[Mary Toft (1701–1763) claimed, after miscarrying a child, to be capable of birthing rabbits.]
I am trying to articulate loss
whilst in the grasp of a triumphant doctor
who thinks I am a miracle.
//
Joshua Toft is out buying rabbits,
small and young, pink-nosed and
pie-bred. He brings them home to
an ill-lit kitchen, on the table
butchers them. He doesn’t like to
do it – not soft, more the sight of
all that meat, and none of it for
eating. His belly rumbles, but
his wife will have her schemes.
She looks, now, only at the wall,
won’t touch her children,
feral in the yard. She wanted four.
This way, at least, they might weigh
their depth of grief against a little gain.
//
Whatever trick it takes to make
men listen
I perform
birthing butchered rabbits until the lie
gives out. Reading every recent paper
so that they assume I am a doctor, too
Beheld in incredulity
the easiest way to gain audience
with those too busy for the everyday tragedy
//
A rabbit can most humanely be killed
by stunning, then severing its arteries.
A rabbit can most humanely be killed
by a bullet to the brain.
A rabbit can most humanely be killed
by the husband of a woman in Godalming,
who turns the organs wrong-side-out
and leaves them at her door.
A rabbit can resemble a baby.
A rabbit can resemble a miracle.
A rabbit can emerge from the womb of a woman
most closely resembling a fact.
A doctor is worth only his last diagnosis,
regardless of his position in the king’s favour.
A woman’s place is in the gossip papers.
A woman’s place is in the examination room,
turning king and country tongue-tied, to un-jug
a nation’s worth of hares.
For best effect, use the head of a rabbit,
the feet of a rabbit. The tail is a risk, the
lower digestive tract might reveal faecal matter:
a problem of reputation, a problem of truth.
You can hold them in, whilst
sophisticated hands examine you, sophisticated
men take instruments and check you for their
knighthoods.
A dead child is a small loss. A dead rabbit is a
great mystery. If anyone speaks of the
madness of grief,
let them speak of the men who held their breath,
and crossed their better judgement, persuaded
kings
that women – who are made of baser stuff –
give birth to what it is they most look on.
//
behold the body so broken
that over and over again,
it ruins what it has grown. Moon
light, the thin voice on the emergency line
utter refusal
to believe you until morning
//
Flesh decays in this age of science, regardless of salt, of cinnamon,
of climbing smoke. You cannot smudge the stink from existence.
Even from beneath your skirt, the smell of dead meat climbs –
hard to believe in daisies when the very notion rots
at field-edges.
When you have lost a child, all is dung
and devastation, why not rudely joint a rabbit, stuff it there
instead, inside your still-distended emptiness? And if men
arrive from town, carrying reports, eager to watch you writhe agonic,
why not entertain them?
Perhaps they’ve never watched ewes
lose their lambs, six-legged and wrong, or seen a hare after it
has been dogged, or seen a child come before its term. If they
cannot tell the difference between nine rabbits and a baby boy,
if the King believes you’ve taken too much looking to yourself,
who are you to tilt the moon back right? You have writhed
for hours in the company of sympathetic women, and they
never wrote papers on you.
And if it tumbles – when – they realise
that the rabbits ate outside you, that they ran in sunshine before
they were swallowed by the great grave of you – it won’t be you
who looks an idiot. It won’t be you who twisted earth and sky
so you could say, with a straight face, that you once met a woman,
a human woman who could produce rabbits from within herself.
//
– she and I share them,
centuries apart and both of us perform whatever miserable
magic-trick
which permits the nurse to say
‘we’ll let
the doctor see you now. That might be serious.’
Concerning the Rabbit-Woman of Godalming
Alice Tarbuck
Alice Tarbuck is an award-winning poet and writer. Her debut non-fiction book A Spell in the Wild: a year (and six centuries) of Magic is published by Hodder & Stoughton. With Claire Askew, she is the co-editor of The Modern Craft, published by Watkins. She is a previous winner of the Scottish Book Trust New Writer’s Award for poetry, and recipient of their award for programming. She has taught Creative Writing at the Universities of Dundee and York, and is a Lead Reader for Open Book. Alice is currently Writer in Residence on the AHRC funded Print Matters project at the University of York.