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Avoidance
Don’t think about it.
The last place, finish line, pedestal, podium
The idle dreams of athletes whose sweat you’d never touch
Not even the bridesmaid, light years from the bride,
Not the pity-fuck flower girl,
And certainly nobody’s first choice.
No, don’t think about it,
Because there will be time enough
In that infinite second after you’ve spoken ill
When you do think
And think it for the thousandth time
That you, you crooked thing,
You are alone even in a crowd
That that was always your talent
Raised up for it like veal
Alone in a crowd
Alone even among those who love you
Or claim to
Or love some strange idea of you, half-made,
Rendered of your spur of the moment ramblings and
Whatever fancies cloud their own eyes
Yes, you belong to some circles,
And dance in and out of them like smoke passed mouth to mouth
You nominally entertain the idea of having friends
And then, in truth, are never there.
So, don’t think about it.
Don’t think about it
Until your face is up against the wall of the truth of it
Until stone scrapes the soft flesh of your cheek off the bone
And there’s nowhere else to go.
And when you do think of it,
Do it like you always do-
Look at it out the corner of your eye like a basilisk,
And then, lazily, avert your gaze
And go back to dreaming.
You weren’t strong enough to think about it anyway.
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The Normal Way
No one is ever going to know you.
You will die with your soul achingly untouched,
And you will not be special for it.
Every day, we come in and out of the world together:
Doctors cradle babies out of the birth canal,
Hand them to their mothers, wet from excision.
Grandchildren hold the hands of dementia patients
As they lay in their beds flickering like candles.
Yes, these are good things. Yes, they are done together.
Yes, still, we are all alone.
You don’t really need to be accompanied,
You don’t need pure wordless understanding,
Your soulmate never did and never will exist.
It is ok.
You will not be special for it.
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Lin Daiyu
Veins, cracks, and branches
Have one thing in common:
They live in our lungs,
Or how have you forgotten?
The tip of each shoot
And the tip of each finger
Have borne out a flower,
But Spring never lingers.
And the heart of a man is the core of a tree...
And the love of a man is so foreign to me...
Protected by bark,
An unknowable heart!
We could strip everything to find out what we keep,
But the loss of the skin is the loss of the tree!
I dream of red mansions,
I am a red pearl.
You fed me on teardrops,
And showed me the world.
And you are my mountain,
And I’m just a girl.
I dream of red mansions,
I am a red pearl.
I dream of red petals,
I puke them at night.
I gave up the medals
You won in your fight!
And you are my mountain,
And I am your girl.
A stone upon your tongue!
I am your red pearl!
A stone in an oyster...
I am a red pearl.
A stone in an oyster...
Forever your girl.
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The Doors of Perception
Every time I speak, I hold a crystal lens in my mouth
And the light of who I am and what I say refracts through it
Blasts my innards onto the walls as sure as I’d been shot
Point blank range, and every drop of blood a slide in a projector
It’s an unbearable burden, and it’s the curse of hindsight
To know who you are to others only after the splash of rainbow light
Only after you’ve burned some Rorschach on their retinas
I’m so fucking upset all the time about it, it’s pathetic,
But I would hold your face in my hands nose to nose
As if I were about to kiss you roughly,
And I would open my eyes their widest and shine into you
Pure white floodlight high beams of absolute truth about who I am
Only the trouble is, really, even I don’t know.
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I Live in Dead Houses
I live in dead houses.
Have never felt the breath and blood and bones of a structure,
And I think that to feel something like that,
You need siblings and babies,
A family.
The heart of a house…
I’ve heard it variously called
The kitchen, the living room,
The dining room, the bedroom, the hearth…
Whatever heart I’ve touched was always cold and stone,
Too long without contraction to be identified as a heart.
And I feel like a person who’s never owned a pet,
Never had a proper friend;
For I don’t understand the care and feeding of a house,
Or the give and take of a relationship with it.
And I think that just by moving in I shock it,
Shock it with my covered-over pit of neglect, so strong
It dies on impact,
And I make my home there in the carcass.
A parasite in the body it killed,
A scavenger taking shelter in the bones.
I live in snail shells in the garden.
I live in burnt, hollow trees.
I live in dead houses.
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To Go
Some things must be allowed to die.
Like pruned branches and withered annuals,
You can’t sustain all of it, nor should you…
So say goodbye to some parts of yourself,
Wrap them up like baby teeth in an old handkerchief,
Fertilize the yard with them,
Watch them decompose and brew beer with them,
But you can’t keep them around.
They’re dead, they’re dying, no matter what,
And holding on can never change that!
Let them hang around too long and one day,
You’ll reach for it,
Some lost piece of yourself,
And only close your hand around soft putrefaction.
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Reverence for the Dead
I do not know how to reconcile love with experience.
The people of the past buried their children
Wearing wreaths of ceramic flowers,
Armored greenery stiff enough to last whatever journey
Lay ahead of the child’s thin bones,
And every petal must have been shaped with love and only love!
For what else could convince an aging back
And aching spindle-fingers
Into laboring over finery like that?
This is one of those things that makes young women want to die.
Awake, alive, poisoned with the lust of others’ eyes,
We stare at the coins resting on the tongues of mummy women:
Just enough to pull a little something from the gumball machine.
Our fingers twitch,
And we want it.
We can only want it.
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All You Can Take With You
As soon as you leave home
There is no home to come back to.
It did not matter that the Helvetians burned their own villages,
Or that the sea closed up behind Moses and his flock.
Unburied, unburned, fully and completely accessible:
The place is not the place and
The mind carries the only shard left of what once was.
You can take it with you,
You can!
You can hold it like a glass ball in your chest,
A gem cradled in your palms.
Not only can you take it with you,
That’s really all you can do.
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Untitled
You get hoarse and forget how to speak now
lightning struck your throat and left a cold opal there
all milk white and cornflower blue
riot fire noise trapped in a chunk of ice
the veins of it scraping the throat raw
and reaching down to fossilize the heart
the whole of the innards becoming included in the matrix
until it is all stone
until it is calcified chunks connected like a maze
waiting for some craftsman to pour resin over it
make a conversation piece, a coffee table
But you?
You will never speak again.
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The Bridesmaid
If you learn the building blocks of womanhood
You will never be the same again
This gender self-destructs when gazed upon for too long
And The Sex Therapists and Makeup Artists
The Midwives and Matchmakers
Have all been un-ladied by their knowledge of lady-ness
Here’s to the fat mask-wearer at the Sephora makeup counter
Who will never get a beau and did all the faces at her sister’s wedding
Here’s to legions of ruined teenagers
Riding on the bitch-seats of motorcycles
Because once you’ve gazed on the truth of femininity
The others can smell it on you
Like mother birds rejecting a chick
And all of us Nuns and Ateliers
We’ve only got each other looking out for us now
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Bystander
Where do little wild animals go when they die?
Does a weary dog ever collapse in a public park
And what do they do with it after?
Theoretically, you know the answer,
But the details are another one of those things
That other adults learned somewhere together and then just
forgot to tell you.
And you don’t think about it. You don’t need to think about it
Until one day you find a long gray cat sprawled across the sidewalk.
Fluffy, maybe, fat? Maybe? No, not fat, but bloated.
And you could walk around him or step over him,
But he really does block the way.
“call animal control”
This is all your friend has to say about it when you text her,
And you’re pretty sure they’re for living animals anyway,
That go crazy and bite people and run unpredictably into the street,
But you find on google that they’re only available to respond
On such-and-such a day of the week, at such-and-such an hour.
(even though you’re sure that for every second every hour every day,
people and animals are dying in droves....)
So you decide to walk on the other side of the street for a while,
And after a week, the cat is just a gray pelt.
(you don’t know what’s underneath...)
And after a month, even the bones are gone,
And your mind boggles at the sum totality of all the things
That you don’t know you don’t know...
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After the Artist Died,
I forgot he was dead all the time. I never saw the body, and couldn’t attend the memorial. I went to other cities, and I told people about him; I used the present tense- “A family friend, who makes these beautiful paintings and sculptures!" And I would tell the story, and even in the telling, the end would surprise me... There are people I met who don’t know he died, Because I got to the end and couldn’t finish it. How could I bring something so lovely into their lives, And then snatch it away in the same breath? The artist died, but I forget. I forget every day. I look at his painting of a sphinx cat, and wish him well, And the signal pings back off his bones, And it pings back to me, and the people I told, And the museum in my home town, where they hang his name. The artist died, and now the story should be over. Yet every time it's told, my breath catches and I stay silent, And in the quiet, I wish for the artist to live on
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Letter to a Friend
I spent my life in a covered basket
single kitten left over from the litter
Ghost brothers and sisters reaching their little hands
through the cracks between the floorboards
Where the jokes lived
And when our parents fought,
When the levy broke and the pipes busted,
We’d flood the house together,
Play at under-the-sea,
And taste muddy undoing.
I learned how to run from rising water so early on
At beaches, at creeksides, at home.
I knew what it meant to see trees bent to the ground
As if bowing.
I don’t know what kind of fire others face
And I cannot imagine a life of any kind but
A life alone
You and your erstwhile enemies, you and your brothers in arms
I feel like the first man on Mars when I look
At baby pictures of you…
We made the mistake of wearing the others’ clothes for a bit
Mistaking flood for heavy fire,
Fire for flood, flood for fire
And I was offended when you offered shields for sandbags
Well, now I wish I could bring my flood
I would wash my memory out of your head
And I would swim away, paddling
With my hands and the ghost hands
And nobody else but us
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Grave of the Lizard Queen
I am dreaming Not dead, but dreaming Balled up under the covers With no ugly sunken city for company Just crumbs and trash and socks Like boulders strewn about And I am dreaming Because I am stupid and fragile and I can’t get over The tenderness of murderous eons That fostered the frogs who once lived in Antarctica Squinting their eyes against the warm rain As it rolled down their bumpy little backs It fostered them and they are gone now Frozen and dead and maybe even dreaming Crushed under time like their modern brothers under Jeep tires Fossils and curiosities balled up like me And we are dreaming
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Ouranophobia II
I believe in the power of light to work evil. Its presence shining on atrocities Renders them all the more horrid. And the way it brings heat, Strips flesh, bleaches bone… Light is a great and terrible Thing; Power is power; a push or a pull. Kinetic energy brushes your fingers through your child’s hair and Rips bullets through soldiers’ chests. So I believe in the power of light to work evil, Just as I believe in the power of dark to hide it. And I keep my lamps low, And my hands behind my back.
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Mummified Steppe Bison
It’s that cruel thing that brings you to your knees again
Bearing up under the weight of tonnes of muscle and bone
Even in your weakness, horns tall and
Nose touched to the ground like curtsy
Human beings may have brought you low
But they said a prayer for you,
Undoubtedly,
When they did it
And then of course they dug you up again
And made you a monument to yourself,
Bowing, a courtier,
Your own funeral attendee with rips in your
Tight black plastic skin
Dancing the dance of etiquette with us
After we invented it,
After we put it aside
And murdered you.
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Seasonal Beast
Something pretty about me falls away in winter,
When I lose my leaves and flowers like a sharp black tree.
Spring, summer, and fall, strange men pursue me,
Tap me on the shoulder, and tear at my clothes!
But as the sun sets earlier, my shoulders square and my eyes steel.
The soft things in me harden;
Butter frozen in the dish, that tears through whatever you spread it on.
A witch lives in a house where butter is never soft;
Where milk goes off too soon and animals never approach;
Where men awaken in the morning to a mouthful of pins and needles,
Lips sewn shut,
Pick-up lines stillborn on the tongue.
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