

 

That winter he wrote me in Petrograd:

Vous êtes en moi comme une hantise;

You are obsessively part of me.

I knew it was true,

that he was more myself

than my own familiar hands.

Back in Petrograd,

I would touch my lips in the mirror

and say my own name

and believe my voice was his.

 

I think of Lot’s wife.

How they told her not to turn,

to not look at Sodom, her home

even as it was being destroyed

but how could she not

turn to the green fields where she had sung,

turn to the bed where her children

were made, turn to the place

of her blood?

 

When I turned back to Paris

because his love felt like home

even though i knew it would be destroyed,

I was not transformed into salt

but into chalk, black chalk, his chalk on paper.

 

I did not know then

how that I would come

to treasure his vision,

how I would tape his drawing

on the wall in every house

i ever lived in so I could live again

between those lines in a time

of wild honey, scent of beeswax candles,

his amber eyes.

 

Amedeo always drew me naked

in long spare lines—

Always from memory when he was alone.

With me, his hands

were too busy for chalk.

 

He’d slip off my dress,

and in my breast,

he’d visit my beloved Russian steppes,

in my waist, he buried himself

in Siberian snow,

and between my thighs,

he was baptized again and again

in the floodwaters of the Neva River.

 

They’d not yet made

a corset that will fit me—

how could it when I

am all of Russia?

 

Oh I loved him. Wrote him poems.

Left red roses strewn on his studio floor.

How airy the light was then.

How I loved being what they would later call me,

 

 

polovina monakhini, half nun,

polovina shlyukha, half whore.

 

 

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