HUNDRED FLOWERS CAMPAIGN
A hundred flowers I lay here for you. A hundred
I have counted. A hundred white rabbits roaming
for a hundred years, a hundred years of moss I will grow
for you. A hundred acres of grassland, on which a hundred
of the wisest willows kneel in your honor. Radishes sprout
above ground, sweet and nutty, a hundred grown in your
name, your names, your hundreds of names. A hundred
executions I will bear for you, a hundred knots of rope,
a hundred buildings I will tie down and bar for you,
a hundred humiliations I will keep from you. For you
a hundred books I will save, a hundred more will read,
read to the hundred paintings hundred song hundred
beat hundred dance. Hundred. Hundred dictators
I will slay for you. Hundred mothers I will return to you.
Hundred exiles, hundred children, hundred fathers
and their fathers, a hundred schools of thought bleeding
from their hundred hands holding a hundred portraits
of Mao on their hundred little hundred red books.
LITTLE CHINESE PALINDROME EATS WATERMELON
Green sonnets of summer arrive in June on the farm,
hues of vine and leaf as far as the eye can see.
Palindrome, given ox and cart, is ordered to harvest the new melons.
Their roundness makes her stomach flutter and fall
and she imagines inside her a moth in darkness, papery wings
searching the empty cavern for husks of rice and tea.
Hours in—the smoothness of melon skin on her arms, the solid thunk
as she lowers it into the cart—the work is almost pleasurable.
Flapping his ears, even the ox seems appeased, lows his shiny coat
in a breeze. On the last row, she spots a melon misshapen,
a long crack down its side. Wings halt against her ribs, the fluttering
stills. It is the first time Little Chinese Palindrome has stolen anything.
That night beneath stars, she splits open the rind, juices running
in a city of pink rivers down her forearms. She feasts
on fruit in fistfuls like a rich peasant girl.
Her belly is a golden gourd.
The next day Palindrome is beaten in the field
with a rod as thick as her wrists.
Her tears grow a land where a drop of blood turns soil
into the straight spines of kings.
They’ve given me a window.
Now I don’t need the umbrellas
collapsed under the coat rack
to tell me about the rain,
and the jackets
I’ve come to know on hangers
leave on shoulders,
bunch out on lunch breaks,
file home at the end of the day.
The janitor makes his last pass,
and I avoid his gaze—watch deer
making do with the false-front forest
of the golf course.
They gave me a door as well,
which I’m afraid to close.
I need to hear their approach―
at the entrance, stone
makes dun-toned pumps clock in,
then carpet intercepts,
leaves just the hiss
of a suit’s slick fabric
as my frantic rumor:
They’re coming to send you home.
But it’s none of my business,
they do not stop,
and I cannot get up and follow.
The window does not open.
It is not a way out.
And I will never stand on the other side
except in a dream,
where I see myself knocked around
then locked in.
If I don’t keep quiet,
they will come back
They will pull my name off the door,
so no one will know
I am there.
Tonight, the building’s front doors
are a manhole cover.
and the real air
touches me all at once.
I find it is spring.
Contrails fill the low-lit sky
Below, every paper hole
I have ever punched has been let go
under the pear trees.
This blue-green robin’s egg
cracked, now, and left
in the porch nest—impossibly
light in my palm. Somehow
the chick knew to press its beak
against the egg’s surrounding walls.
In darkness, it must have followed
sound—the thunder clap,
its mother’s song, the dog—each
driving its first and final fissure
of the shell. But how did it trust
that leaving one world would,
in fact, reveal another? I listen
to the wind and hear
Whoever said black eyes don’t show up
on black guys, need a knuckle mountain
to the mouth. Everything with the exception
of a beatdown stays in Vegas. Who in our
crew of bachelors & back stabbers should’ve
been held over the banister of our Bellagio
suite? A groomsman doesn’t have to sleep
with the bride to deserve the skin caving in
around a pupil, which in itself is nothing
but a cave. Not because a woman can’t bat
what’s already bloated shut should she not
be hit in the face, but because she’s mother
to outrage, who could give birth to fury
at the drop of a velour top hat. My father,
whose best man was his sturdy older brother,
has always said go for the nose, but failed
to explain why. From context I figured if
a bridge is destroyed then all voyages cease,
meaning oxygen cannot commute as usual.
Not the suits we played, but the tuxedos
we wore to your wedding were so stark grey
we could’ve headed to a funeral following
the reception. Inside the stretch limousine
to the strip club we practiced our rapture,
nerve-sweating as if minutes away from
clasping a hand over a fist over a crotch,
as you quivered your vows with a tie chain’s
grin. Ritual unions have got me in trouble
again. If lovers divorce is the wedding party
expected to remain friends with the yolk
that’s been broken? Does the sunset begin
to spill all over the rest of the meal? Brother,
forgive me, for these may be questions
of immunity posed too soon. A widowed
blow withdrawn too late for a target’s pardon.
Or maybe it shouldn’t have been asked at all.
where she died—days after a photo
suggested she lived, proved it
as much as paper can prove
anything, as much as a figure
with her hair and approximate
body, sitting on the dock, facing away
from the camera, can look exactly
like a lost dead girl. And far off right,
a barge, floating almost out of frame,
with what may be a plane or just fallen
white wings loosened from flying
too close to the sun above it,
low-hung clouds blurring the matte print
into confession. It must have been
calm on Jaluit Atoll then, the boats refusing
to raise their sails and the past
—a storm, always a storm—
depends on a sharp receding hairline
and prominent nose of the navigator,
his distinct features prove,
“This must be her.” Her
slumped shoulders, her
far-off eyes grazing the steady water
where we can’t see them.
Maybe a woman who reaches
too high has to go
missing, has to be found
without a face, has to be
identified only by the bodies and wings
surrounding her, after all,
how many of us
have been found anyway?
It is my birthday ritual but every year I am surprised
to see my optometrist still alive, seeing me. He must be
past eighty, mustache and skin of a former smoker, stale breath.
I must have so much time left.
I’ve been returning to this chair since I was seven, but have yet
to memorize the chart. The majestic “E” that reassures
all doctors use the same measure
is all I can recall.
Today he begins too many sentences with
As our bodies age
and he is not referring to his own but to mine. The astigmatism
changes, its clever nomenclature once with-the-rule turns
against-the-rule. Fifteen years ago my corneas were footballs
lying on their sides. Now they stand on end.
Which do you prefer: one or two?
What should be a snap judgment
to me is anything but.
The lenses click in, click out
and although I can tell they are different, neither seems
better than the other.
Are you in a relationship?
Do you prefer to be alone?
The curvature gets trickier
to measure, requires confirmation
through multiple methods. We must
duplicate the results.
Or perhaps one of us is just
unreliable. He steers out of reach
the suspended mechanical arm
to retrieve a vintage contraption:
thick eight-pound glasses
I must hold up to my face,
like watching opera through a periscope.
He slides lenses in and out of the armory
as my arms tire.
Would you like to have children?
Which sounds worse to you:
being alone forever
or never being alone again?
RESOLUTION TO RECOVER LOST THINGS
Whereas the streets have glazed over in a quiet havoc
of black ice and the mail truck
glides sideways into a parked Chevrolet; and
Whereas the skulk of red foxes from the side yard
wood have barked their alarm one night
too many and the litter is one kit too few; and
Whereas the barred owl has flown from the willow oak
where we’d carved our initials and we no longer
know who cooks for whom; and
Whereas the dog stands atop the dining room table, nose thick
with mashed sweet potatoes, teeth wresting the pink
from the ham bone; and
Whereas the tea kettle’s whistle has grown
so weak we miss its whimper until the smoking
copper bottom pierces our nostrils; and
Whereas the child’s mitten hangs snagged
on the chain-link fence in a tangle of red
unthreading, unlooked-for; and
Whereas the bed holds the shape of the body, the cup
clings to the pulp of the orange, the door
swings, and the door swings; therefore
Be it resolved. Therefore the pavement, and therefore
the tires, the steering wheel, the hands upon the wheel;
therefore the fox, the wood beyond the clearing,
the red mitten, and therefore the child;
therefore the owl, the song of the owl, the tree
that held the owl, that holds the symbols
of our names;
therefore the tea and the leaves of the tea
and the kettle, the kettle,
and therefore the food, therefore the service,
the child, the dog, the child,
therefore the bed, and therefore the cup,
and therefore the door at rest.
The night I try to kill myself a boy
is shot in the shoulders at the gas
station next to my apartment.
I don’t flinch. I lie
on the rubber of my bed that keeps
the bugs away and stare at the black
poles holding the bunk bed together.
The mice play sought and found
in the shoe closet filled with all size 10’s.
What miracle can I conjure tonight?
I sleep till dawn and the spirit that wants me gone
slaps my eyes to rise: Through the kitchen window,
the dark clouds are yoked with life.
I know the sharp knives in my home
but draw the thin butter knife because
I don’t want a mess for my mother to clean,
I don’t want her to weep as she dips
a rag in Clorox and stains the floor to reverse
its memory. My burial must be neat.
I trace the peak of the blade across the linea
negra on my stomach; the one to appear
only when I am pregnant. I am yet to meet
a man: how do I leave this earth with ease?
by Jennifer Stern
Where is Liu Xia?
This is how you try to erase a person after he’s died: you delete all mentions of him. You ban the phrase R.I.P. on blogs. You arrest those who mourn him. You spread his ashes out in the ocean where no memorial can be built. You take his wife, the woman who now stands for him, and make her disappear.
This woman is the poet and artist Liu Xia.
The past few weeks have been devastating for her and for all of us who care about human rights in China. Liu Xia’s husband, Liu Xiaobo, died on July 13th from cancer he was diagnosed with in prison. He was an activist, Nobel Peace Prize winner, poet, deeply human in his writing, and deeply symbolic of the fight for democracy in China. He died of what many are calling “political murder” under guard, and unable to leave the hospital chosen for him, far from all of his friends and family, save Liu Xia. There in the hospital, it is believed, Liu Xia was allowed to touch her husband for the first time in seven years.
Liu Xia did not choose to be a political figure. She is an artist who fell in love with a poet she hung out with at salons she often hosted. She writes about Kafka and strange dreams and birds and smoking and her mother-in-law and Nijinsky and her brother and language and watching her beloved transform from man to figure and back again.
Liu Xia was placed under house arrest when Liu Xiaobo received the Nobel Peace Prize. Since then she’s been trapped in her home, barely allowed visitors or phone calls or guarded trips to the store. She hasn’t been able to sit with a friend and hear her own voice in response to another’s. Under house arrest, her health has deteriorated, and those few friends who’ve spoken with her say that the vibrant, specific woman they knew has become fragile, and is on the verge of breaking apart. Liu Xia was never accused of a crime. She was punished to punish her husband and as a lesson to a nation. And now no one knows where she is. No one knows where the Chinese government is hiding her.
Many of us here read and write poems to know that we exist and that we are entwined with others through an art form that exists all over the world. Liu Xia is one of us, a poet. I wish there was one way to stop the erasure of a human, but I don’t think there is. Yet we can do this: read Liu Xia’s poems. They exist. We can enjoy them, or not. We can argue with them. We can pass them on to a friend and say, “Read this, this poet exists.” We can teach her poems or keep them for ourselves. We exist. And because of that, Liu Xia’s poems can speak even when her voice can’t be heard. I want to believe that it’s harder to erase this person, specific in her words and life, when we’re in the middle of a conversation.
~ Jennifer Stern, co-translator of Liu Xia’s poems
Four Way Review is featuring Liu Xia’s work and this introduction alongside Bat City Review, Hayden’s Ferry Review, Poetry Northwest, Scoundrel Time, Tupelo Quarterly, and other publications in an effort to draw attention to the life and writing of the poet Liu Xia at this critical moment. The poems, translated by Ming Di and Jennifer Stern, are reprinted from Empty Chairs: Selected Poems (Graywolf Press, 2015) with the permission of the translators and Graywolf Press.
—for Xiaobo’s mother
Suddenly, you’re gone.
Two hours after entering
the hospital you took
your last breath.
This is the way you longed to die.
You did it, mother,
leaving us choking on blood.
When the call came with the news
we were drinking with friends,
and I was reading a poem by Kevin Hart
called “Praying for the Dead.”
I saw you for the last time at the funeral home.
You seemed tiny in the new clothes,
your face caked with makeup.
I was afraid you would turn into a doll,
one of the dolls possessed by rage
in my photographs.
I wanted to run out
but Xiaobo took my hand firmly.
I couldn’t even move.
I know you never liked me.
All along you suspected I had planned
everything: your son imprisoned,
his refusal to live with you in Dalian,
and even your illnesses—
all my fault.
You couldn’t stand my laugh.
You asked me to leave.
The first time I went to your house
it was full of plastic sheets and bags.
The sofa, mattress, carpet, heater, the drawers,
and even the cutting board and kettle
were covered or filled with plastic.
I couldn’t breathe.
You looked lonely in your plastic house
as a queen.
Every month during the three years
when Xiaobo was in that Dalian prison,
I had to bite my tongue
to enter your territory.
Each time, with a sawtooth voice,
you said to me, “You don’t need to come again.
I’m his mother. I will take care of everything.”
As for the things I brought from Beijing—you
didn’t bother to take a look.
I couldn’t make you soft.
The ocean of Dalian wore me down.
For a year and half
I couldn’t see Xiaobo,
so I asked you humbly
“Mother, how is Xiaobo doing?”
You said he lost weight
so I tried to find nutritious foods.
You said his face was terribly swollen
so I sought medical advice from everywhere.
You said he was getting too fat
so I told him in a letter
not to add sugar when making powdered milk.
Under your magic wand
I moved around desperately.
You were always right,
and I had to tolerate you.
I tried to be a well-behaved daughter-in-law.
I gave you new clothes, cotton socks,
and gold bracelets, but you put them aside,
When I offered to take you out to eat, you said
the food was poisoned.
There was one thing you didn’t reject,
the medicine I brought you.
You liked taking medicine
more than any food in the world.
Your pickled veggie pot
was full of worms.
so many plastic sheets separated us.
Love for the same man
split us apart.
We couldn’t get close to each other.
When we needed each other’s comfort
we became enemies.
One day you came back from the prison
and talked to yourself:
“Let Xiaobo die. Done with it.”
From that moment on I didn’t
need to hide my hate.
You are finally gone.
Those plastic bags are in the trash.
I don’t pray for reconciliation,
but you appear regularly
in the shadows.
Xiaobo was startled by you in his dreams—
you were moaning helplessly.
You’ve forgotten to take your dentures
which are biting me,
making me doubt
if this is the right ending.
please do not block the light
that illuminates my pen.
Let these words survive.
Let me finish reading
“Praying for the Dead.”
francine j. harris is the author of allegiance (2012), a finalist for both the Kate Tufts Discovery Award and the PEN Open Book Award, and play dead (2016). She won the 2014 Boston Review Annual Poetry Prize and her poetry has appeared in many journals, including McSweeney’s, Ploughshares, Poetry, Meridian, Indiana Review, Callaloo, Rattle, Ninth Letter, and Boston Review. She was a 2008 Cave Canem fellow, and was awarded a NEA fellowship in 2015. She currently serves as the Writer in Residence at Washington University in St. Louis.
FWR: The “pink pigs” poems from your book Play Dead started as a personal essay for Tran(s)tudies. At what point did you decide to turn that essay into poems? Are the headers and footers in the poems a relic from the original essay, or were they something that came out as you worked on the poems?
fjh: I think it may have been the other way around. The poem began as a poem, and I used it in an essay I wrote for Tran(s)tudies; the essay was about code switching and I used it in this part where I was talking about speaking back to people that I grew up with, in kind of an indirect way into my writing. I can’t answer the question about ‘who you’re talking to in your poems or in writing in general’, but there are moments where talking back to folks that I couldn’t have certain conversations with. And in the essay, I believe I was talking back to some of the girls I grew up with and it was an example of one of those internal conversations turning into a piece. This piece was an amalgamation of a few specific people.
Actually when I wrote it, I had been reading Donald Barthelme; he has these little short narratives through dialogue and it just triggered something as I was reading it… But after I wrote it I realized that I was reaching even further back in terms of influence. It wasn’t exactly Barthelme who was triggering that voice, but Gayl Jones, who in the novel Eva’s Man has this very particular way of men and women talking, or not talking. There is a way in which their dialogue says and doesn’t say lots of things about consent and passiveness, and about things happening under the surface. I think all that stuff was playing into that, and when I originally wrote it, it was all one long piece but that didn’t quite work in the book, so I pulled it apart and let it intersperse throughout the whole collection.
FWR: Throughout the whole manuscript, there is this feeling that there’s this conversation happening between the past and present or imagined present and imagined past.
fjh: When you say imagined, what do you mean?
FWR: Looking back upon events that have happened, one tends to recreate them, but in that recreation they’re never quite the same as they were.
fjh: I think what I like about that conversation is that I don’t think it’s that idealistic, though. There’s just as much failure in that conversation as there might have been, or would have been, or was, in the relationships themselves. I think art allows a different kind of failure, a failure that can be productive. But I think, partly that’s what I gathered or what inspired me from Gayl Jones, that these imagined conversations are not any more romantic than the original. It just sits differently in the psyche, manifests differently. Does that make sense?
FWR: It does, and it speaks a little bit to that tension in the form and structure of your poems: between who is speaking, or when there’s an attempt to say or an inability to say. Is that fair?
fjh: Yeah, I think that’s fair. I’m definitely one of those poets who began writing because I didn’t know how to talk. I still don’t know how to talk. A lot of times I say things wrong, all the time. Ha! I think sometimes if I could just stop talking, and just do poems, everyone might be better off. Ha!
FWR: When you’re writing, do you see the poem ahead of time? For example, in “kara, you wild.andIdon’tknow” or “tatterdemalion,” were those the shapes you wanted because of the tension that you wanted that syntax to create? Or was it only through the playing through different forms that you realized that that’s the form you were hoping for?
fjh: I think that started– I get a lot of questions about this– I think I’ve realized, I don’t write towards visual structure. I’m interested in it, but maybe only in revision. I appreciate visual structure on the page. It’s not like I look at it and think it’s gratuitous or that I don’t find beauty in it, but I don’t think I come to it for that reason. It’s always something I’m thinking about in hindsight. So in answer to your question, no, I have no idea what shape it’s supposed to take.
I draw a little bit and sometimes if I’m drawing, I think, “what if this was text that looked this way?” I’ve tried that and it hardly ever works. It’s usually very forced. But I think because I do appreciate things visually, it’s become an editing point for me. It’s become a fun way to edit things. So those boxes, I started making those boxes and I didn’t know why I was making them, but it seemed to make sense because that’s what Kara Walker in “Cut”, which is an illustration she has of a girl figure with these really slashed off wrists, and so it just kind of made sense. But I was just doodling, and then I realized that this has a kind of resonance considering who I’m talking about and what I’m talking about in the poem. I guess I play with [visual structure] and if I like it, I’ll keep it.
FWR: Do you have a favorite poem to teach? How do you open up that conversation?
fjh: Every semester I gather things. And there are things that I come back to, and usually the poems I keep coming back to are because I can teach them for so many different reasons. Mary Ruefle’s “White Buttons” [for example]: I keep teaching this poem, because there are so many reasons to teach this poem. I can teach it to talk about how images reinforce themselves over a period of time because it’s a little bit longer, so these images just develop out of thin air– almost literally- there are these text pages, these book pages, like petals, and you don’t know how it happened, right? There’s a way that the images build, and I can teach it for that. I can teach it for the associative moves she makes, like that weird move she makes where she suddenly says:
(I am sorry I did not
go to your funeral
but like you said
on the phone
an insect cannot crawl
I can teach it as a second person address, that interrupts the speaker. I can teach it for so many different reasons. One of the poems I’ve been teaching on and off for years is Yusef Komunyakaa “You And I Are Disappearing” for almost all of the same reasons. There are so many reasons to teach that poem: listing, cataloguing, subtext, how you can read a poem have two entirely different experiences with the poems based on your experience with the subject matter, imagery. I’m always grabbing poems for imagery… The funny thing is, I feel like, and maybe this is an essentialist statement, I’ll say poems today that stay with me, stay with me for the same reasons– because there’s a lot going on in them. Every time I come back to them I’m thinking of something else, something else that makes it work.
The thing that– I hear it like dinging. This is the thing this time around that jumps.
FWR: Who or what is inspiring you right now? If you could recommend one piece of art to anyone in this world, who might it be?
fjh: You know, it’s funny when you asked me this question, I had a weird moment, because I think the question you actually asked me was, ‘is there an artwork or a poem that you would share with anybody?’ and the first thing I thought was, ‘what I’m supposed to say is if there’s a piece of art I could give to someone like Trump that would somehow change him, what would it be?’
I was thinking about the artworks that I like, thinking, would it make a difference for Trump to walk through a gallery of any of those artists, or would that matter? Would it make a difference for someone to read Dawn Lundy Martin into his ear while he slept? But I had this moment where I realized how personally I view art. I’m kind of selfish about it. I don’t want to share anything with someone I have so little respect for. So if I were to show art to someone, it wouldn’t be for the thought of changing them, it would be for the thought of giving them something.
Sometimes I just gather things to show friends at appropriate occasions. I was going to tell you about this artist I’ve just found, whose work I really love, Njideka Akunyili Crosby, just because I was so excited about her art and her process, and it is the kind of thing I would want to share just, over a moment, over coffee. That’s how I think of sharing artwork, not as changing the world.
We’re proud to announce our 2017 Pushcart Prize nominees!
From Issue 9
From Issue 10