PROLOGUE

THERE IS A short interval on clear summer evenings in Provincetown, after the sun has set, when the sky is deep blue but the hulls of the boats in the harbor retain a last vestige of light that is visible nowhere else. They become briefly phosphorescent in a dim blue world. Last summer as I stood on the beach of the harbor, watching the boats, I found a coffee cup in the shallows. It’s not unusual to find bits of crockery on this beach (Provincetown’s harbor, being shaped like an enormous ladle, catches much of what the tides stir landward from the waters that surround Cape Cod), but a whole cup is rare. It was not, I’m sorry to say, the perfect little white china cup that poetry demands. It was in fact a cheap thing, made in the seventies I suppose, a graceless shallow oval, plastic (hence its practical but unflattering ability to survive intact), covered with garish orange and yellow daisies; the official flowers of the insistent, high-gloss optimism I remember from my adolescence, as talk of revolution dimmed and we all started, simply, to dance. It wasn’t much of a cup, though it would outlast many of humankind’s more vulnerable attempts to embody the notion of hope in everyday objects. It had gotten onto the beach in one piece, while its lovelier counterparts, concoctions of clay and powdered bone, white as moons, lay in fragments on the ocean floor. This cup contained a prim little clamshell, pewter-colored, with a tiny flourish of violet at its broken hinge, and a scattering of iridescent, mica-ish grit, like tea leaves, at its shallow bottom. I held it up, as if I expected to drink from it, as the boats put out their light.