Town to Never Visit Again
You left me straight-mouthed.
On a day.
The sun was feathered.
You said goodbyes are for good.
You made sure it was true.
And then you dissolved.
To me.
You were blood on the highway.
Something destroyed.
As everyone sped past.
Thick and slick and splattered.
Nothing but a stain.
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We Live Many Lives Through Our Lovers
Whenever I listen to Explosions in the Sky,
I am reminded that there was a time
when I couldn’t give the summer light up.
I was young, but not young enough, and I still bit my nails.
I lived in the future, until I didn’t. Actually,
I lived in a college dorm. The same dorm I had met
my fiancé in. One night, he told me our wedding was off –
we wouldn’t get married. Something about my sins because
I didn’t believe in god, a god, his god.
I still didn’t believe in god as he waved me goodbye,
probably hugged me goodbye, I don’t remember anything
but goodbye. He goodbye-d me and I thought everything was over.
And then I met you, a you who spoke with me, a you who laughed with me,
a you who laid me down in the dark and played me a song.
We stretched out next to the moonlight that leaned
in the window, my dorm room floor our spine.
You were the first man I’d ever fallen in love with
and I knew that when we laid there, the speakers trembling
and your skin a warm blanket against mine
while the song enveloped me in that moment,
your words were a postage stamp.
You could have sent me anywhere
and I’d have gone. Wherever you said.
We listened to the song for eight minutes
before you kissed my skin in a way I had never known.
The song was a foaming smithsonite blue.
Nights like this were on repeat throughout the summer.
Hot days, sun skin, I didn’t have to think about the past.
I couldn’t take my hands off you.
I was made tousled with your lips.
Then you told me one day that you wanted to marry
a Christian girl. I was still godless.
That day, I’d run through my memories
and run through what went wrong. What was wrong with me,
and for another month we’d try to make it work,
but I would never be your expectation, you know?
Me in a navy-blue sundress, a different blue than the song,
we decided we were over almost as quick as we started.
And then his old echo knocked at my mind,
you know, the one before you,
and then your new echo knocked at my mind too.
You might understand me better if you heard the echoes.
You wrote me letters, praying for my salvation,
and I put them in a box like it was something worth saving.
I read my dead mom’s old love letters until I finished,
last month.
it’s been ten years, I still have that box,
and I read your letter last month. My husband doesn’t know.
Your ear was talking when we laid in-between the sounds
of that song, so long ago, and even if we have made it out,
into a world much older now, made of much longer time,
a world where I no longer bite my nails,
I will remember Your Hand in Mind.
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Short Talk on Mona Lisa
She is a portrait,
is she a portrait
or a rumor, she's a rumor
and she hangs on display in the Louvre,
where the tourists go to visit her. They snap
photos, purchase mimics in the gift store
and forget that she was once a story
is she a story
or a person, she's a person
and she is from Italy where she never got her painting.
Passed on from person to person, it was never hers
but she's on tshirts, magnets, and bags
and she was stolen once, before she was bought
by France. Please remember, she used to take baths,
eat slices of bread, and I'm sure she's kissed a man.
She was a wife once, before a widow. Her mothered
body left for song by Nat King Cole and the All-American Rejects
and maybe others. Her lyric is kept under strict conditions,
she's in a bulletproof glass case. Her skin like
porcelain, her skin might break.
The Mona Lisa is one of the most valuable paintings in the world.
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Where Women Get Their Mouths From
I used to write important things
on the wall, depending on who you ask,
pulled words from mouths, sacrificed
ideas. That is to say, I used to be a teacher.
Now I use words to paint a picture
that my boss wants, tell the schools
in need what we’ll do for them.
I’m a marketing coordinator
for an architecture company.
I’ve always been a woman.
It’s not the first time I’ve looked around
at work and noticed this. It’s almost
entirely women. It’s tables that troubles get
placed on, the empty bottle of whiskey, and
commands turned into guidance - things you’d like to hear.
This is despite the company being made
up of more men, or maybe in spite of it.
I work in marketing, right next to HR,
and I’m surrounded by women who are paid
to communicate.
It’s not the first time that I think
about how this department is mostly
women. Because women are communicators,
of course.
They spend their whole lives listening to
a litany of complaints, directions
for what to do:
leave the boys alone
(boys will be boys),
don’t gain weight
(it will sink you like an anchor and you won’t get very far),
blue is a boy’s color
(someone should have told Mary).
We are taught what to do so often
that life becomes a quiz, environmental training.
Expected responses
are the answers, they will work,
they will be what get little girls an A,
so we learn to communicate.
The office is decorated in colored rubber ducks,
kid’s paintings like on the fridge,
and loud mouths dressed pretty. Some kind of cross
between a playroom and matriarchal house.
Women. Be nice,
they told us when we were young. So nice
we’ll be, in an office full of the only women
in the company.
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A Man Like This Seriously Exists in the World
They say that morals are when decisions
get undressed and still look good, he said.
But they aren't real, this history professor continued,
no, decisions never look good
on their own accord. Society wraps them
in a Burberry trench coat, so stylish.
But decisions don't like Burberry
and society's tellin' them to
walk around in these coats as if they do.
Society will dress these damn decisions
and send one or two home with you like
a child's been born. Society forcing morals on you.
The same history professor also said,
women shouldn't have the right to vote
because their husbands,
they must have husbands,
right? Their husbands would
use the pen at the voting booth
to sign 'I love you' to their wives.
A husband would never vote out of
his wife's best interest, and if
his wife voted too, she'd just clutter
the polls. Throw out the wife
from the equation
and let the man make the decisions.
So many people,
they are leeches,
think everything's easy.
They want everything
handed to them, they want everything
so badly
to be out of their control,
or in their control,
those are really the same thing,
and control will hold you hostage.
Now will you
please hold your questions.
I have no answers,
I just told you everything
I know to be true.
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Your type:
I will flirt with the idea of it,
I will lay it like perfume
across my neck
which is the closest I’ll get to
punishment
I will dial its keys and let it
ring, but its my tremble
on the other end, my curse
that answers
it was only half past the moon when your eyes sunk
and then I’ll lay in bed
with your tragedies,
my hands wrapped
around their throat
it’s a conversation
they’ll tell me
I’m sinking
we're both sinking
because we’re in the same ship
the same spine
of a ship
and it’s fracturing
until we’ve come loose
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Men Aren’t Even the Worst Problem a Woman Can Have
She thought his bare bones were beautiful
but he was too busy using them
to build a fortress that keeps
her out.
He’d ask her to come over, buy
groceries with him. She painted
him a gallery wall for his
apartment and asked if he liked it.
The dog barked and his freezer
was full of fake ice cream he ate
for meals.
Men let women waste time
like it’s currency, like they owe it,
and women will pay
to have the house built.
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a woman whose husband died drowning is now facing water
days roll onto themselves
into nights like a
pillbug. days are long and tired,
treaded, and waterdrops
on a page.
i'm the leftover stains.
your skin felt
like the soft flesh
of a peach your skin
against my fingers
your skin against
my tongue
your skin was something
sweet and then the drip
down I could
peel your skin
with my fingers
open you,
the water rung you dry.
a compression so
close
and I stand here
the edge
the edge of fate
my stained self,
peel me open,
take me.
now here i say take me
like you love me too
take me
like your own.
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At the Bottom
Imagine you’re right by me in the row
with only twenty-five others on board.
A window’s on your left and so you show
your cheek, look down at trees, the engine roars
and I look at the watch wrapped on your wrist
to count the minutes. Your hand waves to ask,
“A Bloody Mary, please?�� and I insist
on flipping pages: scenes of sand, waves, masts
in a travel magazine. I don’t hear
the pilot, but we drop, a woman screams
something about engine failure and fear.
I reach for you, while everyone shrieks. Seems
I have to ask, are you all right? I hear
more screams, another drop. You don’t say a word.
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Love Letter Written While Watching the Breaking News in the Evening
Two sofa cushions sagging centered, some
honey rings cast on walls from floor lamps, nets
of shadows, family photos hanging in
the living room where we are sitting, legs
crisscrossed on top of each other, under
the rush of sounds that means there’s breaking news.
The screen cuts black, to court, a boy threaded
orange. It doesn’t matter which boy, no,
it could be any boy, his hands against
the desk. His lips cut like a superstition,
a judge in front. The scene flips back. These are
no ordinary days, the newscaster says
on television. He talks about how we
can grow a better day tomorrow now,
through thoughts and prayers. Some cars go past our front
window, the world still shutters. Newscaster’s
now standing next to a repeat image
from weeks ago, a canvas of carnage,
bodies on display. Turn it off, you say
to me. A button tap, the screen pulled closed,
an envelope of silence and you draw
my name into a whisper beside my ear.
If these are no ordinary days then why
do they look like the last. Another sad
investigation, while a hand slides up
my leg.
I turn my head and kiss you on your lips.
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Yellowcard’s or Motion City Soundtrack’s or another band just like them’s concert in a theatre that’s not in Detroit
walk up to the front door
before an old marquee;
a line down the block,
a building made with bricks.
we get inside and
lights are ripping
like a crack
down the black
of the theatre
energy igniting
energy
a crowd spills
bees from the hive
surrounded by buzz
we’re at the edge of it all,
bleeding into it.
and Vans shoes
black jackets
piercings like a
yearbook
the whole place is a ticking time bomb
and then
x band says hellooo De
troittt! but we’re in
Royal Oak or another
city like it. They say De-troit’s
the best!
the crowd cheers.
they say this to
every city.
the lights blow
a split-lip kiss and the stage
is bruised black and
the drums break thoughts
we’re all in.
A loud synthetic sound, say
what???
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I watch the stars with everyone else but destroy them on my own
- Richard Yonkers’ By the Light of the Stars
The sky had to detonate
like that so I could twist stars
between my fingers, into
my palms, against my skin. Burn.
Now I stand underneath the
fallout’s center, where I am
an explanation. Debris
kiss me, reflections exchange
me, and everyone takes me.
(But) Between where the sea nuzzles
the sky, we all misbehave.
Here we are centered, with closed
knuckles, sharp lines, a journey
sewed shut. We are where we get
ourselves tangled in fishing line,
feathered bate dipped just beneath
the surface - the world barely
skimming the top. We are wild
in the way that silence is
wild, and still somehow convinced
that voices will be what chase
us from this flood. The heavens
are still smashed against my hands
where they feel soft, underneath
the wreckage toft and I will
let their heat stain me while I
sink the moon and everyone (watches).
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ode to my love - In imitation of “ode to the flute” by Ross Gay
your skin feels
like the soft flesh
of a peach your skin
against my fingers
your skin against
my tongue
makes it sweet
like the juice drip
down and
I can peel you
open your skin
so delicate
I will not bruise the
center will not
bruise your skin
keep it soft
my body against your landscape you
are ripe your skin
ripens beneath me
and I will devour your skin like something
in season
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What It Takes to Survive: A History
There’s a swish shuffle crackon the road where Autumn Olives grow. Branchy / silvery and green, they grab the sky / nothing here is nutritious.Its red berries look like the next.
I never learned her real name, just that
she’s / invasive and
her red berries look like the last.
If there are multiple seeds / slippery / she calls them a bud.
Buds / appear / when her flowers die, her thorns grow backwards /
they hold onto skin and don’t let go.
She’s some kind of rose.
And over there the wasp is gone now but / she’s been here /
Her tiny eggs left / blooming / in the stem of Golden Rod /
implanted / with her sex organ. Golden Rod does not want
to birth the wasp-child but the Momma is a parasite /
her eggs will balloon in the stem.
She won’t tell anyone, but she turned her / organ /
into a weapon / and now she’ll sting.
Then there’s the Emerald Ash Borer, a tiny pandemic that smashed the forest
Ash trees / leaving behind a volume of bare bones.
Freckled in from Korea to somewhere in Dearborn,
good riddance / Dearborn / and we’re over here now like / Ground Zero
Because we have a tradition of fighting invasive species here /
ending with practiced wounds / that nothing will eat.
And now I’m thinking of the time we, just two girls, walked down
this same trail in the dark / behind a twilight yawn / into the debris
of tomorrow. An adventure, but we were never Native
Americans set fire to the land / the areas that smoldered
rewilded / in hopes to destruct invasive species. This I understand.
I walk again past the Ash that survived, survived the
Borers and the fires and
“Hi, Ash.” It’s polite to
say the names / to greet them
Do your berries look like the rest? / even invasive plants can become native.
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Hairpin Poems
ALTAR
I passed the wrong gravel road at sunrise
PALM
He let me in the threads of yesterdays
HEIRLOOM
In my pocket / an address I’ve never used
TEASE
Hair pulled together with a silk ribbon, nude / skin
OFFER
She said goodbye at the gas station closed at midnight
RIPE
You’ve never used your teeth to drink the juice of berries
CURSE
It was only half past the moon when your eyes sunk
QUESTION
In a Mexico city you fell through the thick water
TASTEFUL
She didn’t ask you for your fingers
IMITATION
I like your wound on this canvas
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Pink, Sylvie Baumgartel
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I Love You More - In conversation with “Adaption” by Ada Limón
I think about telling my therapist that she, my mom,
is the - was the - sharp low-to-the-ground hunt of a crocodile:
a breath held under water and a mask of day-crust mud.
Like the firm peel of an Autumn Day. She was a sunrise you taste
under the Big Dipper: the wrong kind, and she'd stain your
soft, diaphragm’s grief with an I love you more. She’d remove you
from yourself and leave behind a kill, an open casket eulogy.
All the things she has been: cigarette smoke hung on insides
of lungs, abandoned alarm howls, plastic wristwatch
stuck on the same minute, unhealed divorce fingers, mispronounced flames,
a poem she'd never love. All the things she has left:
A paper full of death notes - the rules for when she's gone.
But All of these things rest when she's coughing up lung.
She is: Jewish/Christian/Muslim prayer on a deathbed, butterfly tattoo,
Blonde from the bar, too many damn shirts, scrapbooks, shoes.
And then in one week, she is a story facedown
and I can't tell if I 1. miss it enough. If I 2. miss it at all. If
sometimes I 3. miss it more than I should on account of the first
two. She's sometimes a catch-your-breath moment.
Sometimes a good riddance. Sometimes she's grief-shaped
and I know what that looks like but I don't know what it is.
I think about telling my therapist that I've never not had a mother.
And now she's dead.
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