She likes the long maple workbench, the tools
and stickered boards. She likes to watch a flitch
re-sawn, opened, and matched up with its mate
to read as if a book. She likes the rules, squares,
and marking knives, the sliding bevel gauge,
the trammel points and templates of French curves,
the lines they make for chisels, shaves, and saws.
She likes the hand-stitched rasp, the way its teeth
perfect a shape; the linseed oil and turpentine,
coat after coat, and how the pumice rubs
a luster that invites an eye to look,
a hand to linger. She likes the finished piece
placed in its place, to have it seen, as if
to speak of what it means to be complete.
by Jim Haines
Measure, A Review of Formal Poetry, Volume XI Issue 2, 2016
Reprinted with permission of the poet.