;

FMK

 

You can leave me and I will not kill you.
That this needs to be said is insane
but I am a man, and this is the world.
Probably it should been in our vows:
in sickness and so forth,
I will wash your coffee cups
and do the laundry if you fold,
I will walk the dog when it’s my turn,
and I will not kill you,
nor will I ever fill your car
with wet cement, which is a thing
I read about today: a man hurt
when a woman declined
to wear his name.
When we married, you kept
your name; people told me
I should be bothered. People
told you that you were young
and did not understand
how the world worked. By people
it should be obvious I mean men.
I don’t want to make a joke
of all these wounded
walking around among us
dividing the world
into Fuck Marry Kill
which is supposed to be
a fun conversation starter
but the world reminds us
over and over there’s nothing
funny about it, these
are the dude-colored glasses
through which men see,
and although most every guy
I know is thinking
#notallmen, which misses
the point, which is that this
is not a calculation with any
margin for error. For every
man who loves you
there are eleven who love you
and will still come to your job
and shoot you in the head.
For every body you have,
there is a man willing to claim it,
one way or another.
The story goes that God
spent five days making
this amazing place, its cedar trees
and canyons and so many egrets
taking flight over so many
grassy marshes, and then
on the sixth day he created
men. If God is reading
this poem, he’s probably thinking
#notallmen, but if God
truly sees all and knows all,
he’s probably also thinking,
Well, shit, it’s still too many
of them, he’s thinking,
At least the shorebirds are lovely,
and I have to give him that
even though out there
right now some man
is thinking, Fuck the shorebirds,
marry the canyons, kill
everything else. This is the world,
in which, somehow, you
and I found ourselves together,
and in which we wake up
every morning and pledge
not to harm each other
any more than we have already.

 

 

BADGER BURIES ENTIRE COW CARCASS

                        The New York Times, April 3, 2017

 

I accidentally freaked out my students the other day
when one mentioned that, working on an essay about dead dads,
she’d had little luck Googling stats about death rates among dads.
That’s because the stat is 100 percent, I said,
and my students gasped in a was-he-joking-I-guess-
that-wasn’t-really-a-joke-I-can’t-believe-he-said-that way.
They don’t always seem young and I don’t always feel old,
but there we were. My father is still alive, a sentence
only temporarily true; I was taught that a sentence
represents a complete thought, which seems impossible,
as if one could pinpoint the beginning or end of thought,
but the stat is 100 percent. A semicolon
suggests a sort of equality between two independent clauses,
I used one in the previous sentence because I could not
bear to end the thought so soon. It’s a lot of work,
being alive and continuing to think in the face of certain death,
but that’s the job. I was reading about this badger
scientists recorded burying a calf carcass. It took four days.
Now that’s a complete sentence. Badger sees cow,
badger thinks, Bury cow, badger buries cow. Period.
I watched some of the video. This badger was serious.
How long can a badger live on a carcass’ measure
of rotting beef? I’m guessing a year, maybe eighteen months.
You know that badger figured it had won the meat lottery
when it found this cow, left by scientists studying
scavenger behavior. Eventually we are all scavengers;
the stat is 100 percent. I sent the video to my father.
He sent back a link to a New Yorker article
about nostalgia. How we sometimes miss
things that never existed or are not yet gone.
I miss more than I can say. What would you do
if you were walking through the desert of your allotted days
and came across everything you ever wanted?
Eat what you can. Bury the rest.

 

 

Tags: ,

About Amorak Huey

Amorak Huey
Amorak Huey is author of the poetry collection Ha Ha Ha Thump (Sundress Publications, 2015) and the chapbooks The Insomniac Circus (Hyacinth Girl, 2014) and A Map of the Farm Three Miles from the End of Happy Hollow Road (Porkbelly, 2016). He is also co-author with W. Todd Kaneko of the forthcoming textbook Poetry: A Writer’s Guide and Anthology (Bloomsbury, 2018) and teaches writing at Grand Valley State University in Michigan.