Inventory of a Black Girl & Gourmet Ars Poetica

Inventory of a Black Girl

Model Made: April 27, 1992

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2 Lungs full of broken glass When I cough little bits come loose
And scrape against my teeth
I have learned to bleed quietly
0

 

27 Bones (in right hand) Formed from statues and statistics
I vote on which ones to break
0

 

4 Failed deaths Each more urgent than the last 0

 

1 Mouth full of matches Only sulfur passes through these lips
Only fire is respected
I am used to swallowed ash
And burned tongue
0

 

2 Stolen songs The first, when I was born
The next, I haven’t been told
0

 

0 Deeds done right (in the world’s eyes)

_____________

 

Not Applicable

 

Gourmet Ars Poetica

My poems taste terrible, too many chewed up

Metaphors and overcooked analogies.

They need more salt, less narcissism.

More technicality, like practicing to how perfectly

Poach an egg, or be consistent with verb tenses.

 

I need a bigger pot with a sturdy lid

To contain this wild free verse.

Maybe throw it live in boiling water,

Like lobster.

Garnish it with pretty diction,

Say it’s modeled after the classics.

 

One day I’ll be the Gordon Ramsay of the page

Dragging syntax from hell into my notebook.

I’ll subvert entire stanzas into submission,

They’ll say: “Yes, poet” and “No, poet”

And “That’s not the way I’ve been taught, poet.”

 

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Poems of Water

Shark Valley

We ride through the sawgrass, the only humans for miles,

as evening glistens in the shallow water,

 and thousands of white birds

 and gray birds

 and black birds
 land in the mangroves

 to roost for the night.

We talk and stay silent at once as we ride

and imagine wading into the grass

 through knee-deep water
 until we were far enough

 that everyone we’d ever known, everyone we’d loved
had forgotten us. And if we sat down in the water

 until our clothes fell away, and we sang

 to each other like the breezes across the tall grass,

going nowhere, and the minnows nibbled our bodies

 so gently it felt like a new kind of love,

 what could we say to the shadows waiting for us,

arms crossed and scowling, as though they owned our darkness?

 

Love Poem

The names we’ve never spoken, that define us to ourselves

like the rhythm of a river caught inside a stone

smoothed by that river, as it falls toward the sea.

 

*

 

In some other life, I wove grasses and lay down.

In some other life I made a nest, and slept

dreaming like a river, as it slides toward the sea.

 

*

 

How many years did we search to find our lives?

How many years do we have before we leave?

The singing of a river as it falls toward the sea

 

*

 

is a mind without thoughts, pure being, like the breeze

that wakes in your attic, or underneath your bed

and stirs up the dust, while you’re thinking of the sea

 

*

 

and hugging your wife, who’s dreaming in a language

that doesn’t have words yet, and gleams in her eyes

when she wakes in your arms, smelling faintly of the sea

 

*

 

and sunlight in the breeze as it moves through the bedroom

then back out the window, like life itself must leave

the body that held it, or like a wave far out at sea . . .

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The Anachronist

The Anachronist is an interactive narrative set in the year 1596 in which a woman named Anna is set to be burned at the stake. What will be her fate? Your choices will help decide. It is republished with permission by the author from http://peterlevine.ws/anachronist/

 

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Two Poems of the Living Past

Anatomy

Today I eat lunch with the anatomy skeleton

hanging wired together in the art room.

We shake hands. I want to kiss her,

because the bones are real,

and maybe she would bloom out of her decay,

cicada-like and ancient.

 

A quick, perhaps forgivable glance at the pelvis

confirms, yes, it is a she, and I name her Charlotte

because I like the ring of it.

Leave her body to science?

No, never to science. But to art, maybe.

What color were her eyes, I wonder,

lurking like embers in a heap of bones?

 

So old, at least now she presides here,

mutely telling the charcoal-drenched artist,

This is all you are, so look.

And if I sit here often enough, insisting on Charlotte,

maybe the name will rattle something awake

in that bone cocoon, knit muscle and skin over that blank,

and she will blink in slow, lush approval.

 

Rain in Glastonbury

The abbey’s ruined arches jut from the ground

like giant ribs. From beneath them,

this fine mist seems just the thing

 

for atmosphere, camera perfect and on cue.

It mutes every sound—the tread of our rubber boots,

the tour guide’s practiced tones.

 

And the bronze plaque marking King Arthur’s grave,

where he is not buried,

stands quietly matter-of-fact in its lie.

 

We snap pictures. Sure,

with the mist, this could be Avalon.

It isn’t. Maybe that’s why somebody

 

tore down the abbey years ago and used the stone

to build that big, faceless house on the hill.

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Interview: Yrsa Daley-Ward

Cover of Yrsa Daley-Ward's The Terrible     Cover of Yrsa Daley-Ward's Bone     Cover of Yrsa Daley-Ward's On Snakes and Other Stories

 

Yrsa Daley-Ward was born to immigrant parents (Jamaican and Nigerian) in England, then lived in South Africa for several years as she pursued a career in modeling. It was in South Africa that she encountered the slam and spoken-word poetry community and began writing. She has now published three books—a collection of short stories, On Snakes and Other Stories (2013); a collection of poems, Bone (2014; 2017); and, most recently a memoir, The Terrible (2018). Daley-Ward considers herself an activist for feminist, LGBTQ+, and mental health issues, but expressed the hope that her writing is for everyone.

 

Lisa Roney for The Florida Review:

It’s rare to find a fashion model who becomes a poet. I read that you had come across a slam poetry event, a spoken-word poetry event when you lived in South Africa. I thought that was a wonderful story. Did that inspire your frankness? It’s interesting to think about you as this very independent person who speaks about the fashion industry in this very honest way and yet still participates in the fashion industry. I just wonder how you combine these two worlds. Is it the sort of situation where you feel a little estranged from the fashion world? Do you have good friends that are thrilled that you are also writing? How do you combine these two cultures—one of which seems to be based on a certain kind of objectification of women, and yet your poetry is very strong and powerful and feminist and anti-objectification? How do you combine them?

 

Yrsa Daley-Ward:

I think it’s really important to remember—and that’s, I think, the beauty of doing lots of things that are seemingly contradictory—that we’re all multi-faceted human beings. There are models who write. There are people who are seen controversial and wild to our brilliant parents. There are teachers who are engaged in nefarious activities. We’re all like a composite of so many things, and to be in your fullness is really important. I think too much we’re defined by what we do [for a living] or what we look like, even like the gender binary, being super feminine or masculine, so to speak. I love to embrace all aspects of myself. I think that’s super important.

 

TFR:

I think a lot about the spotlight and how the spotlight is different for a model versus an author. Could you comment about how the spotlight is different?

 

Daley-Ward:

It is, and it really shouldn’t be, but it is! It’s sort of this weird Venn diagram that’s happening. I enjoy both because in both there’s an aspect of you and performance and rawness. As much as people don’t appreciate it, modeling is an art form like writing. I do think it is.

 

TFR:

I’m sure it is.

 

I’m just thinking about the spotlight. I think a lot of that performative act. Do you think it’s easier for you to perform as a writer because you have the modelling career?

 

Daley-Ward:

No.

 

TFR:

It’s a different kind of performance.

 

Daley-Ward:

It’s completely different.

 

TFR:

That’s what I was fascinated about. For some reason, I think it had to do with seeing those photographs of you, especially the ones that were with the Guardian article and they were extremely beautiful, but they were also severe and remote, distant. I felt a great deal of distance from you, so I was like, “I wonder what it’s like to be photographed in that context.” I’m sure you are performing that for the camera, yet there is something else that comes across in these poems that’s so powerful and human and down to earth. You had described that first spoken-word event where you read your poem and people applauded for you and loved it—you felt that close human connection. I was just interested in how those two things are different or similar if they tap into each other at all.

 

Daley-Ward:

First of all, that article was really odd because what I said was taken out of context in nearly every line, and I completely didn’t recognize myself in that or in the photos. If you look at any other photo, even in modelling, I just don’t look like that. It was strange. I think most photos capture my essence as it is, but I do think there’s a different spotlight. In modelling, I guess you’d be prepared for what’s happening, whereas you roll up to a writing event and then, all of a sudden, people are taking photographs and it’s just you. But both of them are just different aspects of the same thing. I love balance; I love being able to do the switch between the two. I write every day. I actually do a lot more writing than modelling at the moment, but I really enjoy both elements. I think they can bleed into each other. I think you can show humanity and softness, maybe not in the Guardian article [laughter], but humanity and softness in modelling in the same way.

 

TFR:

I am fascinated by how you developed such a strong sense of self coming out of the religious background that you describe in some of the poems, and in other interviews as well. It’s a very strict, very severe kind of upbringing that you’ve described. I guess the stereotype, especially of women, who come out of that kind of background is that they are very self-sacrificing and they’re very self-abnegating. They don’t have a lot of confidence, and yet you do. You exude strength. Where did that spark start for you that, “I’m me and I’m these complicated things and I’m going to be powerful”?

 

Daley-Ward:

I was lucky enough to have been introduced to literature and language at a really young age by a mom who was a single parent, a Jamaican immigrant, so the need for education and everything like that was impressed on me from an early age. So, I got this gift of opening books and learning about deep and complicated subjects and people who didn’t always say what they meant, people who were doing all kinds of things. I read everything when I was young. I read the Bible, I read the Kama Sutra, both of them very intently. There’s always been dichotomy and contradictions, but I think that allowed me to feel rich. And conflicted—yes—but conflict is very human, isn’t it?

 

The gift of religion helps you understand people because you go to church or wherever it is that you worship, and you see the way people struggle with religion and what they say versus what they do and everybody trying to chase this ideal. Of course, religion has its very difficult aspects, but it’s also really beautiful. Learning to appreciate and see the joy in a lot of different things is something that such a strict religion did for me because as much as I was nervous and I felt like I was not going to heaven, I also loved the ceremony of it and the fellowship of it as well. There are lots of different parts to it.

 

 

TFR:

How would you describe your own religious belief? I felt like Bone in a way moves back in time. I was really touched by getting to the poems in the latter part of the book where they seem to be very kind to your grandparents and your mother. I had formed this question early on which was like, What is your relationship with your grandparents now? What is your relationship with that? You’ve talked about it already a little bit, about the community that you found in the church and the beauty of the ritual and such. Maybe that’s a very personal question, but I’m really interested in that same issue that you brought up, which is about watching people in various religious traditions struggle with what they mean in their own lives. We have a lot of that going on in the U.S. public life right now.

 

Daley-Ward:

Oh, goodness! Yes, so much.

 

TFR:

If it’s not too personal a question, how do you relate to the religious world that you came from?

 

Daley-Ward:

I’m not a Seventh-day Adventist, which is the religion I was brought up in. It’s ever-changing. I’m attempting to fathom what that is. What do I believe still? There were a lot of things that were heavily ingrained, and they never really worked themselves out. Even though I live this life that is apparently the opposite of all of that, there are things in me that aren’t going to come out. I do catch myself on any given day wondering what the truth is. Of course, nobody knows for sure. We live on faith. Especially, Christians live on faith. I am constantly grappling with how I feel about religion and the idea of God versus my idea of the universe. I am spiritual, but religious, no.

 

TFR:

I think that’s really what I sensed in this book, and it comes across really well. Your poem “Poetry,” from Bone, but which you read in an online video, reminded me a lot of Tess Gallagher’s short essay, “Ode to My Father.” Do you know that essay?

 

Daley-Ward:

No, but I’m going to read it.

 

TFR:

I brought it to you.

 

Daley-Ward:

Oh, my God! Thank you!

 

TFR:

She has this wonderful line. She says, “If terror and fear are necessary to the psychic stamina of a poet, I had them in steady doses just as inevitably as I had the rain.” This is an essay and poem about her parents arguing and her father beating her and how she gradually came to forgive him. When I read your poem “Poetry,” I was very much reminded of that.

 

Daley-Ward:

I see the link.

 

TFR:

I wanted to ask what you see as the connection between difficulties in life and poetry.

 

Daley-Ward:

There is nothing that you can’t work up into art. Whether it’s poetry or whether you’re painting or making a piece of theater or anything, what happens to you is going to strengthen what you are doing. The thing I think is so beautiful about poetry is how we can succinctly reach into our hearts and the hearts of other people because we are all having the same experiences on this planet. These experiences transcend, for the most part, class, race, gender, all those things. I think it’s important to have those moments and—I wouldn’t say to document them or identify with them—but definitely reach out. If a poem can make somebody feel somewhat less isolated or that there is somebody else who understands what they are feeling or just put a voice to how they’re feeling, then the poem’s done its job or the piece of art has done its job. Of course, difficulty is gold.

 

TFR:

It’s such an interesting thing about writing. It’s kind of a joke that we tend to say. Something terrible happens to you, and you’re like, “Oh, well, it’s material.”

 

Daley-Ward:

Yeah!

 

TFR:

I think it’s an odd juxtaposition for writers where sometimes they end up seeking it out.

 

Daley-Ward:

Yeah—that’s dangerous!

 

TFR:

Being destructive in their own lives in order to have material. Sometimes that works out and sometimes it doesn’t work out.

 

Daley-Ward:

I guess too much of that could block you. Those difficulties are going to come up. You don’t need to make them happen. They’re part of life.

 

TFR:

Why do you think it’s so important for poetry to reach beyond the “elite,” to reach ordinary people, and what do you think that poetry can do to help ordinary people?

 

Daley-Ward:

We’re all ordinary. We all have feelings. Literature is for everyone, not a select group of people. That’s ludicrous! What can it do for ordinary people? It gives them voice, it helps people feel less alone, it brings us together and we all desperately need to be brought together because we’re so divided. We’re all connected in this world. It feels crazy to me. Poetry acts as a bridge. It brings us closer together, it helps us not feel so alone, it gives an outlook to something that’s inside. If I was not writing, God knows what mental state I would be in.

 

TFR:

Your poems are very, very, very personal, but they also feel to me that they have a social, political edge to them. They have implications beyond the self. I think for writers in particular, the current social state that we’re living through in this world can feel increasingly hostile. How we might work, all of us, writers, to bring people to poetry and to literature where I feel that there is this more complex understanding of other human beings?

 

Daley-Ward:

I think there are so many things. This is actually so exciting because this is starting to happen online—and I know people have a lot of mixed feelings about this—but even the poetry, almost a whole canon already, that has appeared on Instagram has made lots of young people, people who would never pick up a poetry book for fear that it might be boring, which a lot of poetry is . . .

 

TFR:

Sometimes it is!

 

Daley-Ward:

Things like that—poetry in dance, in films, poetry with music, going to prisons, teaching it in schools. Impromptu poetry performances on the street would bring so many people to it because they realize, “Oh, it’s not this closed shop. It’s just people talking about their feelings.” If more people knew that and didn’t think that it was this thing that is closed. Honestly, there is just so much poetry that I don’t understand. I know it’s so clever, but I don’t think I’m a strong enough reader of poetry yet. I buy poetry books by the bucket-load, but I’m still learning how to read it and how to access that super academic poetry. I love everything, but it’s important for that not to be the only thing.

 

TFR:

I agree. That’s one reason why I was so drawn to your book.

 

Daley-Ward:

Yes.

 

TFR:

Partly, it was that contrast with some of other poets. Just the contrast is a wonderful thing. We can have both of these things. We can have the world where someone is paying attention to every single syllable and creating some kind of sonnet or some kind of formal poem and yet, we can also have poetry that’s raw and down to earth.

 

I’m also really looking forward to your memoir [The Terrible]. I love that you said, “It will tell everything.”

 

Daley-Ward:

It pretty much does.

 

TFR:

What do you think is the relationship between truth-telling as an important kind of upstanding thing to do and rebellion for shock’s sake? What’s the relationship between those two things? How do you think about truth-telling?

 

Daley-Ward:

I think it’s a powerful tool in a world where there is not a lot of it, unfortunately. I never intended to write a memoir or tell anybody anything about myself, ever, but it’s just the way in which this has come to me. There were doses of fear that come along with that. When I started to examine what the reason for this was, the most important thing that came out of nowhere—and which gives me a reason to be here and sit down and be able to do all this, without turning me into a nervous wreck—is just the fact that I think to be here is to be in service to the world, in service for people for whom these experiences are completely normal. When I speak about marginalized communities, it’s not only people of color, queer people, sex workers, people who’ve been involved in what we call criminal activity. I’m a deeply private person, but something about making this kind of work is stronger. I was talking to my friend today on the phone and we were just talking. I get some lines sometimes when I’m just chatting and I said to her, “My destiny is louder than my comfort.” I was like, “Oh! I’m going to Tweet that!” It really is at this point. It’s become more important to do that.

 

TFR:

It’s gone beyond yourself and your expression. You feel a responsibility to other people.

 

Daley-Ward:

I do! Otherwise, how are we going to do this? Our sex workers are going to think that they can’t write the next bestseller. Children of color who live on council estates or in the hoods are going to think they can’t write a Pulitzer prize.

 

TFR:

Especially now, because we do seem to be in a time of shrinking opportunity where the rich get richer and everybody else is left behind. It’s scary sometimes, especially in terms of education. I understand that completely, that sense of responsibility for bringing that forward.

 

Could you comment on Instagram and other social media as a method of artistic expression? Do you see social media as the future of poetry and other literary forms? What are the limitations of that?

 

Daley-Ward:

Not completely the future, because where there is progress and wonderful work on Instagram, one of the issues with things happening on mass media is that, sometimes, it might lose its power. That’s a small price to pay because it’s making literature current. Literature has always been current, but now to reach everybody, because almost everyone has a smartphone. As much as people who have an attitude about this won’t like this, I think it’s wonderful because if you were never interested in poetry, now, these days, people will be engaging with poetry whether they know it or not, which I think is wonderful, especially for young people, the next generation.

 

TFR:

What’s next for you?

 

Daley-Ward:

Every day I ask myself that. It’s The Terrible next. I just finished my final edit of that which has been a really interesting process. I’ve just relocated to New York. I love to meet people and I love to read poetry, and I hope to do so much more of it live. Sometimes I do it with musicians. Just to be doing what I love and to create more work constantly. I hold myself accountable in that way—actually getting stuff done. So, writing and really documenting this time because it feels really special. It’s very important to me.

 

TFR:

Any last words of wisdom?

 

Daley-Ward:

I don’t know that I’m wise.

 

TFR:

Or last words of spirit?

 

Daley-Ward:

I would say that in this world, it’s more important than ever before for people to feel empowered to tell their stories because their stories are very valid, and if you are worried whether it’s strong enough or good enough or whether it’s compelling enough, always know that the thing that is the most raw and honest will be compelling to other people because we are all connected. If you have a story that you want to write, tell your story. We really do want to hear it.

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Puncture

Melissa’s mother was the first to spot Sonya in the ICU. She looked at Sonya like everyone back in Largo did, bouncing around her forehead and cheeks, connecting constellations instead of meeting her eyes. The older woman was more lined, fatter—a grandmother, for now—but still recognizable, standing guard outside the room. A whole room reserved for a baby the size of two cupped palms. Sonya remembered reading somewhere that they couldn’t rush new mothers out of the hospital, were legally required to let them stay, even for the stillborn.

 

Sonya’s skirt set stood out against the scrubs and denim-clad VA dwellers in the way she had always wanted to, but she felt garish amongst the multitude of reflective surfaces magnifying her face’s blistering peaks and craters. She tucked her pink nails into her palms.

 

“Sonya. I don’t know if you should have come,” Melissa’s mother said. “This is for family.”

Sonya privately agreed. She averted her eyes. There was a man in the hallway repeatedly ramming his wheelchair into the wall, humming to the tune of “Swing Low, Sweet Chariot.”

 

“I’m sorry.” Sonya shoved the terrible stuffed dog she had picked up for the baby into Melissa’s mother’s arms, wincing at its pinkness. “I’ll go.”

 

“Don’t be sorry,” a voice—sounding like sixteen, picking at garden salad in the lunchroom—said behind her as she turned to go, and boom, Sonya was back in high school. “You’re her Aunt Sonya. You should be here.”

 

 

Sonya heard the bad news about Melissa’s baby from her old high school’s secretary over a bin of Japanese sweet potatoes. The Whole Foods was new and out of place in Largo, both in budget and stature. Its skeleton loomed, folding over the Chicken Shack and DQ like some sort of brutalist God. She thought it would be safe to stop in, that no one she could have known from her childhood would be interested in green juices. She was wrong.

 

“Oh, honey, you’re home!”

 

The local high-school secretary, a bird-like woman with hair cut severely by the chin, dropped a pack of spiralized zucchini and pulled Sonya into an embrace. In the fluorescence of the vegetable section, her skin was cling wrap.

 

“I should have known,” she sniffed into Sonya’s collarbones. “You were always such a good friend to Melissa.”

 

Melissa was one of the neighborhood kids. Sonya had gone to school with her, grown up crawling under their desks during lockdown drills and pinning yellow ribbons to their spirit shirts. Melissa used to have two dogs and a brother in Iraq. Sonya was not in town to see Melissa. She hadn’t seen or spoken to Melissa for years.

 

Sonya was in town because her editor had sent her to do a piece on the opioid epidemic. Readers love a good tragedy, The Cincinnati Inquirer was rumored for a Pulitzer for its heroin article, and rural Florida provided a double whammy.

 

“Have you visited yet?” The secretary’s eyes were now leaking, and she attempted to wipe her dripping nose with her sleeve.

 

“No,” Sonya said, honestly. “I actually haven’t seen Melissa in . . .”

 

These encounters were always awful. She hated seeing people from home, hated the three-hour JetBlue flight, the drive to Largo in a rental car. Hated each cluster of mobile homes she passed, the lurch of pity upon seeing their dreadful names. Paradise Cove and Palm Valley and Dolphin’s Wave. The backs of the signs adorned with crude depictions of genitals and pentagrams and the number 666. The kids she grew up with: now strung-out cashiers and mothers and dealers-   how she would have to fix her face so as to not to wear her pity.

 

She rubbed at her eyes. The secretary seemed to take this as an expression of grief, and reached out to touch her, managing to snag her silk blouse.

 

“I know, honey. It’s just so terrible. For it to happen to your best friend.”

 

Sonya had no idea what the woman was referring to, but she agreed. She called her mother while waiting in line with a pack of organic blueberries.

 

“Ma,” she asked, in place of a greeting. “What’s wrong with Melissa?”

 

 

Motherhood had softened Melissa’s already round figure, made her ruddier. She was wearing an XXL Tampa Bay Buccaneers shirt from their 2002 Superbowl win. Somewhere, Sonya had a matching shirt. It went down to Melissa’s knees, swallowing her baby weight.

 

“You’re her Aunt Sonya,” Melissa repeated, her voice very full. “We want you here.”

 

Sonya had no brothers or sisters. She knew she wasn’t an aunt now, would never be one—she was just a girl who had no one else to sit with in high school— so instead of speaking, she stepped into Melissa’s arms.

 

Over her shoulder, Sonya saw it, and tried not to scream.

 

Under an assortment of tubes and blankets, partially shielded by a monitor and surrounded by well-wishers who looked carefully at the floor, was a red and purple smear. A tube, running under the slits where nostrils go, was the only indication that it was breathing.

 

A man quickly blocked it from her view. She knew without looking at her hand that she had drawn blood.

 

“This her?” he asked.

 

Melissa released her.

 

“Sonya, Craig. My husband.”

 

Sonya once did a story on self-flagellation, reporting on a radical church that encouraged sanctioned beatings in preparation for adult baptisms. She had thought the practice to be barbaric—perverted even—the shivery way the pastor talked of pain, the way it overtook his face.

 

Craig, quite simply, looked mad. He looked like the radical Christians, had the jumpy sort of depravity in his eyes that made cops slow down at traffic stops.

 

“I’ve heard a lot about you. Glad you could come by to see Jay.”

 

Jay, Sonya realized, was the swaddled lump.

 

Sonya had no doubt that Craig didn’t want her there, or any of them. Craig wanted to be taking pictures of a pink lump of blankets for his terrible Facebook page. Craig wanted to take his weapon from base and execute them all into an open ditch. Craig wanted to be in a two-bedroom, reheating a Lean Cuisine he had let go cold while enraptured by the sight of his poor, scarred baby inhaling into his wife’s breasts.

 

 

Melissa wasn’t Sonya’s best friend. Melissa was pale, with a quick smile and cowhide hair that she got cut, short and boyish, at Fantastic Sam’s. She sat with her doughy legs spread and was always eager to show her overlapping teeth. In high school this outweighed her fantastic empathy, so no one spoke to her much.

 

No one spoke to Sonya either, because of her acne: rippling under her dark skin, cystic and mean. A teacher told her once in Geometry class, Have you tried putting toothpaste on it? in front of everyone, and only Melissa hadn’t laughed.

 

“That was wrong of her,” she had told Sonya seriously, after class.

 

“She’s a bitch. I can’t wait to get out of this shithole state.”

 

“She did something wrong.” The repetition sounded solemn, like a prayer.

 

Melissa had a strict sense of justice ingrained in her. She wouldn’t let Sonya copy her math homework and couldn’t wait to join the Navy. That’s what her family did.

 

“I want to be a Marine,” Melissa would smartly tell any adult who enquired.

 

“Better than selling Mitsubishis,” Sonya said, unsupportive. “Or meth.” These were the career prospects of many of their companions.

 

“Bad market for foreign cars,” Melissa mused, missing the point in her round-faced, agreeable way.

 

Melissa was soft while Sonya was angled, forgiving while Sonya taped a slice of deli ham in the locker of a boy who called her pizza face. The only thing they had in common was a love for rap. Melissa, sweet, pasty Melissa could drop bars. She had a collection of CDs living in the cab of her truck. Eminem and Dr. Dre and Wu Tang Clan and Jay-Z.  They were a strict Pac family, didn’t own any Biggie. She knew every word on the Blueprint, could rap until the CD ejected. Sonya remembered that was the first time she admired Melissa for anything. Melissa kept them all in her truck’s glove box, along with her dad’s army knife, a birthday gift. For protection against perverts and coyotes, Melissa said seriously.

 

Their geometry teacher suffered from eight slashed tires that year, sixteen perfect puncture marks.

 

Melissa enlisted shortly after high school, and Sonya applied to Mizzou. There wasn’t really a need for each other, because Melissa had a new family and Sonya had an advice column, but every so often there would be a text or Facebook message, left to stagnate. A few years later, Sonya got a wedding announcement and a pregnancy announcement in the same stack of forwarded mail. That was just what you did in Largo.

 

Sonya couldn’t remember Melissa’s husband’s face, but knew he was also military. He had added Sonya on Facebook, where he inundated her timeline with racially-tinged articles from websites like “Truth for America,” all with headlines insisting that she should watch the liberal congressman get roasted by a ten-year-old boy-scout.

 

After the election, she blocked him, which was why she missed the Go Fund Me for their baby, and the message asking for her prayers.

 

 

“You should go pay your respects,” her mother had said, when Sonya returned with blueberries and unfounded guilt. “You’d be a comfort.”

 

Sonya’s mother belonged to the Advice Stitched on Pillows School of Thought. She wore her hair natural and made a big show of disapproving of Sonya’s silk press, reminded her how her oily hair would antagonize her skin. Wore her Walmart Greeter vest, McFlurry in one hand, always eager to spout the contents of a greeting card. She had loved earnest, ugly Melissa.

 

“I don’t know her anymore, Ma.”

 

“But she knows you, honey.”

 

“That doesn’t even make sense!”

 

Sonya scratched a scab. When she wasn’t writing or smoking, she was usually picking, collecting skin under her fingernails. Her mother would stare at the spots while she spoke to Sonya, would dart straight to her hands. Once, long ago, she had rubbed cayenne powder on them, in an attempt to stop Sonya from picking. It had sent her to the emergency room.

 

Her old bedroom was the front room of the trailer. It was originally a screened-in porch, but they had put up Plexiglas to mimic windows. You could hear coyotes at night.

 

She found her old cigar box, her hidey-hole, and smoked two ancient joints. Blew the smoke in the face of her mother’s terrier. Sonya refused to call it, to take it out, so that she wouldn’t have to say the name. She watched as the dog keeled over, tongue lolling, uncomfortably high.

 

The dog was called John, after Sonya’s father, who had left for another woman when Sonya was ten. Sonya’s mother, unfazed, went to the shelter, picked up the runt, named it after her ex-husband. Spent most of her days writing rambling letters to local judges and other semi-elected officials, demanding her husband pay his alimony.

 

Largo’s streets were laid out like an outstretched hand, mid-grasp. Sonya’s house rested on the tip of the pointer. The VA hospital sat on the thumb; to reach the drugstore you had to head toward the palm. She drove there, still baked, and found herself in the Hallmark aisle staring at the row of stuffed animals beseechingly, as if asking one to volunteer. She settled on the one with an unbearable face: a pink dog with cross eyes, one sewn lopsided, and drove to the hospital with it in her passenger seat, looking like a pitiful co-pilot.

 

 

Melissa spent the afternoon pointedly not looking at the mess of tubes, ignoring the padding of family members and stuffed animals, preferring to stare curiously at Sonya, as if she were the spectacle.

 

“How are you?” Melissa prodded, leading Sonya to a chair. Serene, like the pictures of Mary under the cross. Sonya stared at her, trying to detect fissures in her blankness. She found none.

 

“I’m so sorry, Melissa.”

 

“Working?”

 

Sonya wanted to hit her. Your baby, she wanted to scream. There’s something so wrong with your baby.

 

“Yeah. Can I get you a coffee or something?” Sonya asked wildly. “Let me bring you guys something. Craig?”

 

The baby mewled, and Craig recoiled as if she were a grease fire. There was a hitch in the beeping of the monitors, a collective wince.

 

“Can you get her something?” Melissa asked everyone and no one. “Something to make her sleep?”

 

Now, Sonya was beginning to understand better, beginning to crave a willow switch, the scarred backside. The self-flagellators had told her during the interview: The devil is inside you. He touched you, and they pointed at the scabs on her face. You need to beat him out.

“Little blue Jay,” Melissa’s mother said. Melissa jerked in response.

 

“Don’t call her that. That’s not her name. It’s Jay. Just Jay.”

 

Sonya raised her eyes from the tile, skipping over Jay-Just-Jay, and scanned the room.

 

No one knew but her that Melissa hadn’t named her baby after the bird. This made Sonya too guilty to breathe, too guilty to be inside herself. She went out into the hallway and everyone left her be: the nurses, the doctors, the men in wheelchairs with skin like candle wax.

 

 

It had happened before Sonya went to Mizzou. They had been hanging off Melissa’s bed. Melissa was longer, less round, the faintest hint of a tan on her chapped skin. Her hair just brushed the carpet. She hadn’t had to cut it yet. It must have been around the time she started Basic Training. Her last visit home. She turned to Sonya, grinned.

 

“I missed you,” she said. “I don’t get to hang out with any girls anymore.”

 

Sonya was struck by how eye contact was the same upside down as it was right-side up.

 

“Would you do me a favor?” Sonya said, remembering the tires. Melissa nodded.

 

“Punch me in the stomach.”

 

They were both quiet, then did that exchange girls can do with their eyes—Are you sure? How far? You weren’t safe?— all at once. Sonya dug her long, piano fingers into her hand, palms cut with thick fault lines.

 

“Please,” she said.

 

Melissa stood up, dismounted. Gravity had done this thing to her eyes that nighttime did to the neighbors’ lawns. She grabbed her car keys.

 

“Come on,” she said. Sonya followed.

 

Melissa handled the whole transaction. Filled in the papers. Swatted away Sonya’s hand when she offered to pay. Got her a diet Dr. Pepper, too.

 

In the aisle of the drugstore, Sonya washed it down. She wasn’t sure if this sort of thing allowed grieving, but Melissa put on Tupac on the way home, mouthing along— I was raised to be strong— and pretended Sonya was only hiccupping from the soda.

Sonya sat on the floor smelling her knees, thinking of the raw pink thing in the incubator, like a peeled crawfish. Somewhere in the wing, a self-playing piano started a rendition of “Amazing Grace.”

 

“Honey?”

 

The nurse had deep-set smile lines down her face, making canals to her chin. Her scrubs strained around her thighs as she squatted next to Sonya. They didn’t get many sick babies at the VA; the nurse must be used to men who demanded final cigarettes and asked for a peek of her panties.

 

“Honey, you’re gonna want to go back in.”

 

“No,” Sonya said. “I’m not even supposed to be here.”

 

She wiped herself with the hem of her shirt, all too aware of the bacteria she was spreading around her face, of the deep-rooted cysts stirring, hungry, in her cheeks.

 

The nurse stared at her, looked straight into her acne.

 

“The family is going to say goodbye.”

 

Sonya just shook her head, like a child. She had to leave. There was a chrome strip across from her that magnified the crustacean on her forehead, just above her eyebrow, that had been throbbing earlier in the day. While in the room, it must have erupted. She touched it, prepared for pus, and came away dry.

 

The nurse left, her sneakers chirping down the hallway. Someone else slid down next to her in the hallway. The Buccaneers jersey.

 

“Why are you here?” Melissa said.

 

I’m sorry I never stayed in touch. I’m sorry I wasn’t nicer growing up. I’m sorry my face looks like this. I’m sorry your baby looks like that. I’m mostly sorry because your baby looks like that.

 

“You took me to the clinic,” she said instead. “Summer after high school.”

 

She slumped a little, against Sonya. It was the first time she saw Melissa’s posture waver all day, saw her at sixteen again, pictured her fat and smiling.

 

“She was premature.”

 

Sonya knew a little about premature babies, assumed that the skin hadn’t developed for Melissa’s. That it was born raw. Without waiting for a response, Melissa rolled up her sleeve to the crook of her elbow.

 

“Look,” Melissa said. Sonya started.

 

“Fucking look.”

 

Under the baby weight and the buttermilk complexion, she hadn’t caught it. But in cloying hallway light she saw it: skin clinging to little bruises in the crease of her arm, veins thick and sagging, like telephone wires.

 

“Jesus,” Sonya breathed. “Melissa.”

 

Sonya raised her nails to her face on impulse.

 

“Don’t pick,” Melissa said absently. “It’ll scar.”

 

It wasn’t Craig that looked like the Evangelicals; no, that must have been a reflection. A strip of chrome. It was Melissa who was mad; Melissa who was rabid. Pupils tight and shiny, like the exoskeleton of a palmetto bug.

 

“Are you . . . now? In the hospital?”

 

“We’re going to do it,” Melissa said, as if that were an explanation. “Say goodbye.”

 

How could she have missed it? The eyes, the skin, all wrong. Not a pregnancy glow—a curtain of sweat. Withdrawal, sickly sweet. And guilt, guilt, guilt—whole body shaking like Plexiglas in a storm.

 

“Will you come?”

 

Did she have a choice?

 

 

Melissa’s mother took photos of it that would surely be posted on Facebook, all pink and shiny. It made Sonya want to hurl. Once, one of her mother’s dog had dragged in a squirrel, a plump thing, split at the seams, spilling maggots. It reminded her of that.

 

The nurse was posed in the corner, pressed up against the wall. You could only focus either slightly right or left of the carnage, most choosing to keep their brimming eyes on their sneakers.

 

Sonya stared at Melissa, noticed a tremor, a hand shaking like a screen door. An unfocus in her yellowed eyes. Craig clutched at his wife, and she became the space between his fingers. The nurse asked her a question, soft, and she bowed like a young birch. Sonya could have sworn the baby cracked what would have been an eye, stared at Sonya through the equipment, through the tubes: picking her out.

 

Sonya had collided her bike with a taxicab. She had passed kidney stones, watched her mother pass kidney stones. She had been slapped during sex. She remembered the big pad they had given her in the clinic for residual bleeding, like a diaper, the way she cramped for days after. Had seen pictures of children with legs blown off and women, branded, for their last names. But nothing like Melissa’s mother, thumb on the record button, as the parents each kissed the bundle on what would have been its forehead.

 

The nurse hummed. The beeping ceased. Craig drew away. Melissa didn’t remove her lips, stood hunched for a long time, over the gore, over the tubes, over what would have been the nose.

 

Sonya once saw a man jump in front of a train, saw him blast into pink mist—had to sit in the shower afterward for hours. She wondered all day, Had it hurt?— yes. This was worse.

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The Word of Several Million Years

A meditation on shifting ideas of being home: where it begins and ends. Of being right and wrong: how we lie about the difference.

 

Animation, music, and sound by Morgan Joseph Hamilton

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I Tell My Twin Sister if I Come Back after I Die,

 it sure as hell ain’t gonna be to visit

as a pesky fly, obsessively orbiting her head while

she kneels, nose-pinched, to de-poop the litter box.

 

Or a squirrel, like the one she calls Mom

whenever it pauses halfway up the maple

to stare through the kitchen window as she lights

a cigarette: I know, I know—I promise I’ll quit!

 

If we’re granted the power to return, to embody

some other kind of creature, why would it be

those two ducks who claim her pool every June?

 

Okay . . . so if they are Grandma and Grandpa, 

what do you think they’re trying to communicate

through the shit and feathers you skim out daily?

 

You remember how they loved to swim, she insists,

when I suggest it’s the endless supply of breadcrumbs

she scatters, not reincarnation, bringing them back.

 

Well, if I return, I assure her, it’ll be as a bear

not at all native to her suburban town—a big one,

who claws a perfect M for Michael into the side

of her shed. So there’s no uncertainty it’s me.

 

Oh my god! Don’t you dare, she says. That shed cost

a fortune! But . . . feel free to carve it into the maple.

 

What makes you think I’m going first anyway? I ask.

Has that fly you call Pop been telling you something?

 

Clean the litter box for me, she says. And ask him yourself.

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Hidden Lives

Bloodroot, by Annemarie Ní Churreáin
Doire Press, 2017
72 pages, paper, $13.99

 

Cover of Annemarie Ni Churreain's Bloodroot

 

While the quote is often misattributed to William Butler Yeats, it was the French surrealist poet Paul Éluard who wrote, “Il y a assurément un autre monde, mais il est dans celui-ci”: There is another world, but it is in this one. It does, however, sound like Yeats, as the quote reinforces the popular view of the grand Celtic poet, the one who celebrates the unseen faerie life, recovering the old stories of the Tuatha dé Danann and the Sidhe. Of course, for Irish poets of the twentieth century, it became a weighty thing, this deep register between the mythic, the landscape, the history, and the poetic voice. And for women Irish poets, an exclusionary thing.

 

So, to come across Annemarie Ní Churreáin’s first book of poetry, Bloodroot, published by Doire Press, I return to Éluard’s quote. Ní Churreáin is no surrealist, but she does look for the life and lives that have been hidden, removed, erased, lives that still are apparent in this world. She accomplishes this achievement with exquisite craft and unrelenting attention, poem by poem. To find the other world in this one, Ní Churreáin suspends her readers in a tight, liminal space, where we must take great time and care to become still and to reflect, so that we see our own belonging, our own alienation.

 

The poetry happens even before you open the book. First, the title and its sonic qualities: Just two syllables, each ending on a hard consonant, but then that slipknot of “oo,” the short vowel in the first syllable, a hard and ugly thud, and the long open version of it in the second syllable, an open and soaring cry that is clipped short with that stopped “t.” Such dexterous language will pervade each poem once the cover is opened. Second, the title and its possible references: a medicinal flower whose roots ooze a red sap; a single root that is the life force of a plant, like a taproot or a blood feather for a bird; or a root that feeds from blood, or has been drowned in blood. All those associations fill the book.

 

The book is separated into three, tight, distinct sections, thematically united: where the poet traverses familial terrain, and then into troubled (and for me recent) cultural histories of Ireland, and then sojourns into India and Florida. Annemarie Ní Churreáin, a native of the boglands of northwest Donegal, is very much the world citizen, evidenced in her receiving several international fellowships and residencies, including those from the Akademie Schloss Solitude, the Jack Kerouac House, and Hawthornden Castle. The thematic breadth of her poetry is thus hardly surprising. Yet, each poem is discretely fashioned, built on its own sharp and unforgiving terms, in language clear, unfiltered, and yet highly wrought. While I have seen some readers say how they glide through Bloodroot, reading it all in one sitting, I am stunned by the poems. I read one or two an evening, and they trouble me, stay with me. Another one would overwhelm me.

 

For instance, consider the way Ní Churreáin constructs a brief lyric in “The Warning,” a poem governed by such a strong, unyielding sequence of voices (just two lines each), but by a disciplined and harrowing parallel structure. Here’s the poem in its entirety:

 

Give us your child, the Pica bird said
or else you go to hell.

 

 Give me what I want, the child said
 or else I’ll tear this House down.

 

Obey house rules, the House said
or else this House will break your bones.

 

 Tell my story, the bone said
 or else we’re all going to burn.

 

Despite its tightly faceted structure, there are slight, slight fissures in the poem, where the “child” and the “bone” are not capitalized, and the brilliant shifting of pronouns in the second line of each couplet: second person, first person singular, third person, and first person plural. The poem’s brevity and simplicity and personified voices also suggest something of the nursery rhyme. And then at the heart of the poem is the urgent and necessary call for witnessing, to tell the story or else. I am left wondering about whether or not we’ll all burn anyway after the telling, after the witnessing.

 

This attention to language partly emanates from the fact that Ní Churreáin is bilingual, a product of a colonized history, and that she is from the hinter boglands of western Ireland. Weighted with the ghosts of her foremothers, to whom the book is dedicated, the simple, hard language is so piercingly employed to speak the truths of the hidden or shamed lives of Irish women, famously the cases of Ann Lovett and Joanne Hayes, two young women in the 1980s who suffered unwanted pregnancies with one resulting in death and the other in pillorying. Ní Churreáin’s is an uncompromising and bold vision: told with a scalded clarity that makes me think of Joan Didion, with a necessity that makes me think of Muriel Rukeyser. But this is all Ní Churreáin, on her own terms.

 

I come back time and again to another brief lyric, “Cult,” as a grounding moment for the collection. In it, she investigates the double legend of Brigid, the pre-Christian Irish goddess of healing and inspiration who was later appropriated and canonized as St. Brigid. In County Cavan, a pagan cult continued to celebrate Brigid, worshipping a stone head capturing her three faces: one a smithy, one a herder, and one a healer. In the 1840s, a local priest was said to have “lost” the stone head in Roosky Lough. Ní Churreáin plainly notes:

 

This is what happens to women who brew medicine,
who bend iron, who drive cattle on their own land.

 

Such powerful women are not only appropriated, even canonized, but then thereafter must be erased. And the poem ends on defiance (and a string of hard “d” consonants), in lines that the place the poet among the original sisterhood, the resistant cult:

 

Dreamless now, I touch the water in the font,
cold as medals, streaked with my own blood.

 

Here, the poet unsentimentally faces the world as it is given, “[d]reamless,” while claiming her own agency and asserting her connection to her past, her real, elemental kin.

I am leaving out so much accomplishment that is evident in this remarkable book, both in terms of Annemarie Ní Churreáin’s craft and vision. There is much more for any reader to discover. This first book gives promise of a vital, important poet whose voice denudes our convenient illusions.

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