Woman Holding a Balance
by Linda Pastan
Vermeer, 1664
The picture within
the picture is The Last
Judgment, subdued
as wallpaper in the background.
And though the woman
holding the scales
is said to be weighing
not a pearl or a coin
but the heft of a single soul,
this hardly matters.
It is really the mystery
of the ordinary
we’re looking at—the way
Vermeer has sanctified
the same light that enters
our own grimed windows
each morning, touching
a cheek, the fold
of a dress, a jewelry box
with perfect justice.

Linda Pastan (1932-2023) was raised in New York City but lived for most of her life in Potomac, Maryland, a suburb of Washington, DC. In her senior year at Radcliffe College, Pastan won the Mademoiselle poetry prize (Sylvia Plath was the runner-up). Immediately following graduation, however, she decided to give up writing poetry in order to concentrate on raising her family. After ten years at home, her husband urged her to return to poetry. Since the early 1970s, Pastan produced quiet lyrics that focus on themes like marriage, parenting, and grief. She was interested in the anxieties that exist under the surface of everyday life.
Pastan’s many awards include the Dylan Thomas award, a Pushcart Prize, the Bess Hokin Prize from Poetry, the Poetry Society of America’s Alice Fay di Castagnola Award, and the Ruth Lilly Poetry Prize, in 2003. Pastan served as Poet Laureate of Maryland from 1991 to 1995 and was on the staff of the Bread Loaf Writers’ Conference for 20 years. She is the author of over 15 books of poetry and essays. Her PM/AM: New and Selected Poems (1982) and Carnival Evening: New and Selected Poems 1968–1998 (1998) were finalists for the National Book Award; The Imperfect Paradise (1988) was a finalist for the Los Angeles Times Book Prize. Her recent collections include The Last Uncle (2001), Queen of a Rainy Country (2006), Traveling Light (2011), Insomnia (2015), and A Dog Runs Through It (2018).
