Little Irina Antonovna, six,
Took it upon herself to write to her aunt,
Laboriously addressing it to:
"Region of Petrograd, Max Heltz factory."
Why did she write this letter? Well, her father:
Ten years in the camps for being a scholar,
Dead by now. Her mother: dead. Neighborhood:
Wall fragments, smoke, equipment shards, Nazi bombs.
Grandfather: died of rickets while walking
Irina to safety. Grandmother: same.
The letter worked; Irina lived. Married
Dmitri, who never asked her opinions,
But did write Number Nine for her and maybe
Heard her when he wrote the gentle cello drone
That supports the opening. Or the polka--
Why couldn't that frenzied part be Irina?
Why assume she was always soft, helpful?
A young, diverse American quartet
Exhumes Dmitri and Irina for us,
His black notes crisp on their iPads, their bows
Vibrating like cicadas, their eyes flashing
Recognition, assent: one to the other.
They are pillowed in layers of safety.
A clean, bright stage, a tidy concert hall,
An audience that has heard it before
And knows just when to leap up for applause:
White-haired burghers of this college and town.
Irina's professor father would have fit
Right in, if he hadn't been starved or shot.
Little Irina would have liked to hide
Beneath that concert grand, so solidly framed.
A campus cop waits, unworried, outside.
This place is not real. What's real is in the notes.
They know starvation, midnight knocks on doors,
Cities murdered from the sky, orphans' fears,
They know, too, the terrors of the audience,
Shrunken in their seats, nervous to drive home.
Phones still ring with sad news; death sentences
Come in biopsy results. And beyond this room
A billion new Irinas plead to be spared.
See Stephen Harris, “Quartet Number Nine,” “Interview of Irina Shostakovich by Alexandre Brussilovsky,” and also “voices,” and “a poem should.”