Chloe N. Clark

We are paying for our sins, the writers declared as if they were street preachers in apocalyptic movies.

Bound

The lake looked beautiful that time of year. Trees swooned in towards the water, heavy with leaves and fruit, and algae bloomed the color of liquid emeralds. I watched the wind send shivers across the water’s surface and each hint of breeze filled the air with the smell of catalpa flowers—so pungent that the scent could almost be seen. I breathed in. I breathed in. Somewhere, behind me, I heard something call out. But maybe it was only a bird.

  

Years before, I listened to a different kind of water: the recordings of the Mariana trench. Shrieks and moans from the deep. They sounded so disembodied, so alien. Rahul walked into my office. “What is that?”

“The recordings from the Mariana Trench. It’s how things sound underwater: listen you can hear ships way above and whales. Even the earth moving.”

He leaned over my shoulder, reading the text on the screen. “It sounds like outer space does in movies. You know when someone’s on a planet or something?”

So close to me, he smelled of peppermint soap. “It makes me kind of sad,” I admitted.

“Sad?” He turned to me. Our faces near enough that I could count his eyelashes.

“That even so deep into the earth, there’s still so much sound. It’s like you can’t escape from noise.”

He smiled. “That should make you happy. Even in the darkest, you can still hear life.”

Often, I went back to this memory, searching through it for signs that the world would end. I wanted to know if even then things were shifting around us. But, mostly, all I see is Rahul smiling. The color of his eyes, the shape of his lips.

  

Anna Moritz was the first I watched die. It was the second year of the plague and things were already going to hell. We’d worked together for years. She was my friend. I sat there as she lay dying, watching her body shake and jolt and I couldn’t do a thing to help her.

“Oh god, oh god, oh god, oh god. I can see them in my blood, Rissa! I can see them in my blood! Such tiny teeth they have!” Her voice was so high-pitched, so breathy. She gasped for air between every word.

I held her hand. They always said not to touch the sick, but she needed someone and nothing I’d done so far had gotten me sick. She needed some grasp of life.

“I loved him so much and I never told him it was our fault,” she said. Her moment of clarity. All the sick got one moment. I’d noticed it over and over. They didn’t, maybe, know it was clarity, but I saw it. Anna’s eyes cleared and she stared up at the ceiling as she said it. I wanted to ask her what she meant. Then she returned to gasping, moaning, muttering.

In the last moments, she dug her fingernails so deep into my palm that she drew blood.

  

I was twenty-seven when the plague began. I worked in a laboratory, studying plants. My degree was in ethnobotany and I wasn’t truly one of the scientists, more of a glorified researcher for the company. Mostly we were looking for the medicinal benefits in plants that had not yet been fully studied. An Emerson quote was framed on one of the walls: What is a weed? A plant whose virtues have not yet been discovered. However, sometimes, we helped out labs that were less well-equipped: studying contaminant species and the like.

I was there on the day they brought the samples back. A kind of algae-like bloom spore that had been found in a lake in the Pacific Northwest. People in the neighboring town had started getting sick. At first it was headaches, then fevers that brought vivid hallucinations, then pain, pain, and finally death. Everyone thought it had something to do with a chemical company on the edge of the town or possibly some sand blasting going on nearby. Then they found the algae. It slicked the top of the lake, like an oil spill, glimmering and tinted blue. I’d seen pictures and it looked like nothing I’d ever seen before.

“Do you really think it could be algae making everyone sick?” I asked Rahul. He leaned against the wall next to me, drinking a mug of coffee, and watching three of the lead scientists crating a box of samples into one of the labs. Our shoulders touched.

He shrugged. “I suppose if it got into their drinking water. During a bloom, cyanobacteria can be quite toxic.”

One of the scientists pulled out a glass sample container, filled with water and blue tendrils of slime. It was no algae I’d ever studied before.

Next to me, Rahul shifted forward. He stared at the container with a mix of fierce concentration and worry. “Something’s not right.”

  

Two years later, in the car as I raced to get to somewhere safe even though I knew no such place existed, I saw a man walking alongside the highway. His clothes were ragged and his hair disheveled, but from behind, I thought I knew him. Something about his walk, the steadiness of his pace. I slowed the car, begging my vision to be right.

Please, please, please, my mind said over and over. The man turned to look at me and it wasn’t him. Just a man, dried blood under his nostrils, and a look on his face so close to madness that I pressed my foot onto the gas pedal and sped past him in a blur.

  

“What did they say?” Anna and I were eating at the deli we often went to. They made their own bagels and spread them thick with avocados and fresh goat cheese.

“Nothing they’re willing to tell me,” Anna said. She was a lab assistant. Two years younger than me, but already ahead in most “adult” aspects: she had a husband, a mortgage, and plans to start a family in the next couple of years. Her husband would die before her. She’d scream his name when the fever first took hold of her.

“Rahul said they looked worried,” I said. Taking a bite of the bagel, avocado filled my mouth. The taste was so rich that it seemed wrong with the conversation, with a town dying only a few hundred miles away.

“Rahul is a worrier. It’s why you’re so perfect for each other,” Anna said.

“I’m not a worrier.”

“Exactly, he worries and you’re the voice of calm, of reason.” Anna pulled the edge of her bagel off, popping it into her mouth. “What is he like in bed, by the way? He seems like he’d be either good or gentle.”

“He can’t be both?” I thought of Rahul’s hands, of the way he’d run one up and down my thigh, almost absentmindedly, as we watched something.

Anna laughed. “Not in my experience.”Only later would I realize that she’d been changing the conversation on purpose, that the scientists had told her more than she said. She’d admit it to me one night, a year later, as we watched bodies being taken away from the street in vans. They knew, Rissa, they fucking knew so much.

  

The town was quarantined. The situation has been contained, newscasters reported. The lake sanitized. The death toll was in the hundreds. A shocking number, but the word “contained” made us feel safe.

At work, I noticed more meetings going on than normal. Once a scientist brushed past me in the hall, and I turned to apologize, only to see that he had tears in his eyes.

“Are you alright?” I asked. His name was Dr. Perrin. I never knew his first name, but I remembered that he had a daughter who liked horses and Pixie Stix. The facts that stick in our mind are sometimes astonishing.

He shook his head. “Tell everyone you love them.” He hurried past. I hoped his daughter was fine. I hoped it was nothing serious.

  

The first time I met Rahul was my third day of work. I was lost in a back hallway of the lab, trying to find a man with a sample of a prairie grass that he wanted me to look at. I saw a man coming out of a side room. He was tall, thick dark hair, and wore sneakers the color of the sky—a soft blue that seemed incongruous paired with his white lab coat.

“Are you looking for something?” he asked me. His voice was soft.

“Prairie grass?” I responded.

“Maybe try Iowa?” he said. His tone not mocking, just playful.

“So, you are not the prairie grass man, then,” I said.

“I’m mostly the lake weeds man, but people often call me Rahul.” He extended a hand. His shake was firm, but not pressing.

“Rissa,” I said.

Once, later, Anna asked me if I’d known right away that I’d love him. I shook my head, said I’d been attracted to him, yes, but no one can know love right away. She had laughed, relieved, and said that she hadn’t loved her husband for months and she always wondered about it. If it was something wrong with her, with her relationship.

The truth was, though, that the minute I’d seen Rahul, I had thought something strange. I’d thought: one day, I’ll want to remember this. And, at that point, I hadn’t known why.

  

A month after the quarantine, another town became sick. The river running past it was thick with algae. The news stories did slow pans over the water. In the sun, the algae seemed to glow, pale blue as sapphires.

As we watched the news, Rahul shifted next to me. “It’s not algae, Rissa. I don’t know what it is, but it’s not algae. I looked at it, under the microscope. It’s something else, the spores, they’re mutated or something. I think someone may have tampered with them. It seems engineered.”

I turned to him, he looked so scared. “We’re going to fix it. We have the best lab in the country, top scientists. We’re going to fix it.”

He stared at me for the longest time before saying, “I want to believe you.”

Later, in bed, his body pressing into mine, our breath fast, he said that he loved me. I wanted to believe me then, too. I wanted to believe that everything would be fine.

  

One night, when the nation had first gone into a state of emergency, I woke up to my phone buzzing. I picked it up.

“Hello?” I whispered, not wanting to wake Rahul.

The person on the other line didn’t say anything at first, but I could hear them breathing. Gulping in air, as if they’d been crying.

“Hello? Who is this?”

“Jesus, someone, someone, they burned it down,” Anna said. Her voice shuddering and shaking.

“What?”

“The lab, Rissa. Someone burned it down,” she shouted the words. “All that work. We could’ve found a cure. I mean, we . . . ”

I never knew how she’d finish the sentence. She hung up.

In the morning, Rahul and I drove to the building. Its carcass still smoking and the remains so charred that it had to have been burned with something fiercer than gasoline. I walked as close to it as I could without being overwhelmed by the smell. Someone had spray-painted something on the sign that used to hang over the door, but only half of it was now visible: Gui. Just the three letters and nothing else.I walked back to Rahul, who stood staring at the wreckage, and I didn’t tell him what I saw. I didn’t say, I think it must have said ‘Guilty.’ At that point, I thought that the arsonist had just meant that we were guilty of not being able to help.

  

It only took months for it to be most places. Some of them cities that weren’t even near bodies of water. The newscasters warned us not to panic. The CDC said that it was now an illness, spreadable through contact with the sick.

Stories ran on blogs about how this was not sickness but a cleansing. We are paying for our sins, the writers declared as if they were street preachers in apocalyptic movies.

  

A few months after the State of Emergency was declared, after the rioting and the burned cities, I took shifts volunteering in one of the makeshift hospital tents that were set up wherever people could find space. There was no cure, there was just an attempt to ease suffering, to keep the sick contained where the bodies could be easily rounded up after death.

Walking through the beds, looking for anyone in need of more pain meds, I recognized someone. Doctor Perrin, from the lab. He looked so hollowed out, so fragile.

“Dr. Perrin,” I said.

He looked up. “Rissa, you’re still you.”

I wondered if he meant still alive. “Yes, I am.”

He coughed. “I thought you left, went under the sea with some of the others. God, it’s probably so dark and cool there.”

“Under the sea?”

“You know, where it came from, right?”

“What? The algae?”

He shook his head, wincing. “No, dear, the algae came from us. I thought everyone knew that. It was supposed to eat, eat, eat up all the output. You know we put so much into our water and we needed to get rid of it. Clean the water. We were going to be helping. Helping. Funny word, really, that helping has hell in it.”

“We did this?” I whispered.

Dr. Perrin smiled at me, as if I were a student who had gotten the answer to a particularly challenging question. “Did I tell you about the sea? No water. No not water. No, I meant the cure. It’s under the sea. No, not the sea,” he said. Then he coughed again, harder, and blood speckled the sheet he was laying on. “The lakes. It’s in the lakes.”

“There’s a cure?” I wanted to keep him talking, keep him present.

He smiled. “God, you look just like my mother. You’re so pretty, Gretchen.”

That was the name of his daughter. I remembered it then. A girl I’d met once at a Christmas party. She’d been hiding in the corner, tapping a Pixie Stick against her hand, like it was a cigarette. She was years and years younger than me and looked like she’d grow up to be an elegant looking woman. The fever must have been deep at that point.

“Thank you,” I replied.

“Oh, love, you’re forgiving me, right?” He asked. Blood leaked from his mouth, tiny red trickles of saliva.

“Of course, Dad,” I said.

It took a year before the country was in ruin. Longer than I think anyone would have predicted.

  

It was a year and a half when Rahul never came back. I woke up and he was gone. A letter on the table, saying that he’d heard of something. A lab to the North. Right now, you’re safe here. I’ll come back to get you when I know it’ll be safe there, too. Always, I love you.

I wondered why he’d think I was so safe. Our doors had locks, but wouldn’t we have been safer together?

Outside, I’d heard rumors as well. Hushed voices saying that someone was going to cure us, that there was a place working on the cure. I’d never have been stupid enough to think there was truth there. I’d have never left him. Sometimes, I’d wake up from a dream that he was sleeping beside me, and find that he wasn’t there. I’d curse him. Yell every foul thing I could think of to the air, to the space he wasn’t.

  

When he first asked me to move in with him, he’d baked a cake. It wasn’t particularly good: dense chocolate with too-sweet frosting.

“I’m not very good at this,” he said. “I just wanted to see if I could even bake.”

My mouth was full of cake, I was trying to swallow it down, to assure him that it tasted good.

“If you move in here, I’ll promise to never bake again,” he said.

And I laughed and we left the cake uneaten on our plates. And years later, when I searched through empty cabinets and the city outside was dying and Rahul was gone, I thought of the cake. I could taste it in my mouth. Sweet and rich.

  

I found Anna again not long before her death. She was living on the street at that point, unable or unwilling to go back to the house where her husband died.

“He kept saying that he could see God. That God was a fish with sharp teeth,” she said to me one night after she came to live with me. “Like one of those Angler fish. God as some ugly-ass creature down at the bottom of the sea. That’s all he talked about toward the end.”

I didn’t know what to say.

Some nights Anna would climb into bed beside me. She slept in fitful bursts, whimpering sometimes and I would shake out of sleep thinking she was crying. It was only dreams, though. Probably nightmares.

  

It was almost three years after the plague began when I found what I needed. I moved steadily, unable to stay still. Loss hung over every place I went. I’d seen the man collapse along the side of the road and I went to him.

I poured some water into his mouth, hoping it was just the heat. But he pushed my hand away. “Too late for that, darling. I’m a goner.”

“How long have you been sick?” I asked.

“A week or so, longer than most get to stay.” He smiled. “Why are you out here?”

“I heard about a place near here,” I said. I wasn’t sure how much to say. I had grown cautious, grown to be someone who didn’t show their cards until I was sure.

A look passed over the man’s face, like he’d been looking for something in a crossword puzzle and then the answer had revealed itself. “The lake is real you know.”

“What?” I asked, studying the man’s face. He looked kind, like he was someone’s grandfather. The kind who’d keep coins in his pocket, just so that he could do the trick where he made one appear from behind an ear.

“To the North. Not far. That’s where the lab is. Isn’t that what you’re looking for?” He asked.

“How do you know?”

“Everyone’s looking for someone.” He frowned, pausing. “No something. That’s the saying, right?”

“But, how do you know about the lab?”

“I was there once, before all of this. Worked there. Sometimes, I go back and I watch them. From a distance. I never liked being locked away, though I think I see their point now.” He tapped his sweaty forehead. “Once you go in, they don’t let you out, though. Keep a strict eye. They want to keep everyone safe. They’ll have the cure soon. Maybe, even, they already do.” He smiled, again. Not happy but not sad either. Wistful maybe would be the best word to describe the expression on his face. I wondered if he was hallucinating. I found I didn’t care.

  

After Anna, I fled the city. Cars still went aways, if you knew what to do. I drove north because I didn’t know where else to go. Some nights I still dreamed of him coming back, but mostly I nightmared that he was dead. He died in so many ways in my dreams: killed by a looter along the road, of the sickness, of exhaustion. Sometimes, even, he’d die in the most normal pre-plague ways: car accident, cancer, slipping in the shower.

I drove until the car gave out. I passed graffiti-covered stores: It comes for us all, one store window stated in red paint. I passed the dead in piles and cars abandoned.

When the car finally stuttered to a stop, I got out and began walking. I wondered if I’d simply walk until I stopped.

  

The man gave me directions, as best as he could, between coughs, as his fever began to rise. His words began to lose meaning, but I had enough. In his moment of clarity, he looked at me and said, “my mother used to sing me that song. The one about sunshine.”

I sat next to him as he died. I sang, “the other night dear, while I lay sleeping, I dreamt I held you in my arms.”

My voice cracked, too long without singing. The words felt sharp, like a bruise being pressed. The man drifted into nothing. He was the most peaceful one I’d ever seen at the end.

  

“Look at this,” Rahul said. He stared into one of the tanks in his office. There were so many water plants, he was always adding new ones. I walked up next to him, leaned to stare into the tank. He pointed at a tendril of a green grass-like plant.

“What am I looking at?” I asked. “Isn’t it just water celery?”

He smiled. “Yes, but, it’s doing so much and we can’t even see it. Think of water, think of these systems set up naturally: everything working with everything else. It purifies the water, filters sediment, feeds the fauna. And it didn’t have to be engineered to do that, taught to do it. It just does it. What miracles the world has wrought.”

“How long have you been staring into this tank?” I asked, laughing.

He slipped an arm around my waist, pulling me closer to him. “When we’re old together, and we’re retired, and living somewhere warm, let’s fill a pond with life: fish, frogs, all the water plants of my heart’s desire. What do you say?”

I didn’t answer. I didn’t want to imagine us old. A life behind us instead of ahead of us. But I liked the thought of staring into water, of the sun glinting off of it, of Rahul dipping his fingers into the pond and splashing me. “Okay.”

  

The walk was long. It took me days and then I stumbled into a clearing and there was the lake. It was beautiful in the half-light of the rising sun.

For a moment, or maybe much longer, I just stood there. I breathed in the catalpa-scented air. I studied the water. The algae was algae: green and tendrily, but just algae.

Finally, I walked up to the surface. I bent down and touched the water. It was warm. I took off my shoes and stripped out of my pants and shirt. Stepping into the water, it felt like a nice bath, like comfort.

I walked in up to my shoulders. The algae smelled almost sweet up close. I dunked under the water, let my body still. I kept my eyes closed. It was just the dark and me. I couldn’t hear anything.

Then something. Someone calling out. Muffled, way above the deep, the sound filtered down to me. Even in the darkest, I could still hear life.

Chloe N. Clark’s poems and fiction appear in Booth, Glass, Hobart, Little Fiction, Uncanny, and more. She is co-EIC of Cotton Xenomorph, writes for Nerds of a Feather, and teaches at Iowa State University. Her debut chapbook, The Science of Unvanishing Objects, is out from Finishing Line Press and she can be found on Twitter @PintsNCupcakes.

 

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Khalypso

Women Are Easy To Love (Over The Internet)

& here i am again, slicing the corners
of my mouth, chasing the shame out.

here i am again, exposing my lack of unlearn
for fear, for the hot nights we share—sweet as
a bakery’s frosted walls—just to wake up
strangers & sticky & questioning.

let my hand go! i told you about that shit.
what if i come home and my mother sees
you     glimmering, audacious and honest,
on my skin? what if i enter your heart, a

pulsing persimmon-lipped lout & leave
it, a ghost? what of us then, huh?

tell you what! we shall marry & then
all shall answer itself. i will carry you
on my washboard shoulders, swiveling

my cracked face to kiss your honeyed thighs.
you will grip a tuft of summer hair for stability,
and trade the lemons we picked from

the pear trees for the black treacle cacti
the village boys toss between each other when
they would like to say what they dare not.

you will cook. i will support us. we will ride off
into a horizon of possibilities, swapping affection

for eternity. all will be well & far away & safe.

  

Jack Fumbles The Egg And It Splits Clean Open

you should not dangle things
in front of my face

my poverty does not make me special

i am hungry for shine too

i’ve becomes the boys i’ve mocked

dead & unkempt hair—a couple
curly locks escaping the tedium
of underwhelm

the places the oil touches

mysterious wrists—unseen &
boneless & twitching with fresh
red sandstone. grated & open.

dramatic assertions—greetings &
absurd happinesses. everything

archived in my fingertips. it’s a
pulseless, silent wailing distortion.

a disappointment and a prayer.
it’s terrifying. a nightmare.

  

You Really Seem To Think I’ll Miss You

and that’s true, kind of.

but never more than
the sound of my own voice.

never more than giving
all the things i love
about myself to a
more deserving husk.

once
i shouted down
an entire battalion of
carnivorous orchids.

they were like you—beautiful
& presumptuous

& arrogant

thinking
that because they
were pretty i would not
blow my indulgent breath until
they were but stem and root.

how do you think that turned out?

didn’t you ask me
why the summer field
was greenless & naked
as we drove by it?

Khalypso is a Sacramento-based activist, actor, and poet. They are fat, black, neurodivergent, queer, and an agender badass. Their work can be found in Francis HouseRigorous JournalBlood Orange Review, and Shade Journal, as well as a few others. Their chapbook, THE HOTTENTOT LIGHTS THE GAS HERSELF, was a runner up for the 2018 Two Sylvias Chapbook Prize. They are the 2019 Sacramento Youth Poet Laureate, a Leo-Virgo cusp, in need of more friends, and you can find them on Twitter at KhalypsoThePoet. If you’d like to support their work and efforts in activism and poetry, you can Paypal them here.

 

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Chaun Ballard

How We Are Made To Feel Small

I remember the feeling I had after September 11th, after seeing
a photo of Michael Jordan watching the footage of two buildings,
two planes, two worlds colliding into a mess of ash and rebar.
I remember it like the first time I relearned I was black:
It was summer of ‘91; I was ten. I was running through the apartment
complex looking for bad guys to fake shoot with my plastic gun.
I was Bruce Willis. The apartment complex was a scene
from Die Hard. I remember the feel of wind as it caught my shirt,
how safe it must have felt there, how my lungs trusted it, filled themselves
with it. My legs, cutting through it like propellers on a plane,
like spokes on the bike I did not need to apprehend my suspects.
I had a plastic gun, a fake badge. Together they were truth. Truth
was what they taught in primary school. Truth was when they asked us
what we wanted to be, and some answered president, fireman, police
officer. I never wanted to be president or a fireman, that’s the truth.
I wanted to be John McClane. I wanted to be Bruce Willis in a scene
from Die Hard. I wanted to save the city and sum up the day
in a catchphrase: Yippee-ki-yay, motha—before my mother called me
home. Outside LeBron James’ LA home, someone spray-painted
the n-word on his gate. LeBron’s response was, No matter how
much money you have, no matter how famous you are, no matter how
many people admire you, being black in America is tough
. It was summer
of ‘91 when I learned this truth. Some truths are hard. Some truths are not
whole truths. Like the day my teacher invited the officer into our class-
room and told us his job was to protect and serve us. We believed her
because she was our teacher. We believed her because he stood there,
ten feet tall. I was ten when the officer stopped me, ten
when they stopped Rodney King. Wind was still filling my shirt,
my legs: propellers on a plane before he brought me to a full stop—
before he examined my plastic gun, before You better spray-paint an orange
tip on that
, before I almost shot you. My junior year in university,
a far cry from California, my Texas teammates banged on my door,
yelling, Turn on your TV, turn on your TV. What I saw was like the rebirth
of a phoenix un-ashing—afterwards, Michael Jordan (some basketball player’s
LeBron James today) staring into a TV screen, small, like the rest of us.
The summer of ‘91 was the summer I stopped carrying a fake badge
and plastic gun. It was the summer I stopped believing I was Bruce Willis.
It was the summer we turned on our TV screens to find Rodney King
clubbed into asphalt. It was a hard truth to come by, a hard truth to be woken to,
like the scene of a black child staring into the business end
of what I want to believe is a cruel joke—

 

How To Make The World Beautiful

Take the scent
of a chalk-lined morning.
Sift it into grains.
Grind them into people:
bring them back.
Stuff them in your pocket
when no one is looking.
Keep them on your person
(at all times).
Dig a hole in the dirt
when it is known
a village resides
at your hip.
Unname them
forgotten—
call them
gardens,
watch them grow.

Chaun Ballard was raised in St. Louis, Missouri, and San Bernardino, California. His poems
have appeared in Borderlands: Texas Poetry Review, Chiron Review, Columbia Poetry
Review
, Frontier Poetry, International Poetry Review, Pittsburgh Poetry Review, Rattle, and
other literary magazines. His work has received nominations for both Best of the Net and a
Pushcart Prize.

 

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Michael Pagán

Why I Can Understand Thanos’ Quest for the Infinity Gauntlet

“No one on Titan – be it you, our mother, or our father – understands who I am, Eros.” ~ Thanos (Earth-616)

Imagine if you knew you were
                                             a direct descendent
of the Eternals?
                              Yet despite this, you were labeled
a Deviant?
                               “To turn aside.”
Alienated,
                           while your younger
(White, apple-polished, classically handsome)
                              brother
is fawned over,
                                            but not you.
Their eyes preoccupied by everything
                                            other than knowing about
your emptinesses. //

Then she came,
                                 Death.
“That’s a feeling,” she says,
                                                        sounding like dreams
printed on card stock.
                 “Come stay with me,” she says.
“Stay with me like
                                               a long-distance train.”
This is what she tells
                                                   you
& you were both so
              in love
                                           then.
It makes one unafraid
                                           to die.
She reminds you
                                           of your birth name
& how it means:
                                    “Undying.”
How we all love
                                to believe
that no words matter.
                                         How we slightly rearrange them
with care,
                     in hopes of protecting our bodies from
the splashing mud & rocks
                               kicked up
& yet
                                     when the time comes to try & forget
reality, all we tend to remember
                                                                 is just the words. //

These treacheries of
                                           the body & how
the world, with its crowded
                                               rules, test the logic
of the body;
                               the body, which is
supposed to be a safe house,
                                                                now replaced by
something else:
                                  your skin, where they
only see darkness.
               Where they only see a dark room half-
filled with furniture,
                            a dark, bulging, throat-swallowing
of a room,
                      walls swallowing in big
swallows, in-retaliation
                                          swallows with
mouthfuls of appetite
                                        in the shapes of shadows,
shadows that do not smile
                                                     because they know too much
of the world.
                                Because you see everything when
the world never wants
                                               to see you. //

She tells you she knows.
                                                  “I know,” she says.
How your skin was designed
                                                          to capture & absorb all
the cosmic energies
                                          of the universe, all shining
& suffering.
                         She tells you about the imbalance in the fabric
of the universe: how there had always been
                                                                                        more people alive
than had ever died up to that point
(though you disagree)
                                            & how she’d like you to balance it
since it was she
                               who gave back to you
your life &
                       it was she who told you
about the gauntlet & its power
                                                               to make you a God.
“Love me,” she says. //

& how can anyone possibly resist
                                                                     something so powerful?
If Captain America’s shield
                                                                  can’t hurt you,
nor Thor’s hammer,
                                              nor Wolverine’s
adamantium claws, nor
                                              the Hulk’s brute strength;
if Tony Stark’s money can’t
                                                             just be thrown at you
until you’ve been grounded
                                                             down into dust
then a bullet can’t kill you
                                                             either.
Death now becomes a way
                                                             for you
to have more space
                                         to live. //

Unfortunately, we spend so much
                                               of our lives

chasing
                 death,
                                never realizing
                                                               that it was actually us
who gave birth to it.

The first time I watched Mami put on her peluca: A play in 3 acts

I
[She jokes: “At least I won’t have to show my dirty grey hairs
to the world anymore. & I can also stop thinking about men
]

& I ain’t know any better [Don’t use ain’t. No seas tonto, she says to me]
I didn’t know how vital a mother’s hair would be            years later
to a child’s memory      Which explains why I can’t          remember it
anymore          Just that cheap fucking plastic oscillating fan’s swinging back
& forth clicking its tongue like them schoolgirls on the block        distracting
the silence [Mami always wishing past the silence] of our single bathroom
because our apartment was always ¾ my mother       while the rest was everything else
we didn’t care about        like everything our bodies take for granted
like gravity & atmosphere & oxygen & body temperatures            & bones
All things once considered problems       by us          that needed to be
solved        forgetting there were still moving images of          our bodies living
across these walls         piece by piece            [“Bones without memory are
nothing more than bones hiding in the filthy corners of flesh,” she say
s]
& all we ever had to do          was just place          our hands up
against them & trace their outlines          before writing:
I can no longer see the fear in my breathing

II
[She slaps me after laughing at how her bald head resembles
a cheap, white opal ring. Her fingers are loud
]

[Quieres mas? She asks, thumbing her knuckles]      & she had no reason to defend
herself         she was woman still       even though part of her ancestry was gone
with her hair      the peluca lying at the edge of the sink looking      dead &
I wondered if I knocked it over      would it just float down to the ground?
[Questions are their own prisons, she says]
Wondered if I stole it & buried it in some secret place       would someone hundreds
of years from now think:      This      is from a woman who once lived       Who once
moved the way a dancer’s shadow moves inside a spotlight           while protesting her
death at every step       Who built things      Who healed      Who forgave       Our
very own bronze anthropomorphic god      Eyes like islands of explosion
though her last name was always      shorter than the island it came from     Tongue
her own mango tree      She who filled the roots out of everyone’s      lives
cojonuda enough to tell      God himself      to take his elbows
off el maldito table carajó!       & he’d obey        & smile because he’d already stolen
enough wick         & could no longer give it back.

III
[“Let me just put my hands on you,” she says. “Let me feel your pulse,
since we can no longer trust our mouths nor our memories
]

because the only things      we      really know are our mouths      & how
they only count       for us       For our yesterdays      For our tomorrows      For
that place where we get a chance to see     who we are     who we’ve never seen
before but always knew      was there all along     Waiting alone      Those same
hands that once shoed my naked feet      Her voice that tiny hotel:
“Dios te bendiga, mijo,” she always said       Are we all so predictable?       The way
we all crumble       in the exact same way?

[She places her hand inside my palm. & that’s when I notice the white ring
of skin around her finger after she’d pawned her wedding ring for rent money
]

“Mijo, men can’t live anywhere they only visit,” she said      “We’ll fix these things
after, but for the time being       just be       quiet now”      though it was all a lie
like a grave        just to keep me      here      standing like a scar      waiting
for the time after      her        where I’m left to only love a small, half-eaten piece
of when.

ghosts

In the United States in 1944, an experiment was conducted on forty newborn infants to see if they could survive without any affection or physical contact.
The experiment only lasted four months. By that time, half the babies had given up and died.

it’s strange. i think i see                   him
on the street.        sometimes.            even if i know
it’s         not him. but still.
i picture him.      with his gold anchor
chain      & all of that god         in his face
all of that          god         in his shoulders. all
of that         god       within the contours of his chest.
all of that          god-given talent         but couldn’t
make up for all that           emptiness        in his
guts.        hollower            than a winter rain
barrel.

even still.            i want to              talk to him.
about fathers          & sons           & how filthy
fathers can be             as gods         to their sons
& how we love them          still. because
the freedom to be        cruel           is one of man’s
uncontested freedoms.

///

when are you supposed to confess to someone that you’re haunted? should you tell them at all? in america, some states require a seller to disclose if their property has been “psychologically” or “paranormally impacted” in some way. but what if your scars originate from even before? before time’s arrow began its run? what if they began before america? before your time even knew of america? or does time move so fast that it eventually, inevitably, overtakes you? & we always the slower runners? always running. even though we’re free to run anywhere else? even if we’re not actually free? we still run to meet each other to deliver gifts. because no one digs out the dead unless they personally knew them from before.

///

which is why i feel the need to confess. why I came
here to confess: a need to ask questions. a need
to fuel dreams. you were television to me before
television when television was just a chair framed
by the light of an open window where wishes were
being made. where i held my tiny fingers high up
against that light like rye-colored knobs glad to be
alive. eyes squinted just enough to keep away the world.
turning that light into strings as if to say “i hope.”
& that’s how you ultimately taught me how foolish
i’ve been. not knowing at the time that loving you
was nothing more than the exuberance found in
the middle of “can’t seem to love.”

 

Born and raised in Miami, FL, Michael J Pagán spent four years (1999-2003) in the United States Navy before (hastily) running back to college during the spring of 2004. He currently resides in Lake Worth, FL, with his wife and two daughters where he continues to work on his poetry, short fiction and nonfiction. A graduate of Florida Atlantic University’s Creative Writing M.F.A. program, he keeps a running history of his published work at his blog, The Elevator Room Company, as well as across social media. He is also a co-founder of 100 Miles & Running – A Collective.

 

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Sara J. Grossman

House of Body

Girl, the ends of you
are dramatic—:

Listen, I’m not trying to be rude
but can I ask does it hurt?

It must be so hard to do
normal things, you know?

Girl, you’re so strong,
Girl, can I touch it?

Ok

watergrain
pacific-bleeding heart
rivulet               runnet                  driftwood tideway
body was all about the deadwood, bog—


shudder hour       nocturne of soot

arson of fawn lilies
bog of rust              hemlock cock
of another’s guilt and nettle—

in the backland, body wades half-sunken in the loam
radiated, limbless

where do you go, my one
now love, dressed
in throngs of bitter rock
to the empty station?

SCENE:

In a bikini
at a pool party

everyone will love you, Girl
Girl, you’re an inspiration

Girl, the broken
Girl
[hide the body]

nothing was said
to happen:

the boundaries of body were escaping
in lowlands unaware
so that the modest of lines would crumble fairly
without thought

weather of abundant appendages
I was never this remote:

how
The House
crumbles
for lack—

Sara J. Grossman’s poems and essays have appeared in Cincinnati Review, Verse Daily, Guernica, Louisville Review, Omniverse, American Literature, and elsewhere. She has received fellowships from Hedgebrook, The MacDowell Colony, and the Smithsonian. Her first book of poems, Let the House of Body Fall, will be published by New Issues Poetry & Prose, Fall 2018. She is an Assistant Professor of Environmental Studies at Bryn Mawr College and lives in Philadelphia.

 

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Nicole Connolly

I Joke That Poets Will Be Some of the Last People Replaced by AI Because We Don’t Trust Robots Enough to Give Them Bipolar Disorder Quite Yet

for torrin a. greathouse

                                                                                               how inexpensive
a robot’s death will need / to be               before their creators / are willing
                      to admit they made them              all harsh glare & all harsh rust //

they will not build                            the robots until replacing them
              costs less / than either                     of our funerals // how cheaply
we will burn / how too tight                    with gasoline all these
              vessels feel even on us / born                          to carry them //

the robots // they will not      need / to burden themselves with     rocks
before they walk            into the ocean / to die //              until then
                  they will write           about bathtubs      they are not allowed
to have /           their feelings toward                    the Delivery Drone
& how like a bird she           is made        light enough to fly by
                            the hollowing / out                   of everything unnecessary //

no one will blaspheme             their hands on these robots          until no one
needs / to be      forgiven          for anything // what they could have
                                done differently will fit                   next to checkboxes //
no one will              have to change out        of their neutral blue
              polos       on a Sunday // on Monday maybe          someone will turn
                  a penny-sized dial                                  a bit to the left //

no one will bother /      with the bipolars until               these creators can go
                scuba diving / take pictures            of themselves
in a new kingdom / resurrected coral             grafting the self-drowned
robots a new           neon skin // if our bones

                                                                               end up sunk   there / no one
                     will notice them / so tight they will be
with tedious barnacles // these pictures          will accompany
Christmas-       in-July cards // these were my bodies /
               they will say /                                                 thumbs up & shutter /
                   I gave them up

  

Mania is a Trust Fall into the Arms of an Unloving God Wherein I am the Fallen & the God

why else that passage in psych-soc-anthro-101                    “some cultures revere
the mentally ill etc         for their connection etc             to the divine etc” / anyway

isn’t that why you’re              wary? / yes anyone could be                a first-born son
in my egypt / & confession                there were years         it seemed the world

was a forlorn riverbed                  yearning for the return            of its lava & studly
horsemen /              & wasn’t it my revelation /                  I left a grilled cheese

to smolder overnight &           rose unignited              to never get so drunk again /
even if they do call it praying               to the porcelain god / anyway             I can

humble myself small         enough for anyone to fit            their arms around me
& call it a halo / yes                    I am anyone’s good wife / even if              scientists

feed mice pcp to make them          act like me / o it’s why              they call it angel
dust /     it’s just there are barbs        from a seraph’s wing                  where my dna

should be /           it’s just that there is no weather                          except a brass band &
sometimes I am followed                by an army of shine only                    I can see / it’s not

the pearls             I dream of anyway / it’s the sin of turning                      wine to water

 

I Don’t Know Why My Internet Algorithms Suggest Articles About How to Keep Teens in the Faith

even a church this old keeps                  an immaculate bowl of holy water
one way to remind us               every tradition measures its success
in the count of living + dead // these days my father face & holy spirit
shoulders                             repel such damp & blessed fingers
                                                        when I was younger, my father supervised
each application like a prescription // yes ritual-by-ritual
he cauterized the little devil                             jigging & hoofing within me
masses & bible studies & youth groups                       the whole nine yawns

child of darkness                 I crossed my fingers under the table
during grace // I wanted God to know                      my portion
of the prayer was useless                    as seawater to the stomach

               it is perfectly common to say God is fire                            yet stupefying
to watch one’s father burn up         in the gasoline of his faith // every day
after church                      we thought he might kill us
with his hollers & bloodface & car pedals           a terrible angel song
only the dead                  or nearly dead                           can hear

child of darkness               I trained my sister to become a fireman
by dressing her in all her clothes at once                             getting her
used to the heat                              it was always my turn next           & never
my turn // she learned something I didn’t
                                                               coal walking       or tricking the church
out of checking its wristwatch                 & telling her when
to ash away         her own boyfriend or solstice feast        or name

grown-up of darkness                   even now religious chatter illuminates
a macabre              stained-glass window in my heart // a spear of light
keeps Jesus’s red side                        always bleeding

 

Nicole Connolly lives and works in Orange County, CA, which she promises is mostly unlike what you see on TV. She received her MFA from Bowling Green State University, and her work has appeared, or is forthcoming, in such journals as Drunk in a Midnight Choir, Waccamaw, Pretty Owl Poetry and Glass: A Journal of Poetry. She currently serves as Managing Editor for the poetry-centric Black Napkin Press.

 

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Jennifer Sperry Steinorth

[let the patient describe a door]

[ let the patient describe a door ] in the dark I am not going to I do not know if I am going to I am certainly not going to lay down I will have to pull back the blanket I pulled back of course I would not say yes of course the blanket was tightly pressed between the mattress & the boxspring such is the weight of a mattress a spring a spring such is its lumber it was the room that required sleep sleep ing is how one can slip into no one wants to sleep alone atop a boxspring sound as a drumbeat beat beat   beat beat   beat


[ let the patient describe a door ] what does not open can be a relief or a blemish there were tchotchkes for every season & pillows stitched w/messages it takes time to stitch a message I don’t like to come here he likes me to come here to come is the message game a secret I’m not ready let’s start again resend the message do you prefer color or texture I want to choose I came in my dress my dress should know better don’t you agree say please I’ll do better I will I must he won’t tell what’s in my hope chest anyway who says it’s mine


[ let the patient describe a door ] in the dark is a fan not turn ing if there is sound it is not out loud I said it’s true then I’m not him he said I’m sorry dark too dark to move too close to see in his eyes a mild poison mild ordinary want some coffee dark so dark there is no laundry there is no counter blessed w/ crumbs what do they say I said in the spinning darksome stars our sheets turn colors it’s like humidity dark but dry it is not love but still it holds us tight as shadow that’s not what I said

Jennifer Sperry Steinorth is a poet, educator, collaborative artist, and licensed builder. Her
poetry has appeared or is forthcoming in Alaska Quarterly, Beloit Poetry Journal, The Colorado Review, Four Way Review, The Journal, jubilat, Michigan Quarterly Review, Mid-American Review, Poetry Northwest, Sixth Finch, Quarterly West and elsewhere. She has received grants from the Sewanee Writers Conference, The Vermont Studio Center, and Warren Wilson College whence an MFA in poetry. She was recently a Writers@Work Poetry Fellow and won The Connecticut River Review Poetry Prize. She lives in northern Michigan. Find her at JenniferSperrySteinorth.com.

 

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Karla Cordero

BISABUELA MARRIED A SPANIARD

twenty years older than her palms         & my hands slice        the necks
of marigolds     offer their afro-petal heads to ask       did sun between
corn husk bath in the warmth        of your cheek first                  did he
offer leather          the dead deer shot by       the greed covered bullet
                    offer red meat                           what part of my bones belong
to the ship                   that broke the sea        that broke your tongue
                                 did he lace every birthed child in silver             
spoon fed a language unknown                               to half the blood they
own     choked on each letter         i give these thoughts many names:
clipped wings       
                                                 wind         as myth       
                                                                       the acrobat who lives in this flesh

  

HOW TO BE A GHOST ON EARTH

Using sections from Gloria Anzaldúa’s Borderlands/La Frontera

definition for ghost-mouth

I remember being caught speaking Spanish at recess—

that was good for  three licks on  the knuckles with    a

sharp   ruler. I remember being sent to the corner of the

classroom for “talking back” to   the  Anglo     teacher

when all I was      trying  to do was tell her how to

pronounce   my name.    you want       to be American   

speak  American. If you don’t like it go back to Mexico

where you belong.



Karla Cordero is a descendant of the Chichimeca tribe from northern Mexico, a Chicana poet, educator, and activist, raised along the borderlands of Calexico, CA. She is a Pushcart nominee and has been offered fellowships from CantoMundo, VONA, Macondo, The Loft Literary Center, Pink Door Women’s Writing Retreat. Her work has appeared and forthcoming in The Boiler Journal, The Cosmonauts Avenue, Tinderbox, Word Riot, Poetry International, among other anthologies and publications. Karla’s chapbook, Grasshoppers Before Gods (2016) was published by Dancing Girl Press and her first book is to be published by NOT A CULT. Publishing (Fall 2018).

 

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Brandon Melendez

How to Write the Quantum Mechanics Uncertainty Principle into a Promise to Return Home

The further you drive north / from the southern California border / the more the desert simmers / in your throat / rock & ember cool to ice / coyotes lie coiled / beneath barbwire / with blood matted in their fur / The further you drive / east from your abuelo’s gravestone / the more the light refracts off its epitaph / Keep driving / until all you remember is diamond / cut against the teeth of rattlesnakes / & how the rattlesnake’s body evolved muscle / strong enough / to swallow whole animals / & countries / & that kind of power / dissolves skin / faster than any choleric or vengeful summer / even when California hasn’t spilled / anything but blood / in years / The further you travel / from home / the more you realize / you’ve been hurtling towards home / this whole time / & it’s all a trick of language / Anything can be a field / if you walk through it / Anywhere can become you / once you forget / how you got there

The further you walk across New England / from rose garden / to snowlit harbor / the colder your father’s voice becomes / gentle / fading echo / housed in the wind chill / along the Charles River / it shouts your name / into the water / & then freezes over / & all you want / is to live a life that makes your father / mistake his hands for emeralds / He carried you / across Los Angeles / to give you the type of home / songs are written about / & the further you flee from his arms / the more you forget / what empires he’s toppled / & turned pathway / what ghosts he’s given shelter & names / now when you say home / you think dead language / dead coyotes / dead embers / If you return / when you return / tell him / how you stood knee deep / in Boston winter / & the snow peeled its skin from your feet / salt rose from gravel / until verbena flowers bloomed / like busted lips / you brought the desert with you / & you can’t shake it / no matter where you go


Note on Demisexuality

perhaps, I am broken. machine rotten
with rust & pink moss. emptied furnace
in place of each organ & everywhere in me:
coal & copper wire & an engineer’s severed arm
trapped inside bent gears. what I’m saying
is, often, I wonder why I am incapable of performing
the most basic function of a body: take hunger.
someone says open & a dam breaks, a gated neighborhood
is set on fire. someone asks what do you want?
& I show them a perfectly set dinner table, a lake
with a single floating lantern among the lilies. I say
don’t touch. I say, like anyone I want nothing
more than to feel desired
. I want to desire like the rest
of them, to jump out a building or into bed & be happy
with whatever hand catches me, because hands are good
enough. but when it’s time to undress,
when I’m supposed to prove this flesh is worth the price
of teeth, I unbutton my shirt & reveal nothing
but thin wire & a path through me. perhaps, I am not broken,
I just need someone who understands when I say machine
I mean be patient with me. I mean, don’t be surprised
if you go to touch me & I’ve already left out the back window.
perhaps, someone snuck in one night & replaced my bones
with fire escapes & that’s why I understand the world best
as an exit.

  

The First Time I See My Father Cry He Is Pulling Me from the Water to Explain Alcoholism

son, not all gods
deserve to be prayed to.

this god of salt, of serrated
tooth, god of sea

turtle gored by ragged hooks.
god who makes the ocean

floor swell inside you. god of god-
less reef, insatiable in his lust

for pilgrimage, pillars
of sacrament & cirrhosis

bottle-necked through
a single throat. god of

your grandfather, of gutterwater
& gold. god who lives

in the aperture between
your body & it’s wreckage.

god of ships. god of sailors
caught in the rage

of a ram-headed sea. god
of desperation, who makes

saltwater shimmer & taste
like honeysmoke,

who makes you sing
of salvation while your mouth fills

with his name. song of rapture,
song of drowning. psalm

that holds dying men
in its belly, daring you

to come
save them.

 

Brandon Melendez is a Mexican-American poet from California. He is the author of ‘home/land’ (Write Bloody 2019). He is a National Poetry Slam finalist and two-time Berkeley Grand Slam Champion. A recipient of the the 2018 Djanikian Scholarship from the Adroit Journal, his poems are in or forthcoming in Black Warrior Review, Ninth Letter, Muzzle Magazine, the minnesota review, Sixth Finch, and elsewhere. He currently lives in Boston & is an MFA candidate at Emerson College.

 

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Anthony Seidman translating Rodolfo Hinostroza

(fragment) from Hommage à Vasalery

O & beauty is love
          vers l’admission
                time is filled
with crystalline structures
element element element
as thus:--------------------------------------------
idea
which permeates the things
I am moist
my pores sublimate delicate saltpeter crystals
within and without once again
it was not the vibration of the protoplasm
not a shapeless thing not a swamp
confused libraries yellowing beneath the sun
but
une autre jeunesse des choses
towards the inexhaustible shape that purifies inexhaustibly.

Origins of Sublimation

 Beauty = Yearning
of the lost paradise
the womb in which you experienced perfect silence
only the gurgle of warm and gooey liquids
gurgle of comets / peace and nourishment
a part of something
not the body’s solitude
the mystical harmony
the precise site of the clairvoyant before the universe
lost
forever.


II

And the bird-bell says:
“During the ascension towards the perfect conjunction
things follow this order:
a) Opacity:
thing with shape or shapeless thing
not irradiation
faces in the Metropolitan Art Nouveau
vagueness of material
does not allow that bodies pass through it / does not present
evidence
b) The Definition:
                                             that which is termed as beautiful or ugly
with / without character
a mangy dog & sparkling white teeth,
where both co-exist and one explains the other
the bearded hangman, the
Cover Girl
scream / death
c) Ambiguity: 
  negative synthesis
things annulling other things and therein an unexpected sparkle
delicate nuance
immersed in Grand Guignol
inside & out
matter which is suspended yet
still comes and goes
and d) Grace:
unobtainable by will
illumination without choice
image which pauses the fluency of Time
a lightning-bolt strikes your forehead
evidence evidence!”
& that’s what the bird bell said
from a point in mid-air
where every labyrinth reveals itself and explains itself.


III

L’Utopie aussi:
a paradise lost proposes
a paradise anew 
thus Beauty = Mediation 
between the visible world and the possible world
/ anamnesia of the uterine world /
and thus the clairvoyant
 does not ossify
between
does not lose the absolute
between
he stands here
cf. the Bodhisattvas p.ex
in transparent meditation
& the still humility before the gathering
with your eyes you shall gaze upon it with your hands you shall touch it
and it will assume a shape
love makes visible the invisible
and makes invisible or visible
cf. Ariosto 
the fountain of youth
which doesn’t age.

Love’s Body

A body destroys the blind autonomy
d’un autre corp
it abandons
your body like the river or the sea
the art of seeing the world and living it
resides in the encounter
no fear of death
Oh abolition
the return of the mystical couple
  you were never one body
you were 2 before being born
from thence you saw the stations of the eclipse
one body only = terror of death
half of a face half of truth
2 orientate themselves towards the magnetic center of the Universe of Leibniz
they perceive the ecstasy the end of the era
in which death reigns over
beauty & life.


II

& the scream continues and the terror of being only one body
no world forthcoming
no perfect love perfect harmony
liberty in exchange
privation is infinite dix. Estagirita
endless search for what was lost
chucked into Time that fills itself
with incoherent things anguished fluency
but derrière la fin de la conscience
there’s a place of peace greater than peace
lake of the homecoming
    they began the light
legends myths emissions
which create and propose another life.


III

Cathars = pure
& the world was a prison
the solitude of the body, the powerful
      au bout de l’angoisse
among the need for destruction
crazy
shattered from the four sides
no way for the object no way for love
& someone adopted the fetal position
squatting arms crossed
hands half-closed
powerful veil warm placenta between him and the others
distant thrum of the stars revolving
imperfectly conjuring the superhuman terror
catatonic 
  pure
obscure poetry not assent the opacity
      but
the bitter love’s mystery.


IV

& thus the reverse of opacity
it both resembles and differs from
the sweet love’s mistery
the couple in their bed
celebrating Vatsyayana
  it was not love for one’s body nor for another’s
bliss exchanged
bite yum flesh of apple yum mouth another mouth
duality against death
mystical homecoming
a sole body in two   divine duality
the perfect couple
space responds to the movements
they create waves towards Pegasus & The Phoenix
Thou art & Thou art.

Translator’s Note

I discovered Hinostroza’s poetry by way of Medusaurio (1996), an anthology edited by Roberto Echavarren, José Kozer, and Jacobo Sefamí. The anthology was in the university stacks, and it was a major moment for me. The book can be likened to Cuesta’s Antología de la poesía mexicana moderna (1928) for its brilliant reassessments and rediscoveries, its shifting of canonical expectations, and, perhaps most importantly, for its heralding the importance of the Neo-Baroque in Latin American Poetry, with Hinostroza as one of the movement’s leading voices. I was enrolled in the bilingual MFA program at the University of Texas at El Paso, crossing on foot into El Paso every morning via the international bridge starting in Ciudad Juárez, Mexico. The Creative Writing department boasted a healthy amount of younger poets from Latin America, as well as Mexican and Latin American professors. Over beers at El Recreo or The Kentucky Club, younger poets like Paolo De Lima of Peru or Gaspar Orozco of Mexico spoke with perception and enthusiasm about the legendary Hinostroza, confirming my initial readings of this difficult yet electrifying vates. Just prior to my leaving Ciudad Juárez in 1999, UTEP professor Miguel Ángel Zapata published the anthology Nueva poesía latinoamericana (UNAM), and therein I discovered another selection of Hinostroza, revealing a celestial landscape: the logic of the stars melded with political commentary, poetry from antiquity, chemistry, collages of political propaganda, which Hinostroza critiqued and juxtaposed with lyrical passages celebrating Eros and unflinchingly defying Thanatos, and praising the transformative powers of the Verb. Hinostroza’s net of readings, concerns, and allusions was cast as wide as Pound’s or Zukofksy’s, but his aim was love and physical union as an escape from history’s labyrinth. Indeed, what set this poet apart from most of his contemporaries in the Anglo-Saxon world is that his Muse always reminded him to sing of love. Yes, Hinostroza can be “difficult,” but his poetry urges the reader along with the beauty of the lyre. In this, Hinostroza’s art faintly resembles the Octavio Paz of “Piedra de Sol,” a longish and demanding poem that nevertheless manages to inspire readers of diverse capacities, casting their gaze on the delights of coitus. (One of the poem’s most celebrated lines celebrating love was even served as the title of a Mexican pop group’s most popular album.) Hinostroza accompanies the reader, as his vast and arcane cosmography and lexicon rotate in corymbulous explosions. The reader who opens Contra natura touches no mere book, he touches a man, as well as an original poetry relating the world via the “logic of metaphor.”

Anthony Seidman’s most recent collection of poetry is A Sleepless Man Sits Up In Bed, released in 2016 by Eyewear Publishing. His book-length translations include Confetti-Ash: Selected Poems of Salvador Novo (The Bitter Oleander) and Smooth-Talking Dog (Phoneme Media), poems by Roberto Castillo Udiarte, a poet recognized as “the Godfather of Tijuana’s counterculture.”


Rodolfo Hinostroza (Peru, 1941-2016), was a celebrated poet. Hinostroza’s groundbreaking collection Contra natura (1971) won the 1972 Maldoror Prize for Poetry given in Barcelona with none other than Octavio Paz as the judge. At the time of his death, Hinostroza was singled out as the leading poet of his generation. His open sequences, mixed registers of language, interest in history, astronomy, literary history, politics etc., make for a demanding and brilliant poetry.

 

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