Pollarding & Animal Spirits

 

Pollarding

In this unwitting dawn. In the begonia
I put in the poem because of its incantatory

 

sound. In the vine I thought was a sweet

pea—to put a sweet pea in the poem—

 

but was actually a weed, common vetch.
In the still early summer heat like gentle

 

pressure on the forearms and wrists.

 

 

A trio of military planes screams overhead.

I squint into the glare and the leftover

 

cosmetic product on my hands flashes
in a type of dim recognition. Wash it off. Who

 

is going to read about botanical misprision.

There’s a war on and I am the yellowing

 

pages of Bishop’s National Geographic.

There’s always a war on and its location

 

is not a function of place but of people, plucked

for the vase or the oven, wilting or burning or

 

eaten as a delicacy. The word of the day

is upward. The word of the day is all cops

 

are bastards. Who am I to say what we should make

of the clay at our feet, minor gods with shovels

 

and grass seed, with kilns and molds, the joints of

our fingers curling around some texture, releasing

 

it in the checkout aisle or through the window

that backs the checkout aisle.

 

 

After adrenaline, a comedown just like any
other high. You’re sitting on the floor in a hoodie

 

and biting all the skin off your lips. Outside,

the day continues to mulch itself, there are

 

robins, someone is invoicing someone else

for another order of rubber bullets.

 

The symbolic vulture will not arrive

 

 

To hunch in the middle distance. Sorry,
I’m back now, I was on the patio this whole time,

 

my mouth is bleeding and the roar has faded
such that it might be mistaken for an air conditioner,

 

the mechanical hum of comfort
in deeply inhospitable environments,

 

a fueled and speedy monarchy, it’s coming,
I tell myself, get up, it’s well-rested and armed

 

to the teeth literally but also and importantly
for my purposes metaphorically, a giant blossoming

 

of dipshit noisemaking. It doesn’t have to go
to the office and it is responsible for the existence

 

of Phoenix, Arizona. I wobble on my feet

like a newborn anything. I am melancholic

 

about structures. Look: no matter what you grab

out of the kitchen drawer, it can be used

 

as a lever. In what follows, we’re on the side

of the ice, those tropical begonias be damned.

 

 

Animal Spirits

“If the animal spirits are dimmed and the spontaneous optimism falters, leaving us to depend on nothing but a mathematical expectation, enterprise will fade and die.” —John Maynard Keynes

 

 

 

 

Enterprise withering on the vine. Enterprise left to rot in the sun.

Out of its carcass, a cooler wind—

 

 

 

 

/ / /

 

 

 

 

If the world is bad to you, you are sad.
If the world is good to you, but you know about the world, you are sad.
If the world is good to you, and you do not know about the world, you will not be sad.
If the world was bad to you but it is no longer, it is easy to forget about the world, and easy to

forget you were ever sad.

 

O dripping globe. What we’ve blamed

on the elements. On the accident
of our cells rather than the rapidity

with which we turn water to cement.

 

 

 

 

/ / /

 

 

 

 

The idea that the brain is the seat of the soul is older than most people think it is.

 

The history of naturalizing economic activity is exactly as long as you think it is.

 

We were made for money / / we were made of money

 

 

 

 

/ / /

 

 

 

 

Falling through a substrate,
the gentle “u” of the body as it faces upward. The hands and feet like a dancer’s, directional.

 

On the curb, a man turns over shovelfuls of dampened sand in a wheelbarrow. The sound is like

stiff fabrics hung too close to one another on a line. A recursive intimacy.

 

A brief and wild optimism, and then the grinding sludge of machinery, its unmatchable

excitation.

 

 

 

 

/ / /

 

 

 

 

A bull in the blood.
A bull made of blood, made of air, air carried in the blood air seated in the brain.

 

The brain a bull. The world a bull with its hooves on the world.

 

O beast that could be gentle. Asleep in the beige autumn of the shaken head, slow wading

through the pool of counter-liquefaction.

 

Abolish selling.
In the hand outstretched, these cool bristles
like a hand broom, a horned smoothness and the scent
of fields and a fire recently extinguished. This animal pause.

 

 

 

 

/ / /

 

 

 

 

Frenzied acquisition of undergarments,

small vases, linens, soaps, followed by the hatred of stuff—

 

 

 

 

/ / /

 

 

 

 

The dog on the surface of the water, the dog on the silver of the coin.1

 

 

 

 

 

1See Robert Burton, in Anatomy of Melancholy, on rabidity: “That in Hydrophobia they seem to see the picture of a dog still in their water” (222).

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Through a Landscape of Carbon

Artist Statement

 

Storms Will Come #4 is the fourth in a series of twelve small print/paintings on Formica, created between August and Election Day 2020. A lighthouse holds the promise of guidance and stability in a turbulent world; it is built to withstand assaults. While I was working on this image, with the lighthouse itself in peril, ashes from the California wildfires were falling on my studio skylight. Images of flames and floods came to dominate the series.

 

Pitch XVII was born from envy. Always true to itself, regardless of the circumstances, the tuning fork became transported into a visual world of smoke, ruin, and desolation. Rather than tranquility and selfsame identity, the Pitch series explores turmoil, the billowing of emotion, a scientific instrument at a loss in a broken world. Pitch XVII is a monoprint, part of a larger series.

 

Soot and Soul. After the Storm #3: The work of a printmaker moves between the extremes of soot and soul, between the stain of ink and transcendence. The journey is through a landscape of carbon and soot, with the triumphant soul captured in the grime of ink. This work is part of a larger cycle, executed on panels of Formica, combining printmaking techniques and painting.

 

Lying Awake. First Night evokes the territory of the imagination, when thought is submerged and rendered helpless. When one is surrounded by darkness and silence, the outside world peels away, and vision originates from within. Logic and reason become scaffolding. It is soothing to draw on solid stone when capturing such a nebulous realm. This stone lithograph is the first of a series of seven. There is text included of one of my poems in the background of that print, just as a whisper. The full text is included here for reference:

 

Harvest Me

 

When I’m dead or dying,
harvest me.

Like a peasant

that picks the tubers

from a dry patch of land.

 

Plunder me and give me to the poor.

To the drunks and the addicts

the liver, the kidneys.

Peel back the skin and

gather the tissues.

Scoop out my heart

and collect all my bones.

The lame will be walking

the blind will see.

 

But don’t touch my soul.

Promise you won’t touch my soul.

I want it set free,

released from its tethers.

 

By the time that

I am dead or dying

my soul will be ready for flight.

 

Storms Will Come #11 uses graphite for the candles above water, a most tender medium, and scraping for the submerged part. For the sky and the flood below, I applied tusche, a fatty liquid designed for use on lithographic stone. On Formica, it revolts, separates and fractures, capturing the fragility of life, our disparate fates.

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Interview: John Sibley Williams

John Sibley Williams is the author of As One Fire Consumes Another (Orison Poetry Prize, 2019), Skin Memory (Backwaters Prize, University of Nebraska Press, 2019), Disinheritance, and Controlled Hallucinations. A nineteen-time Pushcart nominee, John is the winner of numerous awards, including the Wabash Prize for Poetry, Philip Booth Award, American Literary Review Poetry Contest, Phyllis Smart-Young Prize, Nancy D. Hargrove Editors’ Prize, Confrontation Poetry Prize, and Laux/Millar Prize. He serves as editor of The Inflectionist Review and works as a literary agent. Previous publishing credits include: The Yale Review, Midwest Quarterly, Southern Review, Sycamore Review, Prairie Schooner, The Massachusetts Review, Poet Lore, Saranac Review, Atlanta Review, TriQuarterly, Columbia Poetry Review, Mid-American Review, Poetry Northwest, Third Coast, and various anthologies.

 

Daniel Lassell corresponded with Williams last year, near the release of Skin Memory.

 

Daniel Lassell for The Florida Review:

Your newest book, Skin Memory, has a lot of subjects and themes that emerge throughout the reader’s journey. I found many poems touching upon topics of family, parenting, loss, home, violence, privilege, and societal and ecological concerns—all of which seem to buoy, contrast, and converse with each other. Which was the subject/theme that compelled your poetry most when writing, versus which emerged most clearly when editing the collection for publication?

 

John Sibley Williams:

What an interesting question. It’s certainly true that during the editing process, while sifting through a hundred or more poems in search of common themes and structures, unexpected threads emerge that weave seemingly disparate explorations together into a single tapestry. Of course, each poem tends to incorporate more than one theme, using the overt to subtly imply a more foundational concern. For example, when discussing parenting, societal gender expectations or our destruction of natural landscapes may be seething beneath all that talk of cradles and lullabies. When I mention the freedom of youthful play, say swinging from a tire trying to toe the clouds, that same tree will likely be shown in an ugly historical context. No poem can be boiled down to a singular theme. So, in this regard, editing isn’t so much trying to force pieces together as it is recognizing the varied themes in each poem and seeing which, both overt and implied, belong together. A collection should read like a river, not a puzzle. In a way, it’s an act of witness. And, at least for me, this isn’t dissimilar to my writing process. I never set out to write a particular kind of poem or to explore a specific theme. They emerge naturally, as if the connections were already there waiting for me to see them. All we can do is write about what haunts us and to do so as authentically and with as much vulnerability as possible. Every theme you mention was equally important, was equally a driving force, behind both my writing and editing.

 

TFR:

“A collection should read like a river, not a puzzle”—I love that. And Skin Memory certainly does read like a river too, easing readers between poems as if on a raft, encountering rapids and wet clothing along the way. Poetry acting as witness is a beautiful thought as well. It makes me think more specifically of your poem, “Death Is a Work in Progress”—a heart-wrenching portrayal of a mother, the decline of the human body. It harkens back to your earlier collection, Disinheritance, which explores this subject of mortality in great detail. Can you speak a little more to this relationship between parent and child, life and death, in your poems? It seems to be a theme in your work that you return to often.

 

JSW:

I’m thrilled that you recognized these overarching themes across multiple books. In the end, we write about what haunts us, what keeps us up at night, what stalks our mind’s periphery, just out of sight, emerging from the darkness to remind us how fragile we really are. A bit like wolves, perhaps. And what better way to explore fragility than through discussions of the body and our intimate relationships? I’m terrified of no longer existing. Like everyone else, I’ve lost and know that the more I love, the more I have to lose. There’s this double-edged sword, this balancing act, between wanting to open my heart to the world and fearing such an act’s consequences. And I fear my own body, how it will naturally react to age and disease. But it’s exactly this impermanence that makes each breath, each embrace, each poem meaningful. So, I suppose, most of my poems to varying degrees try to walk that tightrope. Skin Memory includes poems about my children, specifically the traits I may be passing down to them, that were passed down to me. It speaks of my father, whose father was a rough man, and how all that tumbles down to my own young son. And, with “Death is a World in Progress” and many of the poems in Disinheritance, I witness the steady mental and physical deterioration of my mother. These are simply different lenses through which I consider the same central question. I just can’t tell if I’m not loving enough, or loving too much, and what the full consequences to either are.

 

TFR:

Indeed, Skin Memory does resonate in all of these areas. As a father myself, I am increasingly drawn to poems that hold the subject of parenthood in conversation. Having spent time with your earlier books and reading up to your most recent collection, it seems that since becoming a parent, you might have undergone a personal shift. Of course, any artist should evolve in their art; but I also recognize a palpable difference between Disinheritance and As One Fire Consumes Another, which published in Spring 2019. Not to digress too much, but was Disinheritance written before or after you became a parent? As One Fire Consumes Another seems to drive more of a political message than your earlier work does (at least more overtly). No doubt it has much to do with our political moment, but Skin Memory also seems to act as a continuation in this focus. How would you characterize your poetic growth over time?

 

JSW:

I agree with you that, as writers, we should try to push ourselves into new, often uncomfortable themes. Growth is probably inherent to writing for a long period of time, but I still worry about stagnation, by which I mean writing about the same themes in the same tone using the same structures. It’s easy to fall into the trap of writing what about what we’re already comfortable with. As One Fire Consumes Another was an attempt to break out of my comfort zone by focusing, to a degree, on our current cultural and political climate. But, more importantly, I meant to explore my own place in that culture, which includes culpability, guilt, privilege, and family history. Skin Memory continues on those themes, though less directly, incorporating my my children and mother, with a greater degree of intimacy.  I feel Skin Memory exists somewhere between Fire and Disinheritance. Structurally also, as my earlier work was predominantly free verse, Fire… was newspaper column-like prose poems, and Skin Memory incorporates both, with the addition of more standard prose poem structures. So, in terms of growth, I feel experimentation is key. Sure, plenty of poems end up on the cutting room floor. Not all structures I’ve played with ended up feeling authentic to my voice. But we have to keep pushing, testing, and rethinking our preconceptions about our own work.

 

As it pertains to parenting, I’m not really sure how my work has changed. I write less, sleep less, can concentrate less. Raising twin toddlers is even more exhausting than I could have imagined. But within the stress and anxiety, I have expanded my definition of love to such a degree that I can no longer say I’d experienced it before my kids. My heart is more troubled but fuller.

 

TFR:

I think “more troubled but fuller” is a profound way of describing the interconnectedness of parenthood and love. And I hadn’t considered Skin Memory as a balance between Fire and Disinheritance until just now, but it sort of is. It’s the wave that settles after the body enters a bathtub. If we can, I’d like to explore your thoughts on the prose poem, since you mentioned form. My first poetry teacher was David Shumate, known for his prose poems, so my introduction to poetry is inextricably tied to this form—I’ve come to feel at home in it. But for others, the prose poem might represent or conjure apprehension, confusion, distain, etc. In Skin Memory, there are several poetic forms other than the prose poem, but I’m interested in why—when selecting the right vehicle to meaning—the prose poem felt like the best fit.

 

JSW:

Well, apart from the poems in Fire and Disinheritance, which were a set structure, I don’t begin a poem knowing in advance what it will look like on the page. I often experiment with various arrangements before, for whatever intuitive reason, something clicks and the poem screams, “This is my form; this has always been my form!” So, the simplest answer to your question about knowing when a prose poem is the best vehicle for a particular piece is, well, intuition. But, to be more precise, a lot of it, for me, has to do with three things: flow, the tension created by line breaks, and the sound of the poem when real aloud. Poems that are more fragmented or dense with metaphorical imagery may require more white space to allow a reader to digest each line, place it in its larger context, then move on to the next line. Other poems, especially narrative ones rich with connected imagery that doesn’t take as many huge leaps in logic, may thrive more with longer lines. But even this simple answer isn’t really accurate. Sometimes abstractions can be squeezed together, running one into the next with no room to breathe, to create the desired flow. Sometimes a straightforward narrative can be shattered and reassembled into something visually unrecognizable. Perhaps the easiest way to describe it is that: flow. How do I want the poem to read? Should it drive, propel? Should it strike with short staccato knives? Should it slowly, steadily paint a massive portrait out of smaller components? All this leads me back to intuition. Our ears know how a poem should be read. Our eyes know what the poem wants to look like. Listening closely and equally to both seems to strike the right balance, at least for me.

 

TFR:

You certainly do seem to have an intuition for what works on the page. This attention to flow, or cadence, seems to drive a lot of the poems of Skin Memory. Is there ever a disagreement between these two realms of the page and the tongue? In developing your intuition, does this mean finding a comfortable balance between your voice and poetic style? How does one develop their intuition?

 

JSW:

I think creative intuition simply comes from writing and studying others’ writing for so long that that various elements (and organs) learn to listen to each other. Over the years and decades, you learn to step away from yourself and trust the page. The poem begins to speak to you before it’s even written. Of course, all of this is an internal process, but it begins to feel as if your poetic decisions are born of an outside force. I wonder if that’s what some people call “the muse.” But it’s really just muscle memory. It’s having failed and failed and occasionally succeeded for long enough to unconsciously recognize when a poem is working and when it’s not. It’s the ear and eye thriving in a symbiotic relationship. Less and less of our creative decisions become conscious ones. We just know. And, sure, given the subjectivity of any artistic work, we still fail plenty. But I have found most of my newer poems that don’t quite work fail because I inserted myself into them; I didn’t shut up and listen to what the poem wanted to say.

 

Perhaps because of this “trained intuition,” I rarely find discord between the appearance and sound of poem. They both come pretty naturally, without me having to force it much. Admittedly, in trying to push myself, I do experiment with structures I end up abandoning because they don’t look or flow right, but I usually recognize this incongruity early on and find a more fitting structure before poem’s end. For sound, part of my composition process involves reading aloud every line over and over to ensure the lines that follow match the auditory tone and rhythm. Our ears know what sounds awkward.

 

TFR:

That makes sense. Somewhat relatedly, what are your thoughts on the accessibility of poetry?

 

JSW:

That’s a great question, and one on which opinions vary greatly. I suppose the subjectivity of “accessible” can be cause for this divide. For example, many have argued that down-to-earth poetry that paint personal narratives with clear, everyday language is the cornerstone of “accessible” work. By that definition, I suppose I prefer more challenging literature. That’s not to cast judgment, as such work is indeed valuable and is many people’s introduction to poetry. It’s all a matter of personal resonance. But I feel this common description limits the definition of the word. There’s also emotional accessibility. Even if a poem is fairly abstract, surreal, or bursting with what Robert Bly called “leaps” in logic, that emotional core that unites the disparate elements can be accessible. That heartache, grief, turmoil, doubt, celebration. That bit of light that filters through and puts into perspective darkest night. Even without a followable narrative or commonplace language. To me, that is the kind of accessibility I enjoy reading and tend to write toward. It’s that honest, vulnerable, universal core question, around which the other poetic elements whirl, that makes all poetry, regardless of its structures and rhythms and themes, inherently accessible.

 

TFR:

I like that way of looking at it, and indeed there are several opinions out there. For me, I tend to go back and forth. I agree that challenging literature can be fun, and doesn’t have to be the first form of poetry someone encounters. On the other hand, word choice is one of the things that separates poetry from other written art forms, and therefore, word choice is what makes and closes off meaning. In this vein, when a poet intentionally closes off meaning, it becomes a question of whom is getting closed off from that meaning and why. In this realm, I guess a discussion of accessibility can’t go without acknowledging privilege too, as we are both white males. In this modern age, how should a white, male writer compose poetry? It seems like there’s a duty to explore and dismantle our own privilege in art—and in living in this world more generally. The poems of Skin Memory do their part to confront difficult realities, privilege being one of them. For example, “On Being Told: White Is a Color Without Hue,” “We Can Make a Home of It Still,” “On Being Told: You Must Learn to Love the Violence,” and “Inviting Fire in Northern Michigan in December” all seem to interrogate privilege in some form. Even the book’s title encourages an exploration of racial and societal disparities. How and when does it make sense for a poet to rail against their own privilege in writing?

 

JSW:

This could not be a more crucial question. Privilege comes in so many forms, most invisible until you shine a light on them and see their hazy edges. Gender, sexuality, race, religion, socio-economic status, family status, and even these have gradations. They all combine to give us a cultural advantage or disadvantage, and exploring my own advantages and how they contrast against those born or raised without them is a central theme of my work. Even when it’s not overtly discussed, as it is in the poems you referenced, that recognition of privilege and what it means as an individual and a member of a larger community hums beneath all my poems. In the end, it all comes down to a mixture of self-awareness and empathy. It’s a balancing act between witness and action. All of us whose privilege allows us the space to write freely, who aren’t judged by superficial qualities, who needn’t fear police or politicians or bosses who could withhold that one paycheck that makes our children go hungry, we need to investigate how we got where we are and what we can do to expose such inequities. The question is how. How does one explore privilege from the inside out? Often met by controversy, some privileged poets have chosen to adopt another’s voice, to attempt the persona poem. I feel confident that these attempts are well-intentioned. However, I don’t feel that’s my place. If I have not suffered as so many others have, who am I to speak in their voice? Instead, I write about privilege in two ways, by discussing my own safe white lineage and by writing about others (instead of writing from another’s point of view). And when writing about others, I don’t hide the fact that my perspective is inherently tinged by privilege. That’s what I mean by combining self-awareness and empathy. So, in short, I passionately agree with you about the necessity for poets to consider their own privileged status in their work. However, all this said, I don’t believe in shoulds. Who am I to demand every poet write about these themes? If a privileged poet writes exlusively about gardens and alders or the grief of a loved one’s passing, that is their choice. We write what we need to write. And not all of us need to write about our privilege. But I do. It’s one of the ghosts that haunts me. The only way I’ve found to deal with it is by looking it square in the eye and admitting my role in its creation.

 

TFR:

Thank you for your thoughts in this area. “A balancing between self-awareness and empathy” describes well, I think, what poets of privilege can do in their work. And I know the topic of privilege can be a difficult one to broach, since it’s one that touches every aspect of people’s lives (and indeed, we as white males do bear a shitload of culpability for the wrongs of this world). For this reason, I do think it’s a conversation worth having. As more underrepresented voices continue to enter the literary firmament, how best could writers of privilege welcome them? What new voices have you read recently that you’re super excited about?

 

JSW:

The literary establishment has been making great strides but still has much more to do before underrepresented voices become as mainstream as those voices that have dominated our landscape. I don’t work within that establishment so cannot speak to the steps they are taking. I have read articles critical of how major journals and organizations still approach underrepresented poets, and I continue to hear such stories from peers who have attended national poetry conferences and felt tokenized. Luckily, it seems many presses and organizations are opening their doors wider than ever before in terms of offering awards, open reading periods, specific book series and issues, and other avenues open exclusively to underrepresented poets. In terms of what you and I can do, I have spent the past few years reading almost exclusively books by contemporary poets who do not fit the traditional white, male, CIS, able-bodied model. And these are the authors I teach in workshops and classes in hopes of opening students’ eyes and hearts to new perspectives on culture, identity, and politics.

 

I don’t even know where to begin a list of my favorites, but here are a few I feel everyone should become intimately familiar with: Ada Limon, Tracy K. Smith, Jericho Brown, Fatimah Asghar, Tarfia Faizullah, Jenny Xie, Ocean Vuong, Craig Santos Perez, Safia Elhillo, Joan Kane, Abby Chabitnoy, and Marcelo Hernandez Castillo, whose book Cenzontle (BOA Editions, 2018) is one of my all-time favorite collections.

 

TFR:

I agree that expanding one’s knowledge of the world through reading is a great place for anyone to start—and for those in teaching roles, assigning a wide array of literature that both includes diverse populations and challenges traditional norms is an equally important approach. And what an amazing list of poets you’ve shared, too. We truly are living in a golden age of poetry right now, Skin Memory included. Before we close, are there a few lines from Skin Memory that you’d like to share for readers new to your work?

 

JSW:

Well, in keeping with the themes of our conversation, I’d like to choose two selections that deal with privilege, history, and my responses to them.

 

The first is from the collection’s titular poem, “Skin Memory,” in which I address the incredible Inupiaq poet Joan Kane and wonder about the effects of my race’s privilege as compared to how her culture has been treated.

 

Because you are what song breaks open your throat and because

the same century burns a different mark into me. For now I can just

listen. To how choreographed our forgetting. To the dark little

narratives of this is mine / yours, in that order. Can you sing this

country its name?

 

The second is from “There is Still,” in which I investigate Mark Strand’s celebrated closing lines from “Keeping Things Whole”:

 

We all have reasons

for moving.

I move

to keep things whole.

 

In response, my poem explores time and privilege in recognizing how, while swaying in a tire swing, the speaker realizes that same tree may have been used for different kinds of…rope. And it changes the way he approaches the tree…and himself. The final lines of “There is Still” read:

 

We / all have reasons, Mark. I hope I am / swinging to remember.

 

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Invasive

Then there was no more singing.

All the lights in their throats cut:

 

the protest of evening wolves & black

bears nuzzling a parched creek for any-

 

thing that might sustain them another

white-skinned winter, those foreign

 

birds we never learned the names for.

Invasive, my grandfather called them.

 

Like the silver carp haunting our

local river. Bullfrogs & possums.

 

He called us natives after living

three generations on the same

 

hard land it took so much blood

to own. At the end of the path

 

the bullet takes to meet the right

body, the right body drops like

 

nothing worth losing sleep over.

It’ll cost two men three hours

 

to drag it home in one piece.

That wilder silence lasts but

 

a brief eternity. Before the unseen

choir shakes the forest. Again,

 

the same damn wolves & starlings. Men

still dragging. The season closing.

 

Its wiry legs kick & quiver in our hands.

Like strings. Song. Our song now to sing.

 

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King Speaking

 

“King Speaking” is a sequence excerpted from the latter half of a book-length erasure, Her Read, forthcoming from Texas Review Press in 2021. Her Read reconceives the entirety of The Meaning of Art (Faber & Faber, 1931), a highly regarded exploration of art from prehistory to the modern era by British art and cultural critic Herbert Read. Though the maternal body appears with frequency, zero womxn artists are included in the early editions of this text. In 1951, Barbara Hepworth becomes the sole female artist to be admitted.

 

I began this makeover summer of 2016, in that pre-election heat, when rage at the latest iterations of hate on the American political stage, in conjunction with erasures playing out in my own life, made other writing seem impossible. From the voice of the male critic surveying male bodies of work, I began excavating a first-person lyric, the imagined voice(s) of womxn artists.

 

The concept of “mastery” appears with frequency over the course of the book, issues of dominion—that is to say—control—over a medium of expression, over other humans, and of course, over the Earth. One may well ask, what is art but a pronunciation of mastery? One may ask, must it always be?

 

Though I call this erasure, collage is a more accurate descriptor of this late excerpt. The surgical reconstruction contrasts cruder, monochromatic pages early in the text—used canvases treated only with correction fluid. As the book advances, the speaker gains agency over the text, revising the rules to serve to her fluencies. One rule is not broken: all language excavated and redeployed in this text can be harvested from a single copy of Read’s seminal text.

 

Materials:  source text, correction fluid, archival inks, bookbinders glue, florist tissue, window shades, general purpose thread, embroidery floss.

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Long Marriage (Parable of the Skull)

Over years we lifted it sometimes
from its cardboard box, studying

 

the fifty teeth and gazing into the open
eye sockets, this possum skull we found

 

in our sixth year, half-buried in the dirt
behind the rental house. For decades, then,

 

we moved it everywhere we went,
and always it lay quietly, as patient as dirt,

 

and only now and then did I imagine it
dreaming that skin formed once more around

 

its body—the moon face and moon tail—
so it might waddle again along the river.

 

 

This poem was originally published in The Florida Review (43.2, Fall 2019) and was a runner-up in the Humboldt Poetry Prize.

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Notes on Pet Monkeys and How to Manage Them

I.     CAGE ITEMS

 

This box should be fairly heavy. The door
never needs opened or undone. Bend the rim
into a square. Little danger to your
self—the room to be afforded him.

A looking glass hung up by a small chain—
your pet’s vanity exceeds belief. A
flimsily made affair is soon bitten
to pieces. Body of a cage. Many a
good monkey is killed by swallowing
fragments of glass. Rub on a coat of
maroon. A little ornamental topping.
Or Venetian Red, most suitable of
colors for a cage. All that remains
is to procure your monkey and put him in.

 

II.     CLASSIFICATION

 

From the time my fingers were big enough
to manufacture fly-cages with hollowed
cork and pins—all other lines of
fancy well threshed out—Simians have held

 

great fascination. The schoolboy’s definition
is “the plural of monk.” Or humonculous.
Much is lacking in what might have been
told. I cannot pin. Great naturalists

 

have labored to show a relationship.
I cannot pin my credibility.
Below the average human idiot’s,
the head of a chimpanzee. I am drifting.

 

What might have been. A fertile source of
drollery. My fingers were big enough.

 

III.     AILMENTS

 

Disease—Symptoms of Indisposition

Quinsy—Good Riddance—a small apple

hollowed out—Toothache—Headache—treat him

as you would a child—Useful Article—

 

as you would—Broken Limbs—a human
being—Rheumatism—RuptureRisk of

Being Bitten—first he should be en-
veloped—Treatment—in a bag—Costive-

 

nessBiliousness—Monkeys Eating Their
Own Tails—a ready sale is better than
the nuisance—Excrement—the “Kill or Cure”
Treatment—treat him as you would a human

 

being—Simple Remedies—a small apple hollowed

out and plugged again is greedily devoured

 

IV.     CONCLUDING OBSERVATIONS

 

Savagely grabbed, the hand that has fed and
petted him all along. The very moment
novelty is lost, sit and write off an
advertisement to Exchange and Mart,

 

Bazaar. I haven’t always had the heart.
A passing menagerie generally

has a vacant cage. With an iron bar
a sharp and heavy blow. An exceedingly

 

human-like affair. As if we all of us
come at last to this. In skinning him
yourself you’ll find his hide fairly tough.
Put him in a natural posture. A bit

 

of dried moss, artificial leaf you might
purchase at the milliners. Keep him in full light.

 

 

 

The source material for these pieces is Notes on Pet Monkeys and How to Manage Them, Arthur Patterson’s 1888 handbook, which was published in response to the colonialist British fashion of adopting exotic animals without any idea of how to properly provide care for them. These poems erase and rearrange the text into sonnet form. The poems were originally published in The Florida Review (43.2, Fall 2019) and were the winner of the Humboldt Poetry Prize.

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Foliate Light

 

 

My endeavor is to pursue a photographic image that embodies natural and immediate expression. My aim is not to produce the sensational or the intellectually novel, but to validate a point of encounter, a tenuous fragment or impression.

 

The beginning is often a highly chaotic and kinesthetic activity in the process of discovery. I acknowledge a kind of readiness for images more so than the existence of a muse or the notion of inspiration. This readiness requires looking intently at my surroundings; a humility of purpose and acceptance; and a quiet, though often exasperating patience. I do not seek a particular image but rather encourage the image to arrive at my threshold. I allow the light, shadow, color and composition to form organically, in a place somewhere between a vibrant reality and the recesses of my unconscious. I relish this elusive aspect of emergence and honor this transient beginning.

 

Each photograph evolves in its own unique manner. There is no delineated, predictable order or destination; there are few preconceptions. The initial inception is expanded, combined with newly discovered associations, and gradually finds a voice of intent. Even though I encourage states of intuition, ambiguity, and randomness, I must acknowledge that defining formal or aesthetic decision-making occurs; my creative process is not purely automatic. Formal devices are employed to clarify and strengthen that emotion which first compelled me to photograph. However, any analytic construction is subordinate to the original gestural responsiveness.

 

In the final image, when the photograph is delivered to the viewer, it is transformed into a new, autonomous existence. And, at its best, the image retains the freshness and spontaneity of the original vision.

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Freebirds

My mother calls to tell me she cannot get on the plane. She has had a premonition.

 

“You’re going to crash?” I sit upright in bed, sheet clutched to my chest. When she says stuff like this, my skin gets crawly.

 

“Not exactly a premonition.” She sighs. “I can’t say what will happen. A foreboding. Emmy, I’m not thinking straight. I can’t zip up my suitcase. And I wanted to get out of here so badly.”

 

“Are you sure it’s the plane?” I look to my left where the baby is sleeping in her bassinet. I look to the right where my husband is sleeping in our bed. “Could you be foreboding something else?” I say as I tiptoe out of the room, which is not actually a room. We put up a wall in the studio after the baby was born.

 

No, says my mother, she’s sure it’s the plane, and of course, I could try to reason with her. I could tell her to go ahead and pack that suitcase, get in a taxi, buy a tea and sit at the airport, see if the foreboding recedes. Until she’s actually on the plane, she has not committed to anything. Instead, I say, “I don’t know what to tell you.” Because really, what should I tell her to do? Get on the plane and then the plane crashes and then she’s gone and then it’s my fault? Because planes do crash. They do.

 

In the background, at my mother’s house, radio voices are murmuring. “I have to think,” she says. “I’ll call you back.”

 

 

As soon as I hang up the phone, the baby is up. By up, I mean that she’s screaming. She’s always screaming and we don’t know why. I don’t know why. My husband comes out of the bedroom and hands her to me. “I have to go,” he says.

 

“It’s six thirty in the morning.” I follow him into the bathroom. He’s a real estate broker, which means that he works on commission, which means that the more he works the more money he makes, at least in theory. I’m no longer sure I buy this direct correlation. He works seven days a week. Before we had a baby, this wasn’t a problem. But now we do have a baby.

 

I sit on the toilet, bouncing the baby in my lap, while my husband brushes his teeth. “My mother might not be coming,” I say.

 

He spits into the sink. “Is she sick?”

 

“Sick in the head!” I say. “You’d think she’d want to see Eva. Who wouldn’t want to spend time with this delightful creature?” I kiss the top of Eva’s head, which is covered in the silkiest hair, soft and ticklish on my lips. She smells like a baby, like white soap and milk. She likes to be bounced, likes the sound of the water and the echo of our voices in the tiny chamber of the bathroom. She and I spend a lot of time in this bathroom. On the rare occasions when she is content and awake, I adore her so much I want to stuff her whole hand in my mouth. Both hands at once.

 

My husband is sliding the stroller out of the way to get to the door when my mother calls me back. “I’m in line at security,” she says.

 

“What changed your mind?”

 

“I’m a fifty-four-year-old woman. I cannot live my life in fear.”

 

 

I spy her on my building’s doorstep, from four stories up. She is covered chin to foot in a camel-colored, fur-trimmed coat. Her bright blond hair spills over the collar. Since the divorce, she has made herself thin and sort of glamorous.

 

She is also late. More than two hours late. Thirty minutes ago she called from a taxi to say she was on her way but couldn’t talk. Before that, I was very worried. Fear gnawed my stomach from the inside out. I called the airline. The plane had landed safely, on time. So if something had happened, it had happened only to my mother. Baby in my arms, growing heavier by the minute, I paced the apartment. What had she been foreboding? A car accident? A fainting spell?

 

“I met the pilot,” she says, over coffee, at the cafe around the corner, Broadway and 100, where we have settled ourselves at a cozy table. The baby is asleep in her stroller and I am actually drinking my coffee, my guard down, more relaxed than I’ve felt in weeks. If I need to use the bathroom, my mother can stay with the baby. If the baby wakes unexpectedly, perhaps she can even hold the baby.

 

“He’s a very nice pilot.” She pauses. “He’s not actually a pilot.”

 

“What is he?”

 

“He’s a flight attendant.”

 

“How did you meet a flight attendant?” I say, pleased by the inanity, the frivolity of this conversation. Really, I am pleased to be having any conversation. I am so happy my mother is here and I am not sitting alone.

 

“It’s a long story,” she says. “But when I called you from a taxi, it wasn’t really a taxi.”

 

“What was it?” I say, stupidly, my brain dulled by motherhood, perhaps, which is what happens to you, they say.

 

“He keeps his car at the airport. He was kind enough to give me a ride.”

 

“If he gave you a ride, you should have been early. Or at least, not two hours late.” I pause, comprehension forming. “What did you do in his car? Mom?”

 

“Oh my goodness, nothing like that!” My mother flushes. “But he was very nice. We had a wonderful conversation.”

 

“That’s great,” I say and I mean it and I would ask for more details, such as whether she’s planning to see him again, but the baby is starting to stir. I watch her like I’m watching a bomb about to explode. Except, if a bomb were about to explode, I’d run. My mother is distracted. She hasn’t noticed yet. I stand from the table. “I’ll be right back. Could you watch her?” I don’t look back.

 

 

The last time my mother came to visit, I was very pregnant and my mother was the thinnest I’d ever seen her. She was on a mission. According to her surgeon, you were not supposed to touch your face until you had achieved your ideal weight. This was the reason she hadn’t gotten a mini-facelift years ago. For years, she was a slave to her daily pint of pecan ice cream, until, one day, she wasn’t. One day she realized she could live and thrive on little more than lettuce.

 

“Don’t lose any more weight,” I told her. “You’re thin enough.”

 

My mother patted my shoulder. “Don’t take this personally, honey, but your perspective might be a little skewed.” She was very concerned for me and how unwieldy I must feel, how uncomfortable I must be in my swollen body. But I thought I looked fine, maybe better than I’d ever looked. I’d asked her to wait a month before visiting so she could be in town for the birth, but she said she could not push off her trip because she needed to schedule her surgery before the doctor’s schedule was full and she really wanted to get my feedback before she made her final decision. There were so many options, she said—facelift, brow lift, botox. “We could Skype,” I said but she shot that down quickly. She needed me to see her in person, the texture of her skin, the full 360 degrees.

 

She had not been to the city in a while, since before the divorce. Like a flower, you could see her drinking in the energy; you could see her bloom. Smohio, Ohio, she said, she loved everything about the city, the noise and the streets and the interesting little apartments.

 

“When you were a baby,” she said, “we lived in an apartment like this.” I knew this story. Living in that apartment as a hopeful young wife was a shining time for her. Dad was gone all day, a low-level administrator, not yet the boss. The days were just us, playing in the complex playground, walking to the mall next door. She loved to tell how there was a hole in the fence between the mall and the complex, two missing boards. The shortcut saved ten minutes walking, a lot in the winter. The geometry of it was tricky, but after many attempts, she figured out how to take me out and angle the stroller through just right.

 

On that trip, we were both waiting, preparing for a big change. In the mornings, I put on my one pair of dress pants with the stretchy panel and took the train to my boss’s office in midtown East, where I worked as an executive assistant. In the afternoons my mother and I wandered the city in the late September heat, shifting from one café to the next, where I would sit back with my hands on my belly, under which I could feel the baby moving, poking and pushing from inside of my body, and my mind was overtaken with the strangeness of this, I couldn’t really think about anything else, but my mother’s mind was somewhere else. When the waiters came to ask us if we wanted something to drink, she’d be pulling at her face, lifting the skin with her fingers, asking if this was too tight or not tight enough. I wanted to be able to tell her that she looked fine how she was, but the truth was, she looked so much better, younger and fresher, when she lifted up her face.

 

A week after the baby was born, she backed out of her facelift, paying a steep penalty for the cancellation. She spent her deposit on a peel and fillers instead. “I’d love to come see how you look,” I told her. “But I really can’t leave this baby.”

 

Now, in the bathroom mirror, I look at my own face, which would look better with a little makeup. I luxuriate in the ease of washing my hands and smoothing out my hair without a baby tucked under my arm. I feel so light and unencumbered I could fly straight up to the sky.

 

 

When I get back, the baby is screaming. I hear her before I see her. The sound of her cry is the sound of pure uncomprehending terror. She always sounds like this when she cries. Are these her authentic emotions, I wonder, or is she the girl who cries wolf all day long?

 

“Where were you?” says my mother, thrusting her into my arms.

 

People are looking at us. “Let’s go,” I say, as I bounce the baby up and down, bouncing her into oblivion. She quiets and falls asleep. I put her hat on her head and zip her into my coat, which is about three sizes too large for me, chosen because she and I will fit in it together.

 

On the street, I secure the baby to my body with one hand and push the empty stroller with the other. We trudge uphill and duck our heads against the blustery wind. Snowflakes swirl in the air.

 

“I think I’m finally ready,” my mother says, “to go back to work.” Now she is skinny and presentable; she has plans to expand her hypnotherapy business, to move from one-on-one sessions to larger seminars on stopping smoking and losing weight. She’s had to stop seeing most of her personal clients because they were getting too personal with her—they told her too much and made her worry at night, made her feel that she should help them in ways that went beyond the scope of hypnotherapy.

 

I also want to go back to work, but I am only an assistant. By the time we pay a babysitter, we don’t know if it makes any sense. I have the idea that my mother could do it. She could move to the city, watch the baby. In my mind, this is something she ought to do, should want to do, should be asking to do. But she hasn’t asked.

 

A couple blocks from my apartment, we are brought to a halt. Shouting, brakes screeching, a bicycle tipped over in the street, and a man in sleek spandex clothes standing by, helmet on this head, looking dazed. The driver gets out of the car, a young woman who looks terrified. Her blond hair is sleek and perfect. Her makeup is perfect. She is wearing razor-thin heels and short, wide pants that display her pale, delicate ankles. Her ankles must be freezing. Perhaps she is on her way to an interview? I feel certain that the interview was for the girl’s dream job and that she would have gotten it except that now she will not make the interview. Tears run down her face. “Did I actually hit you?” she says.

 

“You hit me,” says the man.

 

We cannot look away. We stay until the police arrive. I bounce to keep the baby asleep. The snow thickens and falls down on our heads and on the scene, obscuring the people and the street and the buildings, obscuring the man on the bicycle and the woman who ran into him, but none of this obscures what my mother and I have seen, by which I mean, the things we have seen in our minds, the more terrible things that could have happened.

 

 

We take the baby home. While I am feeding her, my mother dresses for dinner. She puts on a camel-colored dress and a big gold necklace. She looks wonderful. I’ve decided her face looks wonderful, too. The baby presses her soft skin into my skin. Very gently, she pets my shoulder with her chubby baby hand. When she’s done, I put her down on a blanket. I give my mother a hug, and her body feels strange to me, so thin, not at all like the mother I know, a woman who might eat half a cheesecake for dinner then go power-walking through her Ohio neighborhood, at any time of night, arms pumping away, a bullet in white tennis shoes, Walkman tuned to her motivational tape of the moment. She’d come back red-faced and full of ideas. The world is awakening, she might say. Get enlightened or get left behind.

 

My husband is supposed to be meeting us but he calls to say that he’s running late and we should go on ahead. I don’t have anything to wear and I mean that very literally. The only clothes that fit me are yoga pants, so I put on my nicest yoga pants, the ones that look the most like real pants. I tuck the baby into her stroller and by the time we’re out on the street she’s fallen asleep. My mother and I walk to dinner. We are shown to a table close to the door, presumably because we are saddled with a baby and might need to make a fast escape. Every time someone exits or leaves, we are hit with a blast of cold air, which makes this a terrible table for a baby.

 

We order a bottle of wine, something my mother and I have never done together. I can’t drink much because of the baby but I assume my husband will take most of my share. I am drinking wine with my mother, who looks like a glamour girl, and she is talking to me about men, how much she wants to meet a man. She orders a salad without any dressing. She takes one tiny sip of wine. I eat all the bread in the basket. I can’t stop drinking the wine or asking my mother questions. I am having a wonderful time. “What about the pilot?” I say. “I mean the flight attendant.”

 

“Oh,” she says. “Oh, I don’t think so. He’s always traveling all over the place.”

 

“There’s no reason why you can’t travel,” I say. “Shouldn’t you travel? You’re so free. There’s no reason for you to stay in Ohio. You’re unencumbered. You could travel all the time.” I am getting excited. I keep drinking wine. “You could do your seminars like that,” I say. “You could just travel and give your seminars wherever you travel. Doesn’t that sound like a wonderful life? Maybe you should marry the pilot.”

 

My mother puts down her fork. She is taking a break though she hasn’t eaten anything. “Mark hasn’t called me,” she says. “He said that he would call me but he hasn’t. So I think that we should forget about that.”

 

“It’s only been a couple of hours,” I say. “Maybe he’ll call you tomorrow.”

 

“I was hoping that he would meet us for dinner. I was hoping to have a date.”

 

“Well, I don’t have a date either,” I say. “So I guess we can be each other’s date.” Really, the baby is my date, and I’m worried that my date might be waking up. I watch her like I can hypnotize her with my will to go back to sleep.

“I’m tired,” my mother says.

 

“Move here!” I say. “There are men everywhere! You’ll get a place near me. You can help with the baby.” As soon as I say this out loud, I realize how badly I want it. “Wouldn’t you like to spend time with the baby? You can help me, I can help you.” I knock over my glass of wine, I am so overwhelmed with the perfection of this idea. As I mop up the mess, I think how this is what I need. This is what she needs. For the first time in many years, my mother and I will fulfill each other’s needs.

 

My mother shakes her head. “I can’t move here. I don’t like it here. All the people. That accident. I’d be afraid to cross the street.”

 

“I thought you loved it here,” I say.

 

“I want to work on my business. I want to work on myself. There are so many years—I really don’t know what I was doing. I need to make up for lost time.”

 

“The baby’s here,” I say. We both look at the baby, who is starting to stir in her stroller. Her face wrinkles and un-wrinkles. I turn to my mother and I can see that she is unmoved.

 

Before I can reach her, the baby escalates to a full-on scream. As quick as I can, I lift her out of the stroller, but the crying doesn’t stop. Everyone is looking at us. I bounce and bounce. I look for a nook. The bathroom is tiny. There’s nowhere to go. The screaming gets louder. I am starting to panic. The waiter is approaching. I was silly to bring a baby to this place. In a second, I will get kicked out.

 

“I’m going outside,” I say to my mother, zipping myself and the baby into my jacket, pulling our hats onto our heads. “I’m sorry,” I say. “I’ll be back as fast as I can.”

 

Outside, the snow is falling. It lands gently on our heads while the baby screams. “Don’t cry, baby,” I say. “Don’t cry.” I feel a little woozy, my cheeks flushed and warm from the wine. Despite the crying, I am glad to be outside, where the air is bracing and fresh, where the baby can scream to her heart’s content without disturbing anyone—anyone other than me. This is where we belong.

 

We walk to the end of the block and come back. The baby is starting to quiet but I can’t quite bring her inside. Through the window, I watch my mother, who is eating her salad, one leaf at a time. She does not touch the bread. She looks lonely to me, but maybe I’m wrong. Maybe she wants to be lonely. Maybe being lonely is better than the alternatives.

 

After a couple minutes, my husband shows up with a camel scarf around his neck and ear clips on his ears, huffing from the cold. He is finally here. He is my most familiar person, but I feel like I haven’t seen him in weeks.

 

“Hey,” he says. “What are you doing out here?” He puts an arm around my shoulder, kisses the top of my head. The baby lets out a sigh and relaxes her body into my body. I relax my body into his body. The snow falls and falls on all of our heads.

 

“Go in there,” I say. “I’ll be in in a minute. Just sit with her at table, okay?”

 

“Okay,” says my husband. He opens the door. Warm air rushes out. Cold air rushes in. He greets my mother. He gives her a hug. He takes off his coat and sits in the chair across from her, the chair where I was sitting before. The snow is melting in his dark hair. I can make out the faint sheen of wet. He talks to her, she shows him something in her notebook, and I feel calm, the baby’s body against my body makes me calm, but underneath I am bereft. She starts to smile. He takes a sip of my wine. She takes a bite of her salad.

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Identity and Empathy in America and Assam

His Fathers Disease by Aruni Kashyap

Context / Westland Books, 2019

Hardcover. 184 pages. 

 

Cover of His Father’s Disease

 

In His Fathers Disease, Aruni Kashyap asserts himself as a master of the skill of empathy-building. This is no fluke. It is common to read the debut story collection of an author and feel that there is a lot of technical prowess—say of dialogue, or of voice, or of structure—but little sense that the characters are in fact alive, or come from a lived space. Kashyap, however, who is from the Northeast Indian state of Assam, has already established himself as one of India’s rising literary voices. He has published novels in both English (The House of a Thousand Stories, Viking, 2013) and his native Assamese (Noikhon Etia Duroit, Panchajanya, 2019) and edited an anthology of stories centered on the experience of insurgency in Assam (How To Tell the Story of an Insurgency, HarperCollins, 2020). It is no surprise, then, that in each of the ten stories in this collection, one reaches the end feeling completely immersed in the world Kashyap has created.

 

The stories in His Fathers Disease can be roughly divided into two settings: either a remote part of the Indian Northeast or a provincial American suburb that a Northeastern Indian has made their home. Kashyap addresses this dichotomy directly in Skylark Girl,” a metafictional narrative of a Northeast Indian author being paneled at a festival in Delhi, interval-led with a folk story about a woman who is killed out of pettiness, only to come back to haunt the village as a ghost. During the panel’s Q&A session, a woman asks the narrator, Sanjib, “why [he] had . . . decided to write about this magical world, instead of the insurgencies, the violence, and the more immediate topical stories. [Sanjib finds himself] surprised by the question because . . . back home, his Assamese readers did not expect him to write about this or that topic. He was free to write anything.” Much like Sanjib, Kashyap’s stories are foregrounded by a Northeastern perspective, not because he wants to limit himself, but because he feels the freedom to write whatever he wants. Perhaps he chooses to write about Northeast India because this part of India is rarely portrayed in international literature.

 

Again, this is by no means a limitation. In fact, part of what makes Kashyaps stories work so well is that they mine locations the author knows so well. The most successful story in this regard is Bizi Colony,” which details the haphazard and troubling life of a youngster named Bablu, told from the perspective of his brother, who explains how Bablus glue addiction and penchant for violence affects everyone in their family:

 

Long before my younger brother Bablu began telling our neighbours that Ma sucked Papas best friend Hriday Uncles dick while Papa was away on official tours to New Delhi, he would touch the breasts of our forty-year-old maid and ask her how it felt. When the timid Geeta-baideo wept, saying that she was the one who brought him up, washed his ass after he crapped as a baby, he beat her up with a cane.”

 

Bablu is a heinous example of a twelve-year-old, with all of the makings of a sociopath. He causes his mother to cry at odd times and take out her anguish at her husband, just as he causes his father to reflect after traipsing around the house, “‘Am I a failed father?’” The story is a melodrama; what saves it from the common pitfalls of that form is the sense that while Bablu sells drugs and associates with prostitutes, tarnishing the family name with no self-awareness, his behavior is fully his own. Glue addiction is a common problem in South and Southeast Asia, and there are children who seem almost born to be malicious in all parts of the world. No matter how heinous Bablu’s decisions appear, they are rooted in realism.

 

Kashyap also foregrounds “Bizi Colony” not as Bablu’s story, but as a story about the effect of Bablu’s behavior on his family. When Bablu [breaks a] tall, thick juice glass on [Mas] head because shed refused to give him money to buy Dendrite or Eraz-ex,” we dont see it from Bablus perspective, but from the narrator’s, who doesnt cry but “[feels] a strange burning sensation in [his] chest, and a strange, choking lump in [his] throat.” This distance allows readers to observe Bablu’s actions while still benefiting from the emotions and proximity of the first-person peripheral narrator, as if Bablus behavior is very much happening in front of us.

 

 The Love Lives of People Who Look Like Kal Penn” is another story that benefits from Kashyap’s command of point of view. The third-person narrative tells the story of a writer heading to an international conference in Michigan. He bonds with a woman on the plane, in a way that suggests a possible sexual attraction, until she says, “‘You know, you remind me so much of Kal Penn . . . you look like him, quite a lot, do you know?’”

 

I am a person of Indian origin, so I too receive this comment often. The actor Kal Penn is one of the very few people of Indian heritage who is prominent in American media, so people are quick to say that anyone who is South Asian looks like him. Therefore, I relate more than the average person when the narrator Arunabh is offended and frustrated by the comparison. The manner in which Kashyap arranges Arunabh’s reaction in language is what summons empathy for readers of any background. In the taxi after this encounter, Arunabh [studies] his reflection in the rearview mirror, and more than once had considered asking Jim whether he saw any resemblance to Kal Penn. And he will always remember the fall colours, his first fall in America: the gold, the yellow, the orange, the red; the blue sky that was slowly turning grey; and his yearning for snow.”

 

By melding the reaction to a very particular moment, and the feelings evoked by the natural world framing the scene, Kashyap creates multiple spaces for a reader to react to or reflect on Arunabh’s experience. If they cannot relate to Arunabhs gripes, seeing fall in a new country for the first time may resonate, and if not that, provide a sense of nostalgia through the colors, sensations, and feelings of fall in the USA.

 

Kashyap also employs this multi-pronged narrative approach to empathy-building in the titular His Fathers Disease.” The story details the frustrations of widowed Neerumoni as she discovers that her son Anil is homosexual, much like her own husband. She repeatedly walks in on her son with men and finds herself bereaved. The village also reacts hostilely to her sons sexuality. At one tragic point in the story, soldiers shoot Anils lover. The idea of the scene is harrowing enough, but what grounds it as a piece of literature is how Kashyap describes the aftermath: The blood looked like a red rose blooming on the white bedsheet, and the room smelled like coconut water.”

 

In choosing such evocative language, Kashyap renders the moment not merely as a violent one, but one grounded in nature. The scents and colors give the reader a critical distance from an extremely emotional moment. The reader is allowed to come back into the scene with their own feelings attached to it rather than only those evoked by the violence.

 

The power of fiction is to make the reader feel as if these imagined characters are very much living real lives, and more, to feel connected to them even if they reside in completely different worlds. Kashyap understands that to write is not simply to get lost in the individual sentences, but to create characters that resonate. Anyone who reads fiction to explore emotional spaces, both interior and exterior, should absolutely seek out His Father’s Disease. They will find themselves not only intrigued, not only inspired, but utterly absorbed into the world of Aruni Kashyap’s imagination.

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