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Daystar
She wanted a little room for thinking: but she saw diapers steaming on the line, a doll slump(fall or collapse clumsily)ed behind the door. So she lugged a chair behind the garage to sit out(remain where one is until the end of (an uncomfortable experience)) the children’s naps. Sometimes there were things to watch— the pinched(nipped, sharply squeezed) armor of a vanished cricket, a floating maple leaf. Other days she stared until she was assured when she closed her eyes she’d see only her own vivid blood. She had an hour, at best, before Liza appeared pouting(thrusting out or protuding the pips, esp. so as to express petulance or sulkiness) from the top of the stairs. And just what was mother doing out back with the field mice? Why, building a palace. Later that night when Thomas rolled over and lurch(move in a way that is not regular or normal, especially making sudden movements backwards or forwards or from side to side)ed into her, she would open her eyes and think of the place that was hers for an hour— where she was nothing, pure nothing, in the middle of the day.
1986
The mother in Dove’s "Daystar," overwhelmed by the demands of young children, needs a room of her own. All she can manage, however, is a brief hour of respite. The situation is virtually the whole story here. Nothing really happens except that daily events (washing diapers, picking up toys, looking at crickets and leaves, explaining the world to children, having sex) surround her brief private hour and make it precious. Being “nothing” (lines 21 and 22) takes on great value in these circumstances.
 
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