Kai Minosh Pyle

Funereal Dirge for Silence

i open my mouth and no sound comes out. the sound that is silence comes pouring over my teeth and my tongue past my lips like drool down my chin drizzling the concrete beneath my feet and it is a silence such that has never been heard. in this sound i am regurgitating all the silences i have not inherited through dna or blood memory or teaching scrolls or sexual transmission. the silences i have not inherited choke me, clog my throat with tears that never had a chance to fall but i like that sometimes, i like that. we are learning collectively to tune our eardrums to this silence. rest, rest, rest, rest. a four-on-the-floor beat. a man in a pressed suit comes by and politely tells me to wipe my chin, please, would i please stop vomiting silence all over the floor because i’m scaring the customers. but it’s too late for him, the silence is already past his knees and he’s splashing around in it, his pants getting ruined in the cold wet absence. it’s still coming. five hundred or more years of silences are being ejected from my body, rejected from my body, coming out in my spit and my sweat and my tears and my come. a silent choir comes to attend to my purge. they can hear the four-on-the-floor. they are singing now too. rest, rest, rest, rest. 

 

Kai Minosh Pyle is a Two-Spirit Métis and Bawiting Nishnaabe writer originally from Green Bay, Wisconsin. Currently based in Bde Ota Othunwe (Minneapolis), they are a PhD student researching Anishinaabe Two-Spirit history. Their first poetry chapbook, AANAWI GO, was published monolingually in Ojibwe in January 2020.

 

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Kim Shuck

Day 7

Disappeared is not good enough
Will it take a generation of Indigenous art dedicated only to this?
Will it take two?
Life sized sister sculptures
For each woman torn from our communities?
The empty cities of us 
What is not made difficult is made illegal
If not marginalized then poisoned
Pulled apart unfinished weaving
You have not only come for our traditional stories
You have come for our future

 

Day 10

Because baby and mother trade cells
The first gift 
Before crayon drawings and
Paper weaving 
Mother is a kind of mythological creature
Micro chimera
Carrying pieces of our missing daughters
Our bodies a private museum of loss


Murdered Missing is a series of 50 poems I wrote to investigate my own feelings about the crushing numbers of Indigenous women who are taken and murdered every year.

 

Some Other Thing

It was always clear that I was 
The thing not like the others
Those days we’d take the bus 
After school
All the way to the park
Sit up on the hill
Your head on my shoulder
And a plague of squirrels
Near the pond 
I tell you now that it was a good trade
A belonging I didn’t want
In exchange for your time 
Which I did
In the next couple of years
The women from that school who came out to me
As though I had any idea
But I had been chosen for sacrifice
So I guess I had the merit badge
In my boots and leather jacket
I guess I made the teacher uncomfortable too
Carrying Adrienne Rich like an amulet I didn’t understand
To a war I wasn’t paying attention to
With people I couldn’t wait to outgrow
People I can’t wait to outgrow
In retrospect
It was a pretty good love story

 

Kim Shuck is the 7th poet laureate of San Francisco. Shuck is a citizen of the Cherokee Nation of Oklahoma through one side of the family and the other has lived in San Francisco for generations. Kim is sole author of 7 books, the latest being a chapbook, Whose Water?  from Mammoth Publications, and Deer Trails from City Lights Foundation Books.

 

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Rain Prud’homme

Mixedblood Girls II

Mixedblood girls who date
              white boys are traitors to their race
              cuz “girl don’t you know you’re supposed to up your blood quantum?”

Mixedblood Girls who date
              black guys isolate family
              cuz don’t you know grandma & grandpa spent a lifetime
                            pretndin they “really weren’t them Freedmen folk.”
Keepin’us separated from family. There’s more than one kind of rez.

Mixedblood girls who date
              other mixedblood girls
              learn to keep their faces up,
                            wear their tattoos like shawls of tradition,
                                          & teach other mixedblood girls songs of their grandmothers
              full, throaty, and rich with defiance of being mixedblood girls
who didn’t claim to be anything else.

 

Hard

Trace lines, limbs of black 
ink over shoulder, down deltoid, skirting
left of your spine, to root on hip and buttocks—
a journey my tongue has memorized.

Long slightly callused fingers
grip my wrists, pull hands
away from bulk of belly—
refusing my self-shame in this body.

                So I learn

To love having curves, rolls, 
large breasts, hapullo nia, and lip-slicked lips —
the way my fat cis-fem body cradles
your tall, hard, butch body.

Opening dimpled soft thighs
to rough fingers, firm lips, harsh tongue, 
your silicon that is always hard—
brown eyes always soft.

 

D/s

I don’t understand
how you want this body—
its all hanging in a language
of dimples, cellulite, stretchmarks.

Perhaps it is a physical 
manifestation of my compliance—
the truth of my submission.

This is the place of letting go.
Your mouth, hands, sex,
hardness to my softness.

Your words break open
make me burn, leak, cry
in want from eyes to thighs.

There is trust in this.
The truth that outside
these doors I am power.
Never giving up control
but here—

I release, from calloused palm
marking across width of my ass,
shock of rings in breasts pulled
until your mouth assuages pain.

That I am a cradle
holding your body—
and you need me

a partner in the choreography
                of our flaws.

 

Of Settlers and Serial Killers

My womb is a barren killing field. 
Take it like Cavalry soldiers took 
our mothers, our grandmothers, 
our great-grandmothers’ uteruses. 
Let it carry testimonies in its lining 
continuing to shed blood tears 
long after removed from the body. 

Have they taught you how to read the way blood 
dries on skin like you would read tea leaves in a cup?

He says, 
“tell me are you blue?” 
When I sing blues turn 
my red skin purple like 
the bruises, the bruises, the bruises 
purple turn black, then blue, and fade 
like a body left to rot in the muck.

Have they taught you how to translate the way bruises
flower on skin like you would interpret lines of code?

Is this why you took our bones, our flesh, 
our DNA, stuffed it in drawers to silence 
the screaming, to muffle the crying, 
the annals of flesh you keep like 
serial killers keeping trophies.

Have they taught you how to read the way tears
fall on skin like you would read tea leaves in a cup?

You sit in nests we have built carrying 
splintered tibias, fractured phalanges, 
sinew that once held our grandfather’s ankles stable, 
lined with our children’s’ hair shorn, cut, 
and the meconium of grandmothers who 
expelled their children in fields they were shackled.

Have they taught you how to translate the structures
of our survival like you would interpret lines of code?

And so, you sit in our nests like 
hungry birds, lips open waiting 
for us to vomit into your mouths’ 
the essence of us turned acidic in bile 
of holding back our tongues — 
that you might have the last bit of nourishment 
we housed in our bellies keeping it camouflaged 
under our diabetic skin. 

Our act of living remains nothing 
but an exhibition for your entertainment.

 

Rain Prud’homme  is aFATtastically queer IndigeNerd who reads too much and drinks too much black tea. Her books include Smoked Mullet Cornbread Crawdad Memory (MEP 2012, as Rain C. Goméz, First Book Award Poetry, Native Writers’ Circle of the Americas), Miscegenation Roundance: Poèmes Historiques (fall 2020 Mongrel Empire Press), and the co-edited collections Louisiana ​Creole ​Peoplehood: ​Tracing ​Post-Contact ​Afro-Indigeneity ​and ​Community (University of Washington, 2021) and Indians, Oil, & Water: Indigenous Ecologies and Literary Resistance (TPHP 2020). Current projects include: Gumbo Stories: Rhetorics and Quantum Relation-Making in Trans-Indigenous South; Epidermal Journal (poetry); and “I oughta know about lonely girls:” Essays on Body, Love, & Place. She is co-Executive Editor of That Painted Horse Press and a professor at the University of Calgary. 

 

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Billie Kearns

The Breaking

I cannot speak the truth to my mother

I see her hands, they look just like mine
but her voice can break a room in half
can locate and crack each nerve on your heart.

The border between me and my mother
has been growing since I was fourteen.
I came
home one day and her tongue
was both more and less conservative.

I do not know what birthed 
this new tongue but it kept 
enough of its old face to still be
my mother.

If she looked for herself in the mirror
would she see me? Worse, if I look
for myself in the mirror
will I see her?

Over Mother’s Day lunch we hold stares
She says my girl you can be gay you can be Native 
but
you cannot belong to both communities.
Whose side are you on? Pick one. 

 

Billie Kearns (aka Billie the Kid) is a K’ai Taile Dené/Nehiyaw poet and storyteller. Born in Yellowknife, Northwest Territories, she currently resides in Kingston, Ontario, the traditional territory of the Haudenosaunee and Anishnaabe peoples. Billie holds a Bachelor of Applied Science in Electrical Engineering from Queen’s University and has performed at spoken word events across Turtle Island such as CUPSI and the Canadian Festival of Spoken Word. Billie is currently a director of the Voices of Today youth poetry festival. Her poetry breathes life into narratives as she explores relationships with family, friends, food, and the dynamic nature of dreams. 

 

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Michael Wasson

T H Y   G I F T S,  F O R   W H I C H   [ I   A M ]   A B O U T   T O   [ D E V O U R ]

Bless me, dearest Father, for the sin
                                                                      I was

born with—how I forget
                                                your face, once

I see your flesh-
                                                tinted photograph:

I am your ghost, a blessing

for the damned—a way out
                                         of your life as soon as

the earth opens up

its mouth to let you
                                in. & inside, to carve this

haunt with brighter air
                                                       you are still

breathing—to stay
                                        this alive: so faint

against the wall
                                                               I shiver

in the warmest of rooms.

I appear as a single finger-
                                         print on the lips

of a god betrayed, to smear away
                               what shame I entered

into you those years
               gone. Stare at me like a house

burning in lavender, Father.
                                       Give me your voice

please—for it is

the only gospel I ever had. & never once 

heard. 
                                              As if this body-

shot & hungered sky was left starred

with countless eyes.

 

Michael Wasson is the author of Swallowed Light (Copper Canyon Press, 2021). A 2019 Ruth Lilly & Dorothy Sargent Rosenberg Poetry Fellow and a 2018 NACF National Artist Fellow in Literature, he is from the Nez Perce Reservation in Idaho.

 

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Crisosto Apache

41. Cardiac

But he knew the cause of his malady. —R.
Akutagawa, 41. Sickness

—caution in starting a chainsaw

the buzzing vigor generates an onset
and eases the space between my ears,
as the massive jolt from the metallic
melodic rigor rages from the chainsaw

what my supposing father does not know
is, pulling on the trigger can cause a negative
interaction with his pacemaker

the space between my ears bow upward,
plumping my cheeks and creasing crows
feet, almost in a hopeful snicker

a tiny thought in my head voices its concern,
warns my supposing father, leaving me with
this dismal decision to notify, but contrary
to my supposing father’s heart condition
is

—do I dare warn him not to cut wood?
                            —or should he die trying?

 

50. confined

But to believe in a God, — to believe in a God’s love,
that was impossible.
—R. Akutagawa, 50. Captive

many of them went astray, as whispers away from faith
many of them went astray, from faith as a whisper, away

in the exhaust of these whispers, I become the air of arid fall
as it torments my hands of some presence, by some torment
                                                                                                       — God?

here, pacing inside my small square room, in falls’ remains
I persist this empty pace, but the room is small and arid inside

—inside, I am small, and I believe the pace of this arid room
Inside, I astray from the belief of fall whispers and small rooms

belief in them fails in the small space of this whisper
yet, in this whisper they fail and may fall in exhaust
I have paced the floor for so long, I have gotten better at it

but the arid belief in God fails the small spaces of these rooms
but mostly arid whispers pace the presence of small beliefs

—to believe in God, is to believe these small beliefs exists

 

51. Conquest

In this semi-darkness day to day he lived. —R,
Akutagawa, 51. Defeat

—in this determining dark,
inside my condensing state of mind, there is much clarity to consider,
inside my conflicting state of mind, there is much conjecture to clarify

as the sordid lump of flesh drapes over a yellow armchair
I presume the defeat, the control of place, the control of people
I presume the manifest which continues to exist, and I resist
I challenge daily the destiny, which is this darkest hour of being
My state of becoming is this dark American hour

an opinion like all options leave nothing to clarify, even after
a conclusion formed based on incomplete information
by use of force, or by use of this state of mind, this darkness
manifests a destiny left in a gripping palm and blank conjecture

nothing is determined, nothing determines the outcome without
a belief to consider a consideration leaving no belief, and yet
outside the wind blows the dry leaves about
                                                            —the day moves on without me

 

Crisosto Apache, originally from Mescalero, New Mexico (US), on the Mescalero Apache Reservation. He is Mescalero Apache, Chiricahua Apache, and Diné / Navajo. His Diné clans are Salt Clan born for the Towering House Clan. He holds an MFA from the Institute of American Indian Arts in Santa Fe, New Mexico. Crisosto is an Assistant Professor of English at the Rocky Mountain College for Art + Design (RMCAD). He is the Associate Poetry Editor for The Offing Magazine. He also continues his advocacy work for the Native American LGBTQ / ‘two-spirit’ identity.

Crisosto’s debut collection GENESIS (Lost Alphabet) stems from the vestiges of memory and cultural identity of a self-emergence as language, body, and cosmology. Some of the poems in this collection have appeared in Denver Quarterly (Pushcart Nominee), Cream City Review, Plume Anthology, Common Place: The Journal of Early American Life, photographer Christopher Felver’s Tending the Fire. and most recently The Poetry Foundation’s POETRY Magazine June 2018 issue.

 

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M. Carmen Lane

Black Lives Don’t Matter, Black Bodies Do.

When I was thirteen years old, I wore a white blouse and black skirt to school for the junior high band concert. I went to my home room teacher to ask what time I needed to be in the gym. I wanted to make sure I was checked in to class before I left early. I didn’t want to get into trouble. The teacher, a blonde mid-forties white male watched as I walked toward him. When I went to open my mouth he stopped me and said, “Don’t come any closer. If you were eighteen, look out.” I laughed uncomfortably and kept walking towards him. He said it again with the additional, “I’m serious.” My body stiffened.

Walking to the bus stop in high school I see a car driving down the street. It is a car load of white youth, male, yelling out their window. It took a moment to realize they were yelling at me — the distortion through the wind, “N-I-G-G-E-R-R-R-R!” My body stiffened. My stomach dropped.

I’m at a gay bar in Detroit with a white lover. She’s trying to impress me by taking me to all the hot spots in town. She asks a white gay male where the after-hours spot is. He retorts in the snarky stereotypical accent of his ilk, “There’s a place on the other side of town if you don’t mind too many black people.” He turns and notices that I am with her and simply says, “Oh.” An old rage bubbled up in my body.

Last week I am standing in line at Whole Foods. I am waiting while two transactions are occurring. The white man behind me says, “Are you going to move up?” I turn around and say, “No.” I tell him I am waiting for the two people ahead of me to finish. It’s my turn to purchase my items and the white man follows behind me. He moves my cart to put his items on the counter. I grab my cart and tell him loudly to be patient and wait until I am complete with my transaction. He moves back and tells the woman behind him, “You should move back. It’s safer there.” The new old rage returns and I am reminded of my function — to know my place; to move when a white man tells me to. If I resist, I am the problem. The young white man aiding me with my purchase is stunned. He doesn’t know what to do — he remains silent.

Black lives don’t matter. Black bodies do.

This is a concern informed by our current understanding of intersectionality — the impact of the black body. Skin color, body size and shape, hair texture, how white and straight our teeth are, the color of our eyes, our genders, sexual orientation, gender identity and expression, the sound of our voices and class perception within our black bodies impacts the multiplicity of responses we receive living while black. Where we are, who we are with, what we are doing (or not doing) with our black bodies, what words are coming out of our black mouths all have meaning and consequence within settler colonialism.

We do not have lives. We have functions.

The function of my teenage body is to prepare itself for the pleasure of a white male. My young female black body was practice for young white men to learn and occupy their superior place in white culture. My queer black body should not take up too much space; there is a limit to how many black queer bodies can be in one place — lest there will be consequence. My middle-aged black body needed to move in alignment with the speed a white male desired.

Under settler colonialism, under occupation, “mattering” is of no significance. It does not resonate within empire. How I feel, who I love, what I am dreaming of does not matter. What’s important is how I control my black feelings; my black thoughts and my dangerous black desire in relationship to the function assigned me by white culture.

The issue of the sovereignty of black bodies is paramount. Currently we have the right to exist under particular circumstances. The “right” to be in your body. The “right” to breathe. The “right” to have a heart that beats. This does not exist. Black bodies pretend to “be.” In the wisdom of our hip hop elders, “Ain’t no future in your frontin’.”

The right to experiment, to play, to create for oneself and one’s own curiosity has become a right — not what it means to be a human being. We do not have the right to matter.

What we do have are the responsibilities to unravel the old yet very young system that has created these inhuman dynamics. We must understand the stories we tell with our bodies. We must acquire clarity regarding the gaps between who we know ourselves to be and what society sees. We must close this gap by being the foremost authority of our being. Self-mastery. This call is both in service of our sense of self and our membership to our communities (ancestors, family of origin, families of choice, our family across the Diaspora, our extended relations who also face similarly bound perceptions of who they are). Our capacity to be in solidarity is in direct alignment with our willingness to do our own work to be embodied in our truth. That is, the old adage that, “I must change myself before I can change the world” has no meaning if my capacity to know myself has been limited by racism, sexism, homophobia, classism, transphobia, ableism, my undocumented status, my history of violence, etc. It is not enough to understand structural oppression if we do not know the parts we play to perpetuate it.

ANCESTOR 1699. Margaret Copes was presented by the churchwardens of Hungers Parish, Northampton County, Virginia, on 29 December 1699 for having a “Maletto Barstard child”

Only a white male can choose to make a mulatto bastard child. The above is one of the oldest ancestors I can trace. I only found her due to the control of her body which was documented by a court of law.

DISTANT RELATIVE 2016. Jasmine “Abdullah” Richards, a Pasadena Black Lives Matter leader, was sentenced to ninety days in jail and three years probation for “attempted lynching.”

Jasmine interrupted a woman being arrested by the police. Jasmine perceived harm being done to this woman. Jasmine is a queer black woman with masculinity; some call this “masculine of center.” At the center are white heterosexual men (presumably Christian). Located on the margins of white culture, Jasmine’s black body should be used for a different purpose. Jasmine used their body to obstruct and interrupt oppression. By expressing who she actually is and following her conscience, Jasmine was punished and taunted with the charge of “attempted lynching.” The event of lynching which historically and overwhelmingly has been imposed on her kin.

Black bodies have a function under US settler colonialism — the use and abuse of our bodies. We can be worked to death, trafficked, bred, used for sport, mutilated, taunted, tokenized, marginalized, heckled, locked away and murdered. Sonia Sotomayor wrote a powerful dissent in 2016 of a Supreme Court decision that now allows evidence collected from an unlawful stop by police to be used lawfully. Her words speak to the past, present and potential future for the sovereignty of Indigenous, Black and brown bodies if we continue to choose not to engage in a particular kind of liberatory work. “Your body is subject to invasion while courts excuse the violation of your rights. It implies that you are not a citizen of a democracy but the subject of a carceral state, just waiting to be catalogued.” Your black body has been invaded down to its marrow; across space and time. We must birth ourselves — again.

BLOOD COUSINS June 12, 2016 2:02AM. 49 people are murdered in a gay bar on its Latin Night. All queer Latinx and Black.

These brown queer bodies were celebrating, acknowledging, seeing, loving each other; embracing who they are in the face of uncertain outcomes under occupation. They were doing what they were not supposed to be doing — engaging in acts of body sovereignty.

They were punished by Omar Mateen. In this culture, he is a man of color labeled “white” as a person with Middle Eastern ancestry. Like George Zimmerman, a Latino, functioning as proxy for the white heterosexist and racist patriarchy.

Enslavement controlled how we were able to use our black bodies and for whom. Jim Crow controlled where black bodies could eat, drink, live, learn and shop. These words are gone; the dynamics within slavery and Jim Crow still exist (e.g. homophobia, transphobia, police brutality, imprisonment, sexual violence, fat shaming, human trafficking, sports trading). The control of the agency of the black body still exists, is crucial to keeping this project of America turning. Miscegenation laws controlled who black bodies could make love to — some of these laws still exist on the books across various states.

Muhammad Ali’s body paid the price for rejecting the systems perception and attempt to control his black body. There is a cost.

Body sovereignty is the absence of so-called respectability politics — if I control my body in certain ways, I will be accepted. Body sovereignty is the absence of ingesting the system’s archetypal responses to our black bodies — a rejection of the need to matter. I AM. WE ARE.

The desire to matter versus a claiming of our sovereignty is a form of collusion; an asking of the system to acknowledge our function(s) here — this is not liberation. Body sovereignty is the new black. It is blackness without the historical on-going entanglement with white supremacy as a means to understand the self.

If we are constantly engaged in resisting how our black bodies are tampered with, the ability to discover the need to assert anything about ourselves becomes a difficult task. Asserting the sovereignty of our bodies is a gift for ourselves and the worlds we traverse. It is an investment in the future possibilities for our kin to live in the world free of a need to matter and embodying the understanding that their work while alive is to become.

The time is now to claim our body sovereignty; to listen to the knowledge within our bodies. The answers to our dilemmas live there. Oppression deliberately distracts us from accessing this critical information.

The space(s) we occupy daily are stolen. They do not belong to us; sovereign only to the Indigenous people of these lands. Our bodies are our only place of ownership, the work of decolonization — here and now.

— M. Carmen Lane
Revised 6/2/2020

M. Carmen Lane (Tuscarora, Mohawk, African-American) is a two:spirit artist and writer living in Cleveland, Ohio. Their poetry has been published in the Yellow Medicine Review, River Blood & Corn and Red Ink Magazine. Carmen contributed to the Lambda Literary nominated anthology Sovereign Erotics: A Collection of Two-Spirit Literatures. Their first collection of poetry is Calling Out After Slaughter (2015). www.mcarmenlane.com IG: @m_crmnlne.

Danielle Lea Buchanan

I transgress. I bear witness.

Subversion is an intrinsic value inherited in order to survive. Growing up in adverse, violent, impoverished, transitory environments is to be a ‘deviant,’ which manifests into linguistic lawlessness. Tribulation affords me the ability to experience the jabberwockish, neologistic logic of the world. My diction ranges from fever-pitched vulgarities and bombastic colloquialisms to the stoic and academically austere: a lingual promiscuity. Chasms between socio-economic environments create an auditorium of aesthetics, textured dissonance, hiccupping cognition and lexical contortion. Institutionalized language is euthanized language; I tread nimbly. Language is a system to be deconstructed to decimate conventional history and recalibrate time—time into a velocitous verticality as opposed to plodding, horizontal progression. I twiddle with syntax to resuscitate. To think of a single letter as an organ, a word as an airway, the sentence as a respiratory system. To seal my saliva, my mouth against every stroke and blow convulsive rescue breaths until Lingua Franca gasps into re-existence.

Edit

       Close your town. Lock the poem away in a chifforobe till quarantine’s end. It’s contaminated with the plague. It begins bubonic. The key? Hide it. Abandonment sharpens objectivity. Even if the poem’s population is 215 in boonie, backsticks Ozarks. Even if you’ve just got a guinea, billy, donkey or rusted claw foot filled with radish and skunk nest. No one enters. No one exits. Outside, Canonic critics in Cadillacs carry canteens, binoculars, sawed offs. Gatekeepers shoot your heifer, noose your darlings. This all in the name of refinement, homogeny, de-clunking. You’ll try secretly hoisting rhubarb and limas to prepositions by basket and pulley. Don’t. Contagion is a risk. Let two months pass.

       Open town. Unlock the chifforobe. The poem: partition pages into hoods placed under authority of a syndic. Some stanzas are so dicey you don’t drive through after 7 p.m. and couplets are ply wooded windows. Lock doors at every enjambment. Silverfish infested couches are fire lit next to dumpsters that possums sex in. Your sestina smells homeless. Draft one is rough. Begin marginalization.

       Create a newly segregated word document titled “Section 8.” This is a form for the unformed. This is humanity’s orphanage. Better manslaughter in one’s own hands the neck of lexicons most loved. Duct tape mouths of dangling modifiers. Hogtie kicking and pulling adjectives, highlight them. Paste them into termite infested studios. Open new document after new document tabbed “Lower income,” “rehabilitation,” “alternately abled,” “mentally disordered.” There’s infinite megabits and white space for the oppressed to stagnate in.

       Construct as many literary penal colonies as needed. Alphabetic asylums where forced sterilization is performed on Lingua Franca. Rehabilitate lower cases. Douse them in ice baths after electromagnetic cognitive therapy. Machete limbs of metaphors that gangrene ate. There’s poetic images $1,340.00 past due in rent. Build payday loans on top of every comma. There’ll be barbequed squirrel and broken family reunions when you log out because these words do not doze: the mauled verbs that hobble on crutches, amphetamine addicted clichés, triolets riddled with head lice. Similes in perpetual states of existential crises.

       Take Draft Two to Salvation Army’s food pantry. Caucasian writer lore is anemic, severely iron deficient. File scribbled epiphanies in moleskin notebooks under “Juvenile Delinquent Detention Center.” Evict meth huffin’, country bumpkins from the sonnet. Too heavy, they bust convention’s bed springs. The mad, the vagabonds, the criminals, the beggars, the off-colored, lines that stumble drunkenly, the alliterated poverty. These literary influenzas epidemic elitist white pickets. Upload them to me. I’ll breastfeed neologisms. Somewhere, inside one of these decrepit homes, a little girl dressed in a fleece My Little Pony onesie wears brass knuckles to bed. Delete this documentation.

       Do I enact to language what life has dealt me? What to my body, I to the paragraph? I too slaughterhouse Britannica’s physique—just as he did, coming in at 4 a.m., rubbing a slippery cursor on my lips. Fragmented on a mattress, I scramble syntax outside these edits. It’s not experimental. It’s survival.

 

Danielle Lea Buchanan’s poetry, hybridities, collaborative art, fiction, book reviews, interviews, teaching guides and oddities have appeared or are forthcoming in McSweeney’sMid-American ReviewAnomaly’s Radical: Avant Garde Poets of Color, New Orleans, Puerto del Sol, New Delta ReviewNoemi PressPsychopompHobart, New York, and other elsewheres. She was shortlisted for the Master Review’s 2016 Fall Fiction contest judged by Kelly Link, and winner of Passages North’s 2017 Ray Ventre Nonfiction prize selected by Jenny Boully.

Hari Alluri

Cordage: itinerary

MAHAL, [CALLS] AND RESPONDS TO THE QUESTION “WHAT IS TIED?”

౧| 

[follows a deer the way a breeze walks
behind an unsuspecting deer] 1

౨|

[takes aim]2

౩|

[retrieves the guts, a fire
on the edges of her favourite time]3

౪|

[dances for and like her meal]4

౫|

[sets up her bedding, thanks the night
for keeping itself dry]
[is awakened by stars peaking behind
brighter stars]5

౬|

[ finds the rhythm of this specific cord]6

౭|

[names the string a name like perfect aim]7

౮|

[notices Ekalavya, between whittling
arrows, finger his worn
string with song]8

౯|

[considers whether to smuggle the string
onto the statue’s lap or onto the next of
his arrows gone astray. Whether to walk
up to him with the string in hand or
return back to her day] 9

                                                                               

 

 

 

 

 

 

 

 

 

 

     

 

 

 

 

 

 

 

 

 

 

 

 

 

1       This arrowhead 
          to the rock
          my first ancenstral
          mother struck.

2       The strands of my hair 
          the arrowhead
          now dangles
          from as amulet.

3        My lean to my mother’s lean
          before I was conceived.
          The part of the tree I lean with
          to the parts I cannot reach.

4        My elbow bend, the scar 
          it carresses, my swishing swishing
          hips. The bracelets made of wind
          I wrap around my wrists.

5        My yearning
          into this one long sash 
          two can lay on close: 
         climbing from knee: over-
          flowing shoulder: back to waist.
          The sash’s fold like a lover’s ear
          at the tickle in my neck.

6       This deer gut string I sing
          toward its own
          accumulated chorus.

7       The impression my teeth bite into this loop.

8       When strung, the bracing
          required, drawn over the hook,
          a contract: tree to animal,
          like breath. The need to stay
          attached, the need to flee.
          The muscles built to curl
          protection around a fawn.

9       The torque at bow. And arrowhead
          at contact point
          where flying ends. The hesitation
          transfer, automatic, core to cord to cord.

 

Photographer: Erik Haensel

Hari Alluri is the author of The Flayed City (Kaya Press, 2017), Carving Ashes (CiCAC/Thompson Rivers Press, 2013), and the chapbook The Promise of Rust (Mouthfeel Press, 2016). A co-founding editor at Locked Horn Press with fellowships from VONA/Voices and Las Dos Brujas, his current projects are supported by grants from the BC Arts Council and the Canada Council for the Arts. Hari’s work appears in the most recent Poetry In Voice anthology, as well as in The Capilano Review, Counterclock, The Margins, Massachusetts Review, Ovenbird, POETRY, and Wildness, among others.

 

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Dev Murphy

Studies in Calm

 

Dev Murphy is a writer and visual artist. Her work has been featured in The Guardian, Passages North, Queen Mob’s Tea House, The Rupture, The Pinch, Brevity, and elsewhere. She lives in Pittsburgh, where she works in an art gallery. Follow her on social media @gytrashh.

 

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