The Wooden Overcoat By Rick Barot

It turns out there’s a difference between a detail
and an image. If the dandelion on the sidewalk is
mere detail, the dandelion inked on a friend’s bicep
is an image because it moves when her body does,

even when a shirt covers the little thorny black sun
on a thin stalk. The same way that the bar code
on the back of another friend’s neck is just a detail,
until you hear that the row of numbers underneath

are the numbers his grandfather got on his arm
in a camp in Poland. Then it’s an image, something
activated in the reader’s senses beyond mere fact.
I know the difference doesn’t matter, except in poetry,

where a coffin is just another coffin until someone
at a funeral calls it a wooden overcoat, an image
so heavy and warm at the same time that you forget
it’s about death. At my uncle’s funeral, the coffin

was so beautiful it was like the chandelier lighting
the room where treaties are signed. It made me think
of how loved he was. It made me think of Shoshone
funerals, where everything the dead person owned

was put into a bonfire, even the horse. In that last
sentence, is the horse a detail or an image? I don’t
really know. In my mind, a horse is never anywhere
near a fire, and a detail is as luminous as an image.

The trumpet vine on the sagging fence. The clothes
in the fire. And each tattoo that I touch on your back:
the three-part illustration of how to use chopsticks,
the four-leaf clover, the clock face stopped at 12:05.