SEPTEMBER MONTHLY: Interview with Jessica E. Johnson
We’re excited to share a new series of interviews exploring craft. In these conversations, we’ve asked writers to take us behind the scenes of their finished works, showing us the process behind the poem, the scene, and the story.
First is our conversation with Jessica E. Johnson, on her memoir Mettlework: A Mining Daughter on Making Home. This memoir explores her unusual childhood during the 1970s and ’80s, when she grew up in mountain west mining camps and ghost towns, in places without running water or companions. These recollections are interwoven with the story of her transition to parenthood in post-recession Portland, Oregon. In Mettlework, Johnson digs through her mother’s keepsakes, the histories of places her family passed through, the language of geology and a mother manual from the early twentieth century to uncover and examine the misogyny and disconnection that characterized her childhood world– a world linked to the present.
Considering the focus of these conversations is on process, we’d be remiss to overlook our own process in conducting the interview! We’d like to give special recognition and thanks to our 2024 summer intern, Kirby Wilson, who helped shepherd these conversations from initial readings to their final form. Kirby was instrumental in crafting the conversations you now see before you.
Enjoy!
- Published in home, Interview, Nonfiction, Video
URGENT: NEWS OF THE DEATH OF HIBA ABU NADA by João Melo, trans. G. Holleran
Excuse my urgency, oh right-thinking beings
especially you translucent
and self-referential poets,
but one of our sisters,
the Palestinian poet Hiba Abu Nada,
has just died in Gaza under the shrapnel of a benevolent bomb,
sent by another God,
different from the one she spoke with
every day.
I hesitated to convey this fateful news
so hastily. Perhaps I should wait
for the leaden grey smoke from the bomb that killed her to dissipate,
while she, surely,
scrutinized the sky for a sliver of light and
maybe even
the last birds.
Or, more convenient yet
it’d be better to say nothing,
until today’s hegemonic oracles,
like all oracles,
circulate an official statement
denying it as usual
without any doubts
or uncomfortable questions.
But when I read
the last words of Hiba Abu Nada before she died,
I was moved to spread this news,
before her banner could be censored
by those who defend selective liberty:
“If we die, know that we are content and steadfast,
and convey on our behalf that we are people of truth!”
Grace Holleran translates literature from Portuguese to English. A PhD candidate in Luso-Afro-Brazilian Studies & Theory at the University of Massachusetts Dartmouth, Grace holds a Distinguished Doctoral Fellowship with the Center for Portuguese Studies & Culture and Tagus Press. Grace’s research, which has been supported by a FLAD Portuguese Archives Grant, deals with translation and activism in the early Portuguese lesbian press. An editor of Barricade: A Journal of Antifascism & Translation, Grace’s translations of Brazilian, Portuguese, and Angolan authors have been published in Brittle Paper, Gávea-Brown, The Shoutflower, and others.
- Published in Featured Poetry, Poetry, Translation
FOUR POEMS by Olivia Elias, trans. Jérémy Victor Robert
Day 21, Words Are Too Poor, October 28, 2023
words are too poor but I have only them
my only wealth
empty my hands & so great the sufferings
here again I press my arms around my chest
here again I get into this old habit of covering the page with little
squares filled with black ink
the little squares of our erasure
/
I write what I see said Etel Adnan* who knew a lot about
mountains’ strength as well as Catastrophe
I also know the power of this Mount facing the sea
Carmel of my very early days Mount Fuji of absence
& denial around which I gravitate above it the
black crows of desolation
as I know all about our Apocalypse which keeps on repeating
repeating the earth turning on its axis the sun that veils its face
/
here’s what I see
the madness of the overarmed Occupying State
crushing bodies & souls live on screens at least until
night falls a night of the end of the world only
pierced by ballistic flashes
in Sabra & Shatila the spotlights
. illuminated the massacre’s scene
today in this Mediterranean Strip of sand
. total darkness shields Horror
the sky explodes in a thousand pieces amongst
monstrous mushrooms of black smoke the time to
count one two three towers collapse one
after the other like bowling pins their inhabitants
inside then get into action the steel monsters
flattening the landscape they call it
(translation: converting this ghetto sealed off on all sides
into a 21st-century Ground Zero)
everyone wondering When will my time come?
& parents writing their children’s name on their small wrists
for identification (just in case)
/
no water no food no fuel & electricity & no medicine
decided the Annexationist Government’s Chief
let’s finish this once & for all & forever they shout
relying on the unconditional support of
their powerful Allies the ones primarily responsible
for our fate by writing it off on the bloody chessboard
of their best interests
as if their contribution to our erasure redeemed their crimes
Hear Ye Hear Ye
proclaims America’s great Chief, waving his veto-rattle
Absolute safety for the Conquerors
Hear Ye Hear Ye
chorus the mighty Allies
/
Gaza / 400 square kilometers/not a single safe place /2.3 million people /half of them children / hungry /thirsty/injured /desperately searching for missing family members dying under the rubble
& Death the big winner
/
they should know that souls cannot
be imprisoned no matter how tight the rope
around the neck & how strong
the acid rains & firestorms
One day, however, one day will come the color of orange/
/a day like a bird on the highest branch**
where we will sit
in the place left empty
in our name
in the great human House
————
*Etel Adnan, “I write what I see,” in Journey to Mount Tamalpais (Sausalito: Post-Apollo Press, 1986; Brooklyn: Litmus Press, 2021).
**“One Day, However, One Day,” from Louis Aragon’s homage in Le Fou d’Elsa (1963) to Federico García Lorca, who was murdered, in August 1936, by Franco’s militias.
DAY 74, THERE WILL ALWAYS BE POETS, December 20, 2023
instability a general rule
it seems a new ocean’s on the verge
of emerging in
Africa
& floating between
here
&
there
could affect not only people or land
but also the seasons I experienced it
of fall I didn’t see a single thing
this year the acacia’s
color even changed without
my noticing
one morning looking through
the window I realized
it was there
naked
at its feet a carpet of yellow
leaves littered the ground
nothing to keep it warm
exposed
to the cold icy rain missiles
& here I was & still I am
glued to the screen
startled by every explosion
of the red-little-ball
clinging to the glittering
garlands
as soon as one of the
flesh-eating-red-balls hits
the ground a sheaf of fire
bursts followed
by a huge black smoke
cloud
then
screams
cries
panic
agony
day & night (even
more so at night) keeps on
going the hypnotic
ballet
today
Day 74
74 days of this
will spring come back
or only a long winter
of ignominy cold hunger
history will remember
there will always be poets
to tell the martyrdom
of the Ghetto People
NOTE: An earlier version of this translation appeared on 128 Lit website, December 28, 2023.
HEAR YE, HEAR YE!
At regular intervals shaking his rattle carved with the word veto the Grand Chief of America takes the floor for an urbi et orbi statement
With the utmost firmness
broadcast on a loop
in newspapers on screens
around the world
withwithwithwithwithwithwith
thethethethethethethe
utmostutmostutmostutmostutmost
utmostutmost
FIR/MNESS
like
FER/OCITY
growing
exponentially
utmostutmostutmostutmosT
exceptionallyFirm
FIR/MNESS
FIRE/MESS
Iron balls blazing
in the sky
black & read whirls
it’s raining
black ashes
east bank not west
with the utmost
firmness
We support the Conquerors’
Right to Security
COLIN POWELL. GUERNICA. SCULPTURE
1
The devil is in the detail. Colin Powell–former Chairman of the Joint Chiefs of Staff, Secretary of State to the 43rd President of the United States, George W. Bush, between 2001 and 2005–was said to have placed great importance on this. Unfortunately for him and the legacy he leaves to history, he broke that rule on one memorable occasion
It was on February 5, 2003, when he called for a military crusade against Iraq on the podium of the United Nations, based on false evidence of weapons of mass destruction. His effort resulted in the very thing it was supposed to prevent–the deaths of hundreds/hundreds of thousands of Iraqis–& plunged the country into widespread chaos, which is still unfolding today
That day, UN officials covered with a blue veil a tapestry hanging at the entrance of the Security Council representing Guernica, the monumental work painted by Picasso at the request of the Republican government during the Spanish Civil War. Twenty-seven square meters commemorating the stormy & total destruction of the small town of the same name by the German & Italian air force, on April 26, 1937
2
In March 2021, the tapestry was returned to the Rockefeller family who had loaned it for 35 years & wanted it back. Has it been replaced? With what work? I don’t know, but I’ve got an idea. Let’s offer a cubist sculpture/assemblage of 550 stones extracted from our lands on which Settlers, protected by militias/soldiers & courts, are having a great time
Upon each of these stones
that capture the light so
beautifully
is an inscription: the name of
a village
from yesterday and today
that was
razed/ablaze
May a blue veil cover it when the Guardians of the ghetto & the bantustans take the floor
JÉRÉMY VICTOR ROBERT is a translator between English and French who works and lives in his native Réunion Island. He published French translations of Sarah Riggs’s Murmurations (APIC, 2021, with Marie Borel), Donna Stonecipher’s Model City (joca seria, 2020), and Etel Adnan’s Sea & Fog (L’Attente, 2015). He recently translated Bhion Achimba’s poem, “a sonnet: a slaughter field,” which was published on Poezibao’s website, and Michael Palmer’s Little Elegies for Sister Satan, excerpts of which were posted online by Revue Catastrophes. Together with Sarah Riggs, he translated Olivia Elias’ Your Name, Palestine (World Poetry Books, 2023).
- Published in Poetry, Translation
INTERVIEW with ROBIN LAMER RAHIJA
Robin LaMer Rahija‘s first full length collection, Inside Out Egg, was released in April. Ada Limón writes that “each poem contains the whole unbound strangeness of the human experience–the offhand remark, the blur of being in a body– all of this is written with a humility and understated wit that both growls and sings….” We were thrilled to interview Rahija about her process in crafting Inside Out Egg, as well as the development of this collection’s voice and the nature of the absurd– both in poetry and in the world around us.
FWR: Your poems conduct us into a theater of the absurd where you satirize our fears, our peculiar tendencies and our most ridiculous but touching attitudes. Your voice rings with audacity, and performance, as well as rebellion. When you say, “Something just feels wrong”— about our culture, our lives today, our attempts to find each other, the reader believes you. But, the tender, humorous way your poems express both the wrong and the small touches of “right” give us, your readers, both pleasure and hope in finding community.
I’m fascinated by the short poems that you’ve interspersed in your text that raise mind-boggling questions like “who’s to blame for this bad dream” and comment on the many uses of the preposition “for.” Did you conceive of them as breaks or respites, or did you have other thoughts about their place and placement in your book?
RR: Do you mean the Breaking News poems? The Breaking News poems I thought of as interruptions, like when we’re having a meaningful interaction with someone and the news app on the phone pings with something insignificant, or significant and horrifying, or stressful, and then the moment is gone. I wanted them heavy in the beginning and then to fade away as the book sort of settles into itself and the voice becomes more focused.
FWR: I think many writers and readers, including me, are interested in questions of process. Would you tell us a bit about your process—how a poem begins for you, if there are recognizable triggers; how you develop that initial impulse; how you revise, and so on.
RR: I think about this a lot. It might be different for every poet. It seems like magic every time it happens. Often it’s phonic. I’ll hear a phrase that sounds cool, and it will get stuck in my head like a song lyric. A friend of my told me a story about seeing a fox on the tarmac as they got on a plane, and I’ve been trying to work the phrase “tarmac fox” into a poem ever since. Other times it’s more about just noticing language doing something weird. I was watching the Derby the other day and a list of the horse names came up, which are always ridiculous: Mystik Dan, Catching Freedom, Domestic Product, Society Man. So now I’m thinking about a list poem of fake horse names, or what they’d name themselves, or what they’d name their humans if they raced humans for fun. The trick is training yourself to notice those moments, and also to note them down and not just ignore them.
FWR: Also, to my ear, you have a very strong, confident, even outspoken voice in your poems. One example that caught my ear is your title, “I Can Never Put a Bird in a Poem Because My Name is Robin” and “That Is Not Fair That” voice, to my ear, is quite brave, as well as funny. How did you develop that voice, or was it always natural to you?
RR: No, it’s definitely not my nature. I had to write my way into this voice. I started out writing language poetry that was just pretty sounds with no meaning. I was avoiding writing (and thinking about) the hard things. Writing for me has been a lot of chipping away at my own walls. Each poem too I think has to work on becoming that confident through revision. I don’t want my poems to be complaints. I want them to reveal something, but it can be a fine line. I’m a jangly bag of anxiety most of the time, and I think my poems reflect that. Writing is an attempt to make the jangles into more of a coherent song.
The humor is mostly accidental, I think. Or maybe it comes from an inability to take myself seriously. I do want to get the full range of human emotions out of poetry, and humor is a big part of how we get through the day.
FWR: Who are you reading now? And are the poets you read representative of anything you would describe as “contemporary”? Is there such a thing now? I’m thinking of Stephanie Burt’s essay describing recent poetry as “elliptical,“ meaning the poems depend on “[f]ragmentation, jumpiness, audacity; performance, grammatical oddity; rebellion, voice, some measure of closure.” Does any of this ring bells for you?
RR: I haven’t read that but it feels true for my work. I’m reading Indeterminate Inflorescence by Lee Seong-bok from Sublunary Editions right now. It’s a great collection of small snippets, like poetry aphorisms, that his students collected from his classes. I don’t know how I’d describe contemporary poetry, except it feels brutally personal and outwardly social at the same time.
NEVER ENOUGH by Dustin M. Hoffman
April worked Hector’s hair into pigtail braids. “I fucking love you,” she said and then hated herself for sounding cheesy as bullshit TV, like burnt sugar on her tongue. She’d unplug every TV, yank a million miles of cable wires, just so she could be the only one saying stupid things.
She finished the second braid and told him to take off her underwear. She bit his neck. His sweat tasted metallic, tasted like a fizzed-out sparkler stick. She tugged his hair, wanted to fuck as hard as hating her town called Alma, as hard as hating her parents and their house served with eviction and this winter and this world.
“Someone’s watching,” Hector whispered.
Behind her, some horror was playing out: Her father waving a claw hammer. Or it was her mom, who could do nothing but gawk and worry. The queen of the crumbling castle.
April pulled on her jeans. Outside the door she’d left cracked, slippers shuffled against linoleum.
“That fucking weirdo.” She pulled an inside-out Suicidal Tendencies T-shirt over her head. “She just stood there watching.”
“What should she have done? You want her to yell? Or, what, slap you?”
“Yes,” April said. “Fuck yes. That would be doing something at least.” She felt her face reddening down to the freckles on her chest.
“She’s losing her home, too,” Hector said.
“Why are you taking her side?”
She sat on the edge of her bed, back to him. She wished he’d tuck her body against his again, but not fucking this time, just staying close.
The bedroom door swung all the way open. April’s little sister tromped into the room. She wore royal blue gym shorts and a white tank top. Her hands were wrapped in fingerless red-leather fighting gloves, and she had a shovel slung over each shoulder.
“Mom says you need to help.”
“Jesus, Elise. Know how to knock?” April passed Hector his underwear. “How about everyone just comes into my room to stare.”
“She says I gotta dig, and I said, bitch, if I gotta dig so does April and her screw buddy.” Elise’s leather knuckles pushed a shovel at April.
“Why aren’t you in school?” April asked.
“School’s been over for like an hour,” Elise said. “Where were you?”
“I’m done with that place. What’s the point?” She’d skipped the last three days, and she might never go back.
“Is that Hector?” Elise’s shovel tracked down his neck to hover over his heart like an accusation.
“Who the hell else would it be?” April said.
“I’ve never met this dude. How do I know?”
April snagged the shovel out of her sister’s hand. “No one meets anyone around here. Might as well hide from the world like Mom.”
“Not me. I’m taking shotput all the way to a freeride from some sucker college. Then I’m going to fight as many bitches as I can knock out until UFC starts up a league just for me.”
“You’re a moron if you think anyone’s going to give you anything for free,” April said.
“Maybe UFC will broadcast me kicking my sister’s ass.” Elise shadow-boxed jabs at April’s stomach. She finished with a fake palm-heel aimed at her nose. April didn’t flinch. She rolled her eyes and drove a shovel spade into her bedroom floor, chipped it because it meant nothing, because soon some other assholes would own it and now, they’d own this scar too.
*
Outside, April watched Hector and Elise foolishly pang shovels against frozen dirt. Elise stabbed with rhythmic violence. This was just another workout for her. Hector hopped on his shovel and struggled to unearth more than a frozen shaving. No one had any idea where to dig. For years, their mother had buried cash. She’d slip slim rolls of tens and twenties from Dad’s wallet and into Campbell’s Soup cans and empty shampoo bottles. Then she’d bury them in the backyard. Dad used to laugh about it, told them it made Mom feel safe. Besides, Dad would say, we have plenty of money so long as houses need painting and I have hands to swing a brush. That had been true in the fat summers, when just enough paint peeled off rich people’s siding to pay the bills.
“Why isn’t Dad helping?” April asked.
“Gone-zo.” Elise shovel-stabbed the earth. “He’s working.”
Their house was sided in vinyl. April’s dad installed it himself, was proud his own house would never need paint. Her dad had bought this riverfront one-story after the flood of ’86. They couldn’t have afforded it if the basement hadn’t filled with water and mold. Dad installed a sump pump in the basement and, at the age of five, April had helped tear the moldy walls down to studs. Gutted and born again perfect, he liked to brag. This was their house. Except it wasn’t anymore.
“It won’t be enough to stop anything,” April said. “Neither will this.”
Elise’s shovel clinked and she dropped to claw out a rock. She rolled onto her back and chucked the rock at the iced-over river, then did twenty push-ups before she resumed digging.
After a few minutes of digging ice, April gave up. She tried to remember watching her mom dig in those summers before she stopped leaving the house altogether. Through the window, she’d be wearing hideous gingham dresses she sewed herself. The ankle-length skirt would be crusted in mud, her pits sweat darkened. She’d wave at her daughters spying through the window, the setting sun and river twinkling at her back. She was beautiful, sure, but beautiful didn’t stop her from getting crazier.
April javelin-threw the shovel back toward the house, where her mom now watched from the window’s yellow kitchen light. April hoped she hated herself for burying all that money. She hoped she felt like dirt for not helping, for being helpless. She was probably thinking about the move, trying to calculate how she could seal herself inside a cardboard box so she wouldn’t have to encounter the outside world. Locked in a box would never be April’s way.
Hector was still at the same spot, still digging straight down when April touched his shoulder. “Let’s get out of here before you hit a gas line.”
“I think I’ve almost found something,” he said.
“Let’s go far away, somewhere no one we know has ever been.”
“Almost there. See.” Hector’s shovel spade dredged up tiny crumbles. There was nothing to see.
“Let’s steal my dad’s truck, then fuck and drink and do whatever we want without anyone watching.”
“Or we could stay.” Hector chuffed steam breath.
“He find something?” Elise pirouetted into more shadowboxing aimed at Hector’s sunset-stretched shadow.
“Almost,” Hector said. They both stared into the nothing hole.
“Let’s go.” April tugged Hector’s jean jacket. The sun was almost down, but they could still ride into it and turn into balls of fire.
“Quit nagging him, bitch,” Elise said.
“Quit encouraging this ridiculous shit.”
“Quit bitching about every little bitch thing.”
April slid her leg behind Elise and dropped her. Elise popped back up and tried for a headlock. Then they were both on the ground, and April felt how small her tough-as-nails little sister was. Elise didn’t understand how she couldn’t win this fight, how they wouldn’t find Mom’s money, how their home was already gone. Elise was making muscles and dreaming big and half of April wanted to punch all the hope out of her twerp face and the other half wanted to hug her so close.
“There we go.” Hector dropped to his knees, reached bicep-deep into his hole. April expected another rock, but Hector lifted a can of tomato soup. He held it up against the last sunlight. It was poisonous hope. If they dug all through the night, they wouldn’t find another. Elise counted out each of the thirty-six dollars with a yell that sailed across the river. Hector and Elise clinked shovel spades together, and then Elise ran the can into the house.
“I told you I’d find something.”
“Stupid luck,” April said.
“We can go now.” Hector was beaming. “I won.”
“My fucking hero.” She smiled too. But she was becoming as frozen as the ground, every petty treasure buried and irretrievable.
He jogged into her house, didn’t even notice she stayed outside to kick dirt into Hector’s hole, patching up the lawn nice for whoever would own the house next.
- Published in Featured Fiction, Fiction, home
AN ENGINE FOR UNDERSTANDING: AN INTERVIEW WITH Willie Lin
Willie Lin’s debut poetry collection, Conversations Among Stones, will be published in November 2023 by BOA Editions. Simone Menard-Irvine interviewed Lin for Four Way Review.
FWR: I would like to start out by first asking about what it’s like to be publishing your first full collection of poetry? What was the process of writing and assembling like in comparison to the publication of your earlier chapbooks?
WL: My urge in assembling manuscripts is always to pare down. Because of this impulse, assembling my chapbooks felt like a much clearer and more straightforward process. For the manuscript that became Conversation Among Stones, I struggled with holding it in its entirety in my mind and had to be more deliberate in my approach. I understood how certain constellations of poems fit together but was a bit overwhelmed with shaping the manuscript as a whole. At one point, I actually made a spreadsheet of all the poems that I thought might belong in the book and notated and ordered them according to a few different axes to help me see how they might fit together.
FWR: Your title, “Conversation Among Stones” brings up questions of action between the inanimate. What inspired you to frame your collection under this title?
WL: That idea is definitely part of what I had hoped to evoke with the title—of speaking to the inanimate and what can’t or refuses to speak back, of language spanning, filling, straining, or distending across gaps, of failing to say or hear what matters. I think these intimations are a good way of entering the book, which I hope worries and enacts some of these concerns regarding the capacities and limitations of language.
FWR: My next question is in regards to the variations of length in the poems. In “Dear,” which is only two lines, you write “A knife pares to learn what is flesh. / What is flesh.” Both a statement and a question, you ask the reader to consider something so simple, yet laden with ideas regarding the body and violence. What was your process in developing these shorter pieces, and how do you see them functioning within the broader collection?
WL: Poems can beguile in so many ways, but I’ve always loved the compactness of a short poem. Part of it is how easy it is to carry them with you in their entirety and turn them over in your mind. Since I first came across Issa’s “This world of dew / is a world of dew. / And yet… and yet…” in a poetry class almost 20 years ago, I’ve been able to carry it with me. I’ve learned and forgotten countless things in poems and in life in the ensuing years, but have kept that poem almost unconsciously, without effort. Another aspect of short poems’ appeal to me is the paradoxical way time works in them. A short poem’s effect feels almost instantaneous because of its brevity but time also dilates across its lines. The duration seems somehow mismatched with the time it takes to run your eyes along the text. In Lucille Clifton’s “why some people be mad at me sometimes,” the body of the poem answers the charge of the title in five short lines:
they ask me to remember
but they want me to remember
their memories
and i keep on remembering
mine
That last one-word, monosyllabic line, especially, seems to take forever to conclude. The compression of the poem—the words under pressure from the wide sweep of white space—exerts a redoubled, outward pressure and reverberates.
My poem “Dear” started as a longer poem (not longer by much, maybe 10 lines or so). At one point, as an experiment, I took out all the “I” statements in the poem and arrived at the version that exists now. Often, that’s how it works. I try different approaches and revise, sometimes rashly and foolishly, until something jostles loose. When I finally got to the two-line version of “Dear,” for me, the fragmentary nature of it fit with the precarity of its assertion and question. How the shorter poems appear on the page also matters in that I wanted the blank expanse that follows the poem to function as an extended breath. Because the book proceeds with no section breaks, it made sense to me to vary the lengths and movements of the poems to establish a kind of cadence, a push-and-pull.
FWR: In thinking about the themes that circulate throughout your work, a couple of specific ideas stand out as particularly potent. One is the issue of memory; the violence, complexities, and confusion of your past run their threads throughout the collection. In “The Vocation,” you write, “In the year I learned / to cease writing about history / in the present tense, / I was the silence of chalk dust, / of brothers.”
It seems like history, for the speaker, is something to be dealt with, instead of accepted unquestioningly. What does writing about the past, be it in present tense or not, do for you as an individual? Does confronting the past through writing work as a catharsis, a way to process, or does it instead serve as a conduit to expanding upon the ideas you wish to convey?
WL: I think memory—and the process of remembering—is an engine for understanding and, by extension, meaning. For experience to make sense, we have to remember. Knowing or thinking can’t really be separated from experience. It’s also true that memory, personal and communal, is restless and malleable. I have an image of the past as a landscape of sand dunes. The shapes drift. They slip, they resettle. How things feel in the moment can be one kind of understanding, how we remember them, how they shift, linger, rise, how they appear in the context of things that have happened since or what we do not yet know are other kinds.
In Anne Carson’s “The Glass Essay,” when challenged on why she remembers “too much”—“Why hold onto all that?”—the speaker responds, “Where can I put it down?” I suppose poetry for me is one place to put it down. (Though I don’t think I could be accused of remembering too much in life. I have a terrible memory.) In writing a poem, I’m making a deliberate attempt toward an understanding, however provisional. Poems are good spaces for holding and turning, for thinking through and imagining, for venturing out—and that is the final, extravagant goal, to reach out and connect with someone else. In my poems, I want to make a path that leads inward to the center—and out.
FWR: In that same poem, you confront another central theme: men. When you mention men, they are typically described via their participation in fatherhood or brotherhood. You write, “the men/slammed the table when they laughed/at their circumstance, or drank/too much to learn what it meant/to have a brother, or were true to/no end, or tried to love their fathers/before they disappeared into/hagiography.”
Masculinity here seems to be defined as a relational identity, one that is constituted by lineage and socialization. I would love to hear you speak on your relationship with gender norms and roles, especially in your writing.
WL: This question is particularly fascinating because I can’t say I conceived of my poems working together in this way, even though of course you’re right to point to how often these types of familial terms come up. I suppose part of the answer has to be how the poems relate to my autobiography. In my family, my mother is the only woman in her generation. She has two brothers and my father has two brothers. I’m also the only woman in my generation. I have three cousins, all men. I’m an only child who grew up in China during the one-child policy, so all around me were lots of children just like me, who’ll never know what it means to have a sibling. I felt a bit of an outsider’s fascination with those types of relationships and inheritances, especially as I got older and became more aware of the other social forces at work that historically favored sons. I think poetry can function partly as personal interventions in cultural history and memory, holding the ambivalences, contradictions, and idiosyncrasies that live at those intersections.
FWR: We see many instances of place in relation to memory, but there are only a few instances in which those locations are given a specific name, such as in “Teleology” when you mention Nebraska. Can you walk us through your approach to location in your work and what places need an identifier, versus places that can exist more specifically within the speaker’s domain of recollection?
WL: I think generally the idea of dislocation is more important than the locations themselves in terms of how they function in the poems. Saying the name of a place evinces a kind of ownership of or intimacy with that place. For many of the poems, in not naming specific locations, I more so wanted to evoke a sense of rootlessness and for the intimacy to be with the speaker’s uneasiness within or distance from those places. “Nebraska” in “Teleology” is a departure from that model not only because it offers a specific name but also because I think in this instance Nebraska is not a real place but an imagined one—a kind of projection that stands in for other things (the poem says, “like Nebraska,” “many Nebraskas,” “Nebraska is a little funeral”—my apologies to the real Nebraska!).
FWR: In “Dream with Omen,” you end the piece with “I would like to rest now / with my head in a warm lap.” This is one of my favorite lines, because it both speaks to the sound and feel of this collection, and it interrogates the two balancing aspects of this collection: that of memory and the mind, and that of the physical present. The speaker in many of your pieces seems to be constantly grappling with the subconscious world, made alive by dreams. How do you view or negotiate the separation and/or melding of the subconscious and the “real” world? Does the mind and its preoccupation with the past stop the self from fully engaging in the present? Can the speaker rest in a warm lap and still accept the darkness of the subconscious?
WL: In putting together this book, I became conscious of how often I write about dreaming and/or sleeping. I felt sheepish both because we are told often (as writers and as people) that dreams are boring and because maybe these poems betray my personal tendency toward indolence.
It’s interesting to align the past with the subconscious and the present with the “real” as you do in the question. I do feel the tension between those things in writing even as I also feel that thoughts are real and fears are real, etc., just as senses—how we experience the physical world—are real. And it feels a little silly to say this but I have a kind of faith that our subconscious is working away trying to help us come to terms with what occupies us in the real, present world even as we sleep and dream. Everyone who writes has at times had that sense that what they are writing is received, as if they are tapping into some other world or force. Maybe that idea is analogous to what I mean.
Memories, dreams, the subconscious, however the particularities of the mind manifest, feel consequential in their bearing on lived experience—they are how the real world lives in us. There is no unmediated world. Or if there is, we don’t know it. We must encounter the world personally because we are people. All this is to say I’m still learning line-to-line, poem-to-poem how best to articulate that kind of interiority in a meaningful way, without leaving the reader adrift. Leaning on dreams can make a poem feel muted and entering memories can feel like putting on the heaviness of a wet wool sweater and those things do not always serve the poem. I hope for my poems’ sake that I get that balance right more often than not.
Willie Lin was interviewed for Four Way Review by Simone Menard-Irvine.
Simone Menard-Irvine is a poet from Brooklyn, New York currently pursuing and English degree at Smith College. Her work has been published in HOBART and Emulate magazine.
- Published in Featured Poetry, home, Interview
AXOLOTL BY ANTHONY GOMEZ III
When wildlife conservationists released a dozen axolotls into the waterways in an abandoned town not far from Guadalajara, they were surprised to see the pink salamanders swim within the water for less than a minute. The endangered creatures jumped out of the pool on their own.
Eleven of them moved to the side and chose to die rather than learn to live again in this human-created habitat. Their smiling mouths stayed that way as they flopped along the dirt. Meanwhile, the last survivor came out of the water. It regarded its dying friends and marched down the road. The conservationists could not explain what was happening, but this last axolotl popped into a stranger’s home and, though they later tried to find it, they could not. The attempt to save the species was deemed a disaster.
*
Some years ago, on a flight from Tokyo to Guadalajara, I gave in to the cardinal sin of air travel—I spoke to a stranger. In the middle of the flight, when all those around me were asleep, I saw a slow set of tears fall from a Japanese woman’s eyes and disappear into her jeans. Hours to go, the short aisle between us was an insufficient chasm. I could not ignore the scene. So, I asked her what was wrong, and she confessed in carefully selected English that she was on her way to bury her son.
“But I’m not blaming Mexico,” she pleaded, as if I thought she was the type to blame a whole nation for a single incident. “He loved the country and the cities. Never had a bad thing to say.”
“What did he do there?” I asked.
“He learned to cook. He studied the cooks in the kitchen and the cooks in the home. Always, he said, Mexico produced the greatest food. He wanted to know why; so, he moved there the moment he became an adult. Would have been three years in a couple of days.”
“I think I would agree with his assessment. It’s a wonderful food culture.” The way I said it, with a remove and a distance, must have exposed my relationship to the country as also removed and distant. She had a wrong initial impression.
“Oh, I’m sorry. It’s terrible. I assumed because of your being on this plane and your…your look…you were from there.”
“I have family and friends I visit in Mexico. But no, I’m not from there.”
“It’s terrible of me,” she said. “I could have asked. I’ll…I’ll do that now. What takes you to Mexico? Those friends and family?”
“A cousin of mine passed away. One minute Alfonso was talking, then someone noticed him stutter. His heart was giving out. Then, it did.”
“Seems the airline put the grievers together.”
I looked around. We were the only ones awake. She might have been right.
“Weird, isn’t it?” she wondered, aloud. “To be on a flight to claim a dead body? I have never been to Mexico, and the moment I go it’s because I am on my way to see to my son’s death.”
Strange way of putting it, I thought, but she was right about it being weird.
Alfonso was a favorite cousin, an adult while I was a teenager and a teenager while I was still a child. Separated by less than four years, our minor gap in age nonetheless left him wiser and more experienced. When he was around, I ran to him for the sort of advice one is ashamed to steal from parents. He was dead at thirty-two and it seemed I’d lost a lifeline. Navigating a future without his guidance left me feeling adrift.
“We don’t need to speak about our dead,” she said. “One should remember them while one is happy to remind oneself they’re gone, or when one is sad to remind oneself of what one had.”
If that was true, then which emotion was she experiencing? What attitude toward her son possessed her that she preferred to think or speak less about him?
“Did you enjoy Tokyo?” she asked.
“It was a disaster of a trip, I’m afraid. I never saw it.”
Disaster was an adequate term. After a fourteen-hour direct flight, I’d landed in the airport, found the exit, and noticed on my phone’s home screen a long list of missed calls and texts. I sighed as I listened to each voicemail, and as I read each text. All of them were variations of the same sad news. I went to the bathroom, found an empty stall, and started to cry. I let that pass and then found a flight out.
Nine months of planning and fighting for this trip fell apart. It was a fight to get the time off from my data entry job, the courage to do it, and the money for two weeks abroad saved. While the first requirement wasn’t initially approved, a set of company layoffs I couldn’t escape made it all possible.
I booked the trip for no purpose other than a want to get off this continent. I suppose what I wanted more than anything was to go somewhere I could be lost, where I did not speak the language, and where I did not possess an overshadowing familial history dictating each sight or town. My journey was to see how I would adapt to a different culture—and if I could. When I called Alfonso to tell him about the trip, he described his favorite film Ikiru and said I should search out locations from the film. I didn’t bother to argue most of the film was shot on soundstages. I replied that my knowledge of Japan came from horror films and books by Ryū Murakami and Yoko Ogawa. None of those, I prayed, were accurate precursors to my trip.
Alfonso had not traveled much within Mexico, or outside of it. But there was one story about Japan he could share. He once heard reports of travelers who visited. The first Mexicans to the country reported arriving on the land, journeying from one place to another, town to town, until suddenly, they were unable to continue along a path. Blocked by a wall which could not be seen. Some claimed the wall was the product of spirit. Some said the travelers brought this fate over, and others said it was a uniquely Japanese magic. They learned there was one solution. Secrets could bring the walls down. The travelers had to give some truth about themselves up, else their journey was over, and they had to return home.
“Did they give up a secret?” I asked Alfonso.
About to tell me, Alfonso stopped to laugh, and suggested a different ending: “Would you?”
I did not explain my relationship with Alfonso to her. No, she wanted to get away from grief. We moved on to different topics with ease—like a spell had fallen upon us. So few people in life make conversation easy and pull from your soul the language and books and narratives you want to share. I almost lamented losing her to the nation once we landed. Even now, for comfort, I can close my eyes and imagine her listening as I confess my troubles and dreams. On that plane, in hushed voices so as not to wake anyone, we ceased being strangers.
As we landed, there was one final ritual to perform, one I nearly forgot.
“It’s Song Wei,” she said.
“Sorry?”
“My name. All this time and we never asked each other for our names.”
Of course, something as wonderful as a song, as music, defined her name.
“Mine is Carlo.”
The lights rushed on. Passengers quivered from the sudden transformation of noise and energy, the attendants raced down the aisles, they reminded us of the rules, and we prepared for landing. An orchestral track played over the speakers. Slow, it nonetheless had a familiar quality. Bernard Herrmann? They had to be joking. The score belonged to Hitchcock’s Vertigo. Its eerie sound continued after we hit the tarmac and as we exited the plane.
*
Taking care of Alfonso’s relatives, hearing them talk, and listening to plans for the funeral throughout the day took a lot out of me. That first day, I fell asleep early and easily when I returned to the hotel. By my third day back in Guadalajara, I had adjusted to the time difference and managed to stay awake long enough to enjoy a drink at the hotel bar. I sat across from the bartender, whose long and curly hair bounced as she prepared drinks. After finishing my cocktail and paying my tab, I crossed the lobby to the elevator, and suddenly there was Song, her arm wrapped around a man’s. Dressed in light linen, he looked local enough, while Song Wei wore a blue floral summer dress. We locked eyes, and she waved without an interruption. She hoped to see me later. At least that’s how I interpreted it.
“Excuse me.” I returned to the bartender. “There’s a Japanese woman by the name of Song Wei staying here. If she asks or if she sits at the bar, could you hand this to her?” The bartender nodded, her curly hair falling into her eyes.
I left a note with my name and a suggestion that Song have the concierge call my room. Including the room number felt too intimate, implicating myself as interested in only one thing.
Upstairs, in bed, I mentally reviewed the look the man on Song’s arm had given me. In between these thoughts, I wondered if the bartender would know Song from all the guests in the hotel and if the note would ever be delivered. To my surprise, an answer came at four in the morning. The hotel’s telephone rang. I put the receiver clunkily against my ear.
“Carlo?” Song asked.
“It’s me,” I said through a mistimed yawn. “I saw you earlier and thought if you’d ever like to talk—”
“—Yes,” she interrupted. “I’m in the hotel bar now.”
“Now?”
“Yes, it’s not open, but I have a story to tell you.”
I must have yawned—an instinct from the hour—because she began to sound a bit more urgent.
“Please, Carlo, I do think I can trust you on this matter.”
Two in the morning, seven in the evening, or three in the afternoon. I would have come to her no matter the hour.
*
Down the elevator, through the lobby, and toward the bar, I passed the bartender who was mopping the floor. She smiled, but I missed her eyes because her hair fell over them again. I turned the corner.
Without people, the bar was anything but a marvel. Brown chairs surrounded three empty glass tables. Earlier, these were occupied by working businessmen and their laptops. The bar itself was a wooden platform with a golden top and a long mirror behind the bottles. Seven barstools fit along it. All but two were flipped up, and Song Wei was sitting on one. Her dress had a quarter-open back. Long, black hair obscured much of her bare skin. If others could see us, it wasn’t hard to fathom Their impressions: questions or snickers about the older woman and a man half her age gathering so late in a closed hotel bar.
Amber light from dusty overhead bulbs filtered the whole bar into filmic twilight. It had the effect of rendering her body as the one piece holding all of reality together. She leaned forward, and in the mirror, I could see her hands resting on the bar, one over one another, her eyes darting forward.
A few seconds passed before I said hello. She turned, and though she had invited me down, and though she should have noticed me in the mirror, she acted a bit startled. The following smile seemed an afterthought.
Her hands did not come apart, and as I came closer to take the seat beside her, I realized it was because her palms held the thin ends of a transparent plastic bag together. Water in the bag came up to half the length of her arm, and in it was a pink axolotl. The salamander looked away from both of us.
“I’m glad to have found you, Carlo,” she said. “I don’t know if I can trust anyone else. It’s not like I have friends or family here.”
I could have snapped back: What about the man? Two of you looked cozy enough.
I stayed quiet.
“I went to visit my son’s living quarters when we landed. Talked to his landlord. Talked to nearby neighbors. Talked to them all in a terrible Spanish that should have me arrested. He was such a quiet and professional man that they didn’t have much to say about his life, personality, or hobbies. All his friends were local cooks at nearby restaurants, and that is where he spent most of his time. I thanked the neighbors and was let inside. A spartan, my son did not seem to give dust a fighting chance. Not that it was hard, the way he lived. Books about food and notebooks filled with recipes were the only real sign a person lived there.”
The axolotl in the bag started moving. Small arms pushed against the bag’s bottom. With a large and wide yawn, it reminded me of the hour.
“I pored through the notes and the writing. My son possessed a variety of talents. Penmanship was not one. Recipes and ideas for dishes require an academic to translate his handwriting. I’m not one. All I have brought back are the legible notes.”
She pointed her nose down. The encouragement led me to notice a small dark purse on her lap. Not wanting to release her grip, she used her nose again to direct me to open it.
“Please, look at the first recipes,” she said.
I opened the purse. Doing so felt intimate. It was filled with banal clutter—makeup, tissues, and tampons—and I had to dig to pull out the papers. Two condoms almost fell out of the bag as I did so. Those did surprise me, and I wondered if she intentionally brought them to Mexico despite the trip’s despondent purpose, or if she always carried those around. I remembered the man on her arm from earlier and shivered to burst the bubbles forming in my loose imagination.
At last, I found the index cards and loose sheets. Most of the recipes described or listed the ingredients of common cuisines. Mole. Aguachile. Cochinita pibil. None of these were so unusual as to require physical study. As local and delicious as they were, these were familiar dishes—a mere Google search away for anyone interested in the nation’s culture. But then I stumbled on the second to last recipe. The poor script would render any interpretation uncertain, and it was difficult to make out what the writer described. All I could decipher was one word: axolotl.
The axolotl in the bag seemed to read my mind. When I looked up, both the amphibian and Song were staring at me.
“I have to ask you a favor,” Song started. A real sense of urgency stole her voice, as if my decision could save or defeat her life. “I found this axolotl in my son’s room. Please watch over it. You saw the card listing it as an ingredient. I must know what my son wanted to make, what he wanted to use it for. It’s the last way to understand him. And, already, there are others who want to know too.”
Song released her hands, and unless I wanted the water and Axolotl to splash to the floor, I had to reach out. With my right hand, I did just that, and caught the top of the bag as the water threatened to spill. My palm became wet. The axolotl swam back to the bottom.
“Thank you,” Song said. She placed both her hands over my left one, looked me in the eye, and said it again. “Thank you.”
*
Retreating to the room with the bag in hand invited stares from the few night-shift workers. Kind smiles and professional grins from earlier disappeared into accusatory scowls. What could I be doing with such an endangered animal?
Online, I researched how to care for the axolotl. I filled the bath a quarter high and placed the creature inside. I stood there and wondered what I’d gotten myself into. Song promised she would see me tomorrow night, when she had dug around her son’s house a bit more, and when she could confess more about her findings. But what did I know? Even now, I had not learned her son’s name, who that man was, or why she felt the need to turn the axolotl over to me. Not that I was in the practice of asking questions at the right opportunity. Wouldn’t most men have pushed back against a stranger—even one like Song—thrusting a responsibility on them? Wouldn’t most have wondered why a chef from Japan felt the need to cook the poor, endangered amphibian?
Back in the U.S., the axolotl is largely banned. The level of damage they pose to environments outside their own is catastrophic. I did not know if these warnings or legal boundaries applied to Japan. If so, was it the danger or exotic quality of the axolotl that drew in Song and her son?
There were other matters to attend to. In the morning, Alfonso’s mom wanted me to speak with a florist, and a caterer, and a priest to settle the ins and outs of payment. The outsider, she thought, might best negotiate the price. Terrible logic. All she wanted was me to pay. Alfonso, you bastard, if you weren’t my favorite cousin—
The hotel telephone rang. I wondered if Song forgot to mention something, or if she would maybe want to come here. But it wasn’t her. I picked up and sat at the far edge of the bed.
“You’re wrong if you think her son wanted to eat him.”
A woman’s voice? Strong and stern, it wasn’t familiar. The caller continued:
“Her son liked to cook and loved to study recipes, but he wouldn’t eat the axolotl, not after getting to know the little guy. He had common sense.”
From where I sat, I could peek into the bathroom. Over the tub’s edge was the axolotl’s tiny head and pink hand-like claws helping it to hang on. It appeared to eavesdrop.
The caller continued. “Did you know axolotls were named after a god capable of breathing fire and lightning and regenerating its body? Believe it or not, an axolotl can still do two of those things.”
“I believe you.”
“You don’t sound so impressed.”
“I’m more curious how you know so much. How you know I have the axolotl? How you know about Song’s son?”
I rummaged through my luggage on the beside floor. The Death of Ivan Ilyich lay on top of my clothes. The book was the basis for Ikiru. Earlier, I planned to tell Alfonso I read it while in Japan.
“Do you know how important axolotls are in Mexico? You don’t carry one off without half the country speaking about it. People talk. People gossip. And some people? They’ll fight to save the axolotl. Or they’ll fight to kill it. Song’s son attracted all kinds of attention with what he wanted to do. That card in his collection? It is only partly a recipe.”
“What was he doing, then?”
“Attempting to recreate their habitat.”
“Did it work?”
“Not at all. But at least he tried. His home resembled something between an aquarium and a mad scientist’s lab. They have one native habitat left back in Mexico City. Hey, you heading to Mexico City any time soon?”
“Wasn’t planning on it.”
“Well, if you do, drop him off in Lake Xochimilco.”
“If you’re so interested in returning him to the lake, why trust me—a foreigner?”
“Because it’s your choice. She entrusted the axolotl to you. The lake is on its way out, you know. Too much pollution over the years. Because the axolotl can clean it up, and because there are so few things in life like the axolotl that can erase a history of human error.”
“To be honest, it’s not that I don’t trust you, it’s that I can’t quite see how one axolotl is so important. All Song wants is—”
“—Song. Song. Song. Get your sex-deprived mind out of the gutter and listen to me. Unless you want Lake Xochimilco to dry up and die, you can’t give the axolotl to anyone. It’s your choice whether you get him back to the lake. Until you decide his fate, don’t leave him alone at all. And don’t let Song eat him.”
*
The caller promised she would call each evening to ensure both the axolotl and I were safe. Part of me liked having a discussion to look forward to—even if I didn’t understand it all. Since Alfonso died, I hadn’t talked in-depth with someone.
Well, except for Song.
Because of this lack of practice, I forgave myself for having lost the habit of learning names. The caller came and went without one. I had almost done the same with Song on the plane until she offered it to me in an equal exchange.
But names are important. They are spells unto themselves. Take Lake Xochimilco. In the language of the Aztecs, the name refers to a flower field. (And no, I didn’t just know that. I had to look it up.) My point is that the name—Xochimilco—endures to tell us what was once there. Even if the land no longer looks like that, even if time and evil corrupt the earth and prevent flowers from growing, Xochimilco reminds us of what once was there.
That wasn’t all I found. Unable to fall asleep, I scanned stories about the place.
Lake Xochimilco is the last of a beautiful water network that survives a history prior to Spanish contact. Colorful boats float along the water and gardens grow along these vessels to sustain a forgotten and beautiful agriculture. Once a common sight, the number of boats has dwindled, and the tradition has declined with the lake. I watched a video on YouTube of a farmer who explained the lake was a living and breathing being, dying by coughing its last breaths. The water turned black and wondrous gardens burned up. What was left was all that was left…
The morning came, and with it came the lightheaded hangover of inadequate sleep. But there was no time. I had to visit the florist to prepare the bouquets for Alfonso’s funeral. Unable to shower because the axolotl occupied the bathtub, I simply changed and dressed. I was halfway out the door when the stranger’s warning from last night struck my brain: don’t leave him alone. All I had was the plastic bag from yesterday and, as I transferred him over, I felt the need to apologize.
“I’ll find something more comfortable for you later,” I said.
*
I walked through the town’s empty streets to a soundtrack of water slapping. Shuk. Shuk. Shuk. Holding onto the axolotl this way, I imagined that the bag would simply slip from my hands. Every few yards, I looked down, saw his smile, and felt relief he was alright in there.
After meeting the pastor and the caterer, I had one last task: ordering bouquets from the florist. Above the blue shop, a bright yellow aluminum sign was half faded, and the business name Flores looked to have been replaced green letter by green letter multiple times until each letter was oddly sized and shaped. On the window was written in white a common slogan: digalo con flores. Say it with flowers.
The inside was anything but falling apart. Black and white tiles looked new, and an art deco chandelier was touched by the sun, sending short shimmers of gold in the few open spaces between orange marigolds and pink dahlias. If Alfonso had a favorite flower, I had no clue. Who knows something like that about their cousin? Marigolds felt too stereotypically Mexican, and I didn’t want to choose a pink flower for a funeral. The florist ignored the axolotl, heard my concerns, and brought out several more plant types and said names I could not catch. The last one she brought out was purple, and she said the name in English: “Mexican petunias.” I agreed to it immediately and was happy to see that she could supply enough for the service. Not many people are interested, she said, and that surprised me given their beauty. Of course, once I paid, she told me the truth. Many in Mexico consider them a weed.
I decided to take a roundabout way back to the hotel, through dusty streets and over incomplete sidewalks. As I passed a bank a block away from the florist’s, I saw a familiar face leaving its entrance. He wore the same linen shirt as the man who held Song’s arm.
The man did a double take upon noticing me and seeing what was in my hand. He squinted to believe what he saw was real. That was all. I kept waiting for his attack, for a word, for him to rush and attempt to steal the creature. It never happened. I watched him move down the street, turn, and disappear.
Inside the bag, the axolotl’s pink face grew worried, as if it sensed what was coming, as if warning me. I was too loose, too carefree, too eager to see Song’s lover turn away. Suddenly, I felt my feet stumble—I had been pushed hard from behind. The bag never had a chance of being saved or held tight. Out of my hands it went, and by the time I regained stable footing, a puddle had melted into the ground. The axolotl flopped around.
“No!” I shouted.
Behind me, two men in wrinkled t-shirts ran forward. One knocked into me and started stomping hard. The other aimed a punch at my face. All I could do was fall to avoid being hit, and the attacker flew forward. The stomping man did not have much luck in crushing the axolotl. He resembled a rhythmless dancer. I stood and charged headfirst. Not much strength was needed—and a good thing because I don’t have it—to launch him back. He staggered into his partner, and the two collapsed to the ground. Their falling reminded me of goofy vaudeville akin to the Three Stooges. But this scene didn’t exist for me to laugh at. While the partners helped each other up, I grabbed the axolotl—a bit too roughly—and started running.
*
How long could an axolotl live without water? The number was not something I had looked up, or something I wanted to discover. Luckily, I was not far from my hotel and, like a madman, I raced to the fire stairs for the third floor. In the frenzy and worry about reviving my friend, I did not notice that I never used a key to get inside.
The door to my room was already open.
Alone, I drew the axolotl a fresh bath, dropped him in, and relaxed when he dashed from one end to the next. I cleaned a large red lunch container that could replace the plastic bag and better hide him. Surviving the attack evoked my mystery caller’s warning: some people will fight to kill it. I wondered if Song had already cracked this mystery when she forced the axolotl into my hands. When the phone rang, it was the mysterious caller, keeping her promise.
“Are you disappointed it’s not Song?” she asked.
“Only because when I see the axolotl, I think about her, and her son, and this man I saw on her arm. I saw him again.”
“She’s finding all those who knew her son.”
“To get to know him?”
“To know herself. She’s a biting and corrupting force. Part of that is because she’s lost her son, the other part is because when she had him, she took it for granted. She didn’t know how much she polluted the world with her sour thoughts.”
“Isn’t that just grieving? You judge so harshly when the same can be said about me. I lost my cousin, Alfonso, and when he was around…well, I didn’t always realize how important he was to my life. Are my opinions polluting the world?”
“Oh, yes,” said the voice. “And it’s terrible for the environment. Think ill of life and eventually you make life around you sick. You begin to lose sight of what’s important. You begin to forget who you are. You begin to lose your name and the names of others.”
“I keep forgetting to ask for names.”
“Would you like mine?”
I paused. “I don’t deserve your name now because I think…I think I’m sick, if I follow your definition of illness. I think about my cousin who passed. I don’t know what life will be like after the funeral tomorrow. That puts an ending on things, and I’m not like Song. There’s no mystery to unravel. He simply died while I knew him—knew him better than anyone.”
I worried the caller had hung up because the line was too quiet. All I heard was the wave of bath water from the axolotl swimming around. Then, at last, the caller’s breath.
“You’ll remember,” she started, “that there is a tomorrow. Each time you close your eyes, you will get closer to it. Until then, your thoughts are harmful. Remember that.” With that the line was disconnected.
A peace existed in the idea of a tomorrow without the sting of grief. But I also remembered how quick of an intimacy grief inspired on the plane, when Song and I overshared thoughts this caller might classify as pollution. Believing in the caller became much harder when there was a power to sustaining grief, and a time for it.
I didn’t want to leave the axolotl alone to head to the bar or take him away from his happy place. I regarded his smile as a reason to keep my promise to protect him. I ordered a mezcal sour to the room. Before long, there came a knock, and the barwoman handed me the cocktail. I watched the woman leave. There was a couple at the end of the hall. They were embracing, holding one another close, and when they kissed it was as the last step in a procedure. Now they could stumble inside the room. The woman, while I wasn’t sure, looked like Song.
*
Song was immune to normal, waking hours. She came to my room exactly twenty-four hours after our meeting in the bar. She marched straight in and looked toward the bathroom.
“The axolotl is alright?” she asked. She watched it swim back and forth. “Workers in the hotel told me you had quite the scare.”
“Two men attacked me and tried to take him.”
“Word gets out when it comes to these strange things. A woman at the bar told me she saw you run inside without the bag and I…I guess I worried.”
“You couldn’t be too worried,” I snapped. “To come at this hour. To not even ask about my state.”
“I only heard the story a few minutes ago. I was preoccupied until then.”
“Bet you were,” I let slip, succumbing to a jealousy I had no right to claim.
“What’s that supposed to mean?” Song cried. “I am searching for something my son uncovered, something to bring me closer to him in this foreign place.”
“Maybe…” I sighed. “Maybe I just didn’t know that watching the axolotl was going to invite some people to attack me—and it.”
“My son wrote in his notes that the axolotl cleans the world. It eats the very things that poison humanity. For some, it’s easier to see the world suffer.”
“And yet, you still want to eat it? I heard your son wanted to save it. He tried to build it a habitat. He tried to—”
“—My son wanted to eat it…and…I am close to understanding my son. Another day. I promise Carlo…I promise it’ll be worth your while.”
Song did not stay over. We did not collapse into the bed as I imagined she’d done. She simply hugged me close, and in that embrace I felt strange. Intermixed with a lust for her I recalled the longing to speak with Alfonso, to share criticisms about life, and simply laugh.
*
I brought the axolotl to the funeral. What else could I do? Dressed in a black suit, I must have seemed a strange sight with the red container like a toy in my grip. However, the guests, perhaps simply polite, never said a word as they passed me, apologized for the loss, and regarded Alfonso’s body at the far end of the church. The exception was Alfonso’s mother, who asked to look inside the container. She smiled when she saw the axolotl’s smile, and confessed a truth:
“The axolotl is named after a god. In some stories, this god guided people to Mictlān—the underworld.”
I didn’t ask her what happened there because we were summoned forward. Alfonso’s funeral began.
*
My hotel room was trashed. Did I expect anything different? Sheets thrown to the ground, the bed torn apart, my suitcases searched and clothes everywhere. Books open, laptop gone, even the lint from my jacket inspected. I was thankful they had left my passport—stealing was not their goal. I should have hurried out, except I knew the axolotl needed to breathe again. I had brought new water to the tub and did not want to risk removing him too soon. I shoved the dresser near the door for security and waited out the rest of the day.
The female stranger’s call came in that short hour before evening.
“Everything is heading toward ruin,” I said. “Someone searched through my room!”
“Your thoughts!” she cried.
“All this for a single, damn axolotl?”
“Didn’t you hear me? They’re important to the country and its history. Some people will—”
“—Yeah, yeah. Some people will fight to kill it. They’re not so innocent. They’re banned back home in the states because of the environmental danger they pose. I’ve had enough of your warnings. I’m tired of strangers attacking me for carrying him around. I’m tired of not having help. I’m tired of a stranger calling me.”
“Control your thoughts.”
“What is that doing? Nothing I think will kill the lake or the axolotl or even me. What’s there will be there tomorrow, and if it’s not, it won’t be my doing.”
“I can’t speak to you if you’re like this. You’re twisting my words.”
I sighed. It calmed me. Alone, I didn’t want to lose this companion too.
“I’m sorry.”
“You remind me of Song.”
“Remind you? Earlier you mentioned her son, and you talk about her like…like you know her well.”
“Do you still trust me?”
“I just want less mystery. Everything in Mexico so far is mystery after mystery.”
“That’s life for you. Take Song as a warning. She’s disappeared into her thoughts and that made her disappear into others. She needs another’s touch to remember reality.”
“She told me the best time to remember someone is when you’re happy or sad.”
“She’s wrong. The best time is when you need to.”
“All I know is I saw her again in the arms of another guy.”
“There’s nothing wrong with love. There’s something wrong when it’s used to distract from the pollution you’re creating.”
I closed my eyes. Lake Xochimilco came to mind, and I pictured colorful flowers decorating boats slowly skimming along the surface. As the scene played out, the ship broke down, the flowers lost their color, and the lake its water. Left was waste and sewage and dirt. Flopping in this disaster were several other axolotls. If I opened my eyes, then the sad state of the lake would have convinced me of the caller’s wisdom. But I didn’t.
The scene continued to unfold. Alone beside the lake, I pictured myself leaning over its edge. The waste and sewage vanished. Water started rising. The floating gardens returned. And soon, the water’s deep hue reflected my face.
Song’s son wanted to recreate the axolotl’s habitat, the caller had said. Achieving the goal would have given them another chance for survival. It didn’t work but he tried, and that was the beauty of it. Song may have been wrong for simplifying her son’s ambition, wrong for ignoring how he aspired to heal a piece of the world, but the caller was just as wrong for pushing me to focus foremost on the disasters we humans create. Some may want to kill the axolotl, but some—the caller said—would fight to save it.
To hell with both of them—I decided—I was going to save it.
The caller said nothing else. She hung there, her breath audible until it wasn’t, until she hung up.
*
Song came again at four in the morning. A large grin stretched across her face, and she held up an index card filled with neat Japanese script—her own hand. In this state of enthusiasm, the room’s mess never crossed her mind.
“I spoke with another of my son’s friends. Through them, I was able to comb out what my son wanted to make with the axolotl.”
Her voice grew increasingly excited. Her plan was becoming complete.
“I also spoke with the hotel. They agreed to let me use the kitchen. Come down in thirty minutes with the axolotl. Everything must be fresh.” She squealed like a child and hugged and kissed me on the neck. Days ago, I would have been relieved to see Song take the axolotl, to have felt myself thrown into the game of chance where my desires might be met with reality. Instead, I watched her leave and was even sadder.
I waited in the room, watching the thirty minutes shrink on my phone’s clock. I don’t know why I waited as long as I did. Did I expect the stranger to call me? She never did. I picked up the hotel phone to request a car from the concierge, as fast as possible.
*
I never heard from Song. I wondered what thoughts crossed her mind as I betrayed her wish. Perhaps failing at the recipe, being unable to cook the axolotl, made her feel closer to her son. I never heard from the other strange woman, though I glanced often at my cellphone, half-expecting to read unknown caller on the screen. I would smile because I knew otherwise, because I knew I would lift it up and hear her again. That vision never transpired.
I drove to Mexico City and chartered a bus to take me to Lake Xochimilco. When I stepped off the bus, the air was cool, refreshed by an earlier rain. Sad-looking trees swayed away from us. The sight resembled what I saw in the video: beautiful but vanishing.
A man I recognized stood at the edge of a short pier. It was too late to retreat. I tightened my grip on the axolotl’s container. Dressed in a white linen shirt, sleeves folded high onto his arms, he regarded me with equal familiarity.
“I recognize you,” he said. “From?”
“From a hotel outside Guadalajara. You were on the arm of a woman I met. I saw you again near a bank.”
Instinctively, my arm came halfway across my body, reliving the suddenness and survival of the earlier attack against me. He waited for my anxious energy to slow before continuing.
“That’s some memory. You saw me on the arm of Song?”
“Yes.”
“Well, I do remember your eyes—jealous and mean. You loved her?”
“I didn’t know her. Actually, I just met her days before.”
“She was a strange woman. It would be easy to say yes. Even, as you say, without knowing her.”
“And you hardly knew her?”
“She was the mother to a friend of mine. He was a curious fellow. Came from Japan and swore he would learn all the recipes of Mexico and perfect them and study them and bring them back to Japan. He was a hell of a cook. But he stumbled on an ancient recipe from the old world. Axolotl. None of his friends wanted him to cook one. He believed it worth trying. Where would he even get an axolotl, we wondered? Well, turns out at his front door. He found one that had escaped from a failed sanctuary.”
“I kept hearing he didn’t want to cook him, that he had other plans.”
“You’ve got it. That’s what happened. My friend changes his mind. He swears he won’t cook or eat him. He swears he’s looking into a way to save him. There’s just one place for him, though. Here, at Lake Xochimilco. Axolotls don’t have a natural habitat beyond it.”
The lake spread before us. A yellow boat floated along, and a worker on board put the tips of his fingers to the surface. Tiny ripples dragged along. My new acquaintance continued the story:
“I told her what I knew, but Song did not believe her son came to this conclusion. She liked to think he was simply a cook, not someone caught up in the world’s struggles. Completing the recipe might just…I don’t know…I don’t know what she expected. I have to confess; I watched the axolotl after his death. Yet she found me, and she took me to bed, and convinced me to surrender him to her.”
“What happened?”
“She woke one morning, and I remember her crying about her son. I never felt worse for sleeping with my friend’s mother than that moment. She cried and cried. The water fell to the floor. But here’s the thing, I tried to hug her, to help her, and couldn’t. The room around me looked like this lake a hundred years from now. Tainted. Gone. Everything became dust. She ran out with the axolotl. When I saw her again the following day, she was almost a different woman. She looked at me the way one might upon the world ending. Do you think she could move past the heartbreak of her son dying?”
I paused. “I think she’ll have to,” I said. “A stranger recently told me enough disaster, enough pollution in the mind, can destroy one from the inside. I’m learning the same is true for me and my loss.”
I would be heading back to the U.S. soon. No job and no story about Japan and no cousin to call when I needed.
I opened the red container, lifted the axolotl carefully, and released him into the lake. Not a moment passed before he disappeared beneath the dark water. I stood watching, and after some time, the man shook my hand and left.
Boats passed. The moon came out of hiding. Under its glow, the lake and its floating gardens already looked that much greener. I stayed watching. Not because I thought the axolotl would return, but because I realized I had never felt so alone.
- Published in Featured Fiction, Fiction, home
INTERVIEW WITH MÓNICA GOMERY
Mónica Gomery is a rabbi and a poet based in Philadelphia. Chosen for the 2021 Prairie Schooner Raz-Shumaker Book Prize in Poetry, judged by Kwame Dawes, Aimee Nezhukumatathil, and Hilda Raz, her second collection, Might Kindred (University of Nebraska Press, 2022) skillfully interrogates God, queer storytelling, ancestral influences, and more.
FWR: Would you tell us about the book’s journey from the time it won the Prairie Schooner Raz-Shumaker Book Prize to when it was published? In what ways did the manuscript change?
MG: The manuscript didn’t change too much from submission to publication, though it changed a lot as I worked on it in the years prior to submitting it. Kwame Dawes is a very caring editor, and he really gave the poems space to breathe. His edits largely came in the form of questions. They were more about testing to see if I had thought through all of my decisions, guiding me toward consistency. The copy editing at the end was surprisingly tough. I realized how sculptural poetry is for me, how obsessive I am about the shape of poems on the page, and the visual elements of punctuation and lineation. I spent hours making decisions about individual commas – putting them in, taking them out, putting them back in… This was where I felt the finality of the book as an object. I experience a poem almost as a geological phenomenon, a shifting ground that responds to tectonic movement beneath it, a live landscape that moves between liquid and solid. Finalizing the details of these poems meant freezing them into form, and it was hard to let go of their otherwise perpetual malleability.
The last poem to enter the book came really late. I wrote “Because It Is Elul” in the summer of 2021. Right at the last possible moment, I sent Kwame two or three new poems that I was excited about and asked if he thought I could add them. He told me to pick one new poem and add it to the book, and otherwise, to take it easy – that these new poems were for the next collection, and to believe that there would be a next collection. That was a moment of deeply skilled mentorship; his ability to transmit a trust and assurance that this wouldn’t be the end, that we’re always writing toward the next project, the next iteration of who we’re becoming as artists. It meant a lot to hear this from such an incredible and prolific writer. It settled me and helped me feel the book could be complete.
FWR: When did you first start submitting Might Kindred to publishers and contests? I would love to hear about your relationship with rejection and any strategies you may have for navigating it in your writing life.
MG: I started writing the poems in Might Kindred in 2017 and began submitting the manuscript as a whole in 2021. I’m a slow drafter, and it’ll take me years to complete a poem. So too for a manuscript – the process feels extremely messy while I’m in it, but I’ve learned that what’s needed is time, and the willingness to go back to the work and try again. With my first round of rejections, I wondered if I’d compost the entire manuscript and turn to something to new, or if I’d go back in and refine it again. The rejections rolled in, but along with them came just enough encouragement to keep me going – kind reflections from editors, being a finalist multiple times – and then Kwame Dawes called to tell me Might Kindred was accepted by Prairie Schooner for the Raz/Shumaker Prize.
On my better days, I think rejection is not just an inevitable part of the creative process, but a necessary one. Which isn’t to say that I always handle rejection with equanimity. But it has a way of pulling me back to the work with new precision. It generates a desire in me to keep listening to the poem, to learn more about the poem. In some ways, this is the only thing that makes me feel I can submit in the first place – the knowledge that if a poem isn’t quite ready, it’ll come through in the process. It’ll boomerang back for another round of revision. Rejection removes the pressure to be certain that a poem is done.
Jay Deshpande once told me that every morning, a poet wakes up and asks themselves: Am I real? Is what I’m doing real? And that no matter the poet’s accomplishments, the charge behind the question doesn’t change. So, we have to cultivate a relationship to our practice as writers that’s outside of external sources of permission or validation. Jay offered that the poet’s life is a slow, gradual commitment to building relationships with readers – which I understood as an invitation to pace myself and remember to see the long arc of a writing life, as opposed to any singular moment in time that defines one’s “success” as a writer. I try to remember this when I come up against my own urgency to be recognized, or my tenderness around rejection. I want to write for the long haul, so, I have to try and value each small bright moment along the way. Every time I find out that someone who I don’t already know has read one of my poems, my mind is completely blown. Those are the moments when poetry is doing its thing– building community between strangers, reaching across space and time to connect us. And I think that’s what makes us real as poets.
FWR: In “Immigrant Elegy for Avila,” you refer to mountain as a language. You return to the imagery in “God Queers The Mountain”. Would you talk a little about how the mountain came to be a part of your creative life?
MG: Some of it is memory work. As a child, my relationship to Venezuela, when I reach for it in my mind’s eye, had to do with feeling very small in the presence of things that were very large– driving through the valley of El Ávila to get to my grandparents’ houses, swimming in enormous oceans. Since this book reaches back toward those childhood memories, and wonders about being a person from multiple homelands, the mountain started showing up as a recurring presence. The mountain was a teacher, imparting certain truths to me by speaking to me “in a mountain language” that I received, but couldn’t fully translate. This is what it feels like, to me, to be a child of immigrants–– all this transmission of untranslatable material.
Some of it is also collective memory, or mythic memory work. The mountain in “God Queers the Mountain” is Sinai, where the Jewish people received Torah and our covenant with God. That poem seeks to reclaim Mt. Sinai as a site of queer divinity and queer revelation. Similarly, this feels like an experienced truth that’s not easily rendered into English.
On the cover of Might Kindred is a painting by Rithika Merchant, depicting a person’s silhouette with a natural scene inside of them. The scene crests on a hilltop and overlooks the peak of a mountain, painted right there at the heart of the mind. The mountain in the painting is against a thick night sky, full of constellations and a red harvest moon. I can’t tell you how true this painting feels to me. Going back to Mt Sinai for a moment, in Torah it’s the meeting point between earth and heaven, where the divine-human encounter happens. It’s a liminal, transitional space, where each realm can touch the other, and it’s where the people receive their relationship to the divine through language, mediated by text. I love the claim, made by Merchant’s painting, that this meeting point between earth and sky, human and heavenly, however we want to think about, lives within each of our bodies. The possibility of earth touching heaven, and heaven touching earth, these are longings that appear in the collection, played out through language, played out at the peak of the mountain.
FWR: I love that “Prologue” is the eighth poem in the collection. Some poets may have chosen to open the collection with this poem, grounding the reader’s experience with this imagery. What drove your choice of placement? How do you generally go about ordering your poems?
MG: You’re the first person to ask me this, Urvashi, and I always wondered if someone would! Ordering a collection both plagues and delights me. I’m doing it again now, trying to put new poems into an early phase of a manuscript. Lately I’m struggling because every poem feels like it should be the first poem, and the placement of a poem can itself be a volta, moving the book in a new direction. The first handful of poems, maybe the first section, are like a seed– all the charged potential of the book distilled and packed tightly within those opening pages, waiting to be watered and sunned, to bloom and unfold. There’s a lot of world-building that happens at the beginning of a poetry collection, and one of the rules in the world of Might Kindred is the non-linearity of time. By making “Prologue” the eighth poem, I was hoping to set some rules for how time works in the book, and to acknowledge the way a book, like a person, begins again and again.
At one point, I had Might Kindred very neatly divided by subject: a section on Venezuela, a section on Queerness, a section rooted in American cities, a section about my body, etc. I shared it with my friend Sasha Warner-Berry, whose brilliance always makes my books better. She told me, “The poems are good, but the ordering is terrible.” Bless her! I really needed that. Then she said, “You think you need to find subject-based throughlines between your poems, to justify the collection, but the throughline is you. Trust the reader to feel and understand that.” It was a mic drop. I went back to the drawing board, and ordering became an intuitive process: sound-based, sense-based, like composing a musical playlist.
I want to think about the space a reader inhabits at the end of each poem. I want to feel and listen into that silence, tension, or question, and then respond to it, expand upon it, or juxtapose it, with what comes next. I also used some concrete tools. I printed each poem out as a half-pager, so that it was tiny and easy to move around on a floor or wall. I marked and color-coded each poem with core motifs, images, and recurring themes. This helped me pull poems together that spoke to one another, and also to spread out and braid the themes. Similarly, I printed out a table of contents, and annotated it, to have that experience of categorizing poems from a birds-eye-view.
FWR: There are four poems, scattered throughout the book, titled “When My Sister Visits”. These short poems are some of the most elusive and haunting poems in the text. Would you tell us about the journey of writing these linked poems?
MG: These poems began after a visit I’d had with my friend and mentor, Aurora Levins-Morales. I hadn’t seen her in a long time, and I was living in Chicago, where I didn’t have a lot of close people around me. Aurora came to town, and we did what we always do– sit and talk. On this visit, she also showed me around her childhood neighborhood in Chicago, including the house she’d lived in as a teenager, and the streets she’d walked as a young feminist, activist, and poet. It was a very nourishing visit, and afterward when I sat down to write, the first words that came to me were, “When my sister visits…” This was interesting because Aurora isn’t my sister. She’s my elder, teacher, and friend, so I knew something about the word sister was working in a different way for me, almost as a verb. What does it mean to be sistered by someone or something? This question came up recently in a reading I did with Raena Shirali. Beforehand, we both noticed the recurring presence of sisters in one another’s books, and we deliciously confessed to each other over a pre-reading drink that neither one of us has a biological sister. The word sister has a charge to it, I think especially for women.
At first, I wrote one long poem, excavating the presence of a shadow sister in my life who appears to accompany me and reflect parts of myself back to me, especially parts of me that I think shouldn’t be seen or given voice to. This sister embodies my contradictions, she asks hard questions. I was drawn to writing about her, somehow through that visit with Aurora, in which I felt that I belonged with someone, but that the belonging was fraught, or pointed me back to my own fraughtness.
This poem was published in Ninth Letter in the winter of 2020, under the title “Visit,” and I thought it was finished! Later, I worked with Shira Erlichman on revising the poems that became Might Kindred. Shira invited me to return to seemingly completed poems and crack them open in new ways. Shira’s amazing at encouraging writers to stay surprised. It’s very humbling and generative to work with her. So, I chopped the original sister poem up into smaller poems and kept writing new ones… Shira advised me to write fifty! This gave me the freedom to approach them as vignettes, which feels truer to my experience of this sister in my life– she comes and goes, shows up when she wants to. She’s a border-crosser and a traverser of continents, she speaks in enigma and gets under my skin, into my clothes and hair. Bringing her into the book as a character felt more accurate when this poem became a series of smaller poems, each one almost a puzzle or a riddle.
FWR: Ancestors, especially grandmothers, have a powerful presence in these poems. What did you discover in the course of writing these poems? What made you return to these characters over and over?
MG: In Hebrew, the words av and em mean father and mother, and also originator, ancestor, author, teacher. The word for “relation” is a constellation of relationships, which expands the way we might think about our origins. This helps me find an inherent queerness at work in the language of family– how many different ways we may be ancestored by others. And at the core of their etymology, both words mean to embrace, to press, to join. I love this image of what an ancestor is: one who embraces us, envelopes or surrounds us, those whose presences are pressed up against us. We are composite selves, and I think I’m often reaching for the trace of those pressed up against me in my writing.
Might Kindred is driven by a longing for connection. Because the book is an exploration of belonging, and the complexity of belonging in my own life, ancestors play a vital role. There are ancestral relationships in the book that help the speaker anchor into who she is and who and what she belongs to, and there are ancestral relationships in the book that are sites of silence, uncertainty, and mystery, which unmoor and complicate the possibility to belong.
Also, belonging is a shifting terrain. I wrote Might Kindred while my grandmother was turning 98, 99, then 100, then 101. In those years, I was coming to accept that I would eventually have to grieve her. I think there was an anticipatory grieving I started to do through the poems in this book. My grandmother was the last of her generation in my family, she was the keeper of memories and languages, the bridge from continent to continent, the many homes we’ve migrated between. Writing the book was a way of saying goodbye to her and to the worlds she held open for me. There are many things I say in the pages of Might Kindred, addressed to my grandmother, that I couldn’t say to her in life. I wasn’t able to come out to her while she was alive, and in some ways the book is my love letter to her. The queerness, the devotion, the longing for integration, the scenes from her past, our shared past, the way it’s all woven together… maybe it’s a way of saying: I am of you, and the obstacles the world put between us don’t get the final word.
Lastly, I’ll just say, there are so many ways to write toward our ancestors. For me, there’s a tenderness, a reverence, and an intimacy that some of these poems take on, but there’s also tension and resistance. Some of the poems in the book are grappling with the legacies of assimilation to whiteness that have shaped my family across multiple journeys of immigration – from Eastern Europe to Latin America, from Latin America to the US. I harbor anger, shame, heartbreak, disappointment, confusion, and curiosity about these legacies, and poetry has been a place where I can make inquiries into that whole cocktail, where I can ask my ancestors questions, talk back to them, assert my hopes for a different future.
FWR: Three of your newer poems appear in Issue 25 of Four Way Review and I am intrigued by the ways in which there’s been this palpable evolution since Might Kindred. Is that how you see it too, that you’re writing from a slightly different place, in a slightly altered register?
MG: Yes, I do think there’s a shift in register, though I’d love to hear more about it from your perspective! I know something of what’s going on with my new writing, but I’m also too telescoped into it to really see what’s really happening.
I can definitely feel that the first poem, “Consider the Womb,” is in a different register. It’s less narrative, equally personal but differently positioned, it’s exploring the way a poem can make an argument, which has a more formal tone, and is newer terrain for me. It uses borrowed texts, research and quotations as a lens or screen through which to ask questions. I’m interested in weaving my influences onto the page more transparently as I write new poems. This poem is also more dreamlike, born from the surreal. It’s holding questions about the body, generativity, gender roles and tradition, blood, birth and death, the choice to parent or not. I think the poem is trying to balance vulnerability with distance, the deeply personal with the slightly detached. Something about that balance is allowing me to explore these topics right now.
The other two poems take on major life milestones: grieving a loss and getting married. I’m thinking of some notes I have from a workshop taught by Ilya Kaminsky – “the role of poetry is to name things as if for the first time.” Loss and marriage… people have been writing poems about them for thousands of years! But metabolizing these experiences through poetry gives me the chance to render them new, to push the language through my own strange, personal, subjective funnel. Kaminsky again: “The project of empire is the normative. The project of poetry is the non- normative.” There are so many normative ways to tell these stories. Ways to think about marriage and death that do nothing to push against empire. I think my intention with these two poems was not to take language for granted as I put them onto the page.
FWR: Is there a writing prompt or exercise that you find yourself returning to? What is a prompt you would offer to other poets?
MG: I once learned from listening to David Naimon’s podcast Between the Covers about a writing exercise Brandon Shimoda leads when teaching, and it’s stayed with me as a favorite prompt. He would have his class generate 30 to 50 questions they wanted to ask their ancestors, and go around sharing them aloud, one question at a time, “Until it felt like the table was spinning, buoyed by the energy of each question, and the accumulation of all the questions.”
As you pointed out, writing with, toward, and even through, my ancestors, is a theme of Might Kindred, and I think it’s one of the alchemical transformations of time and space that poetry makes possible. I love Shimoda’s process of listing questions to ancestors, which feels both like a writing exercise and a ritual. It draws out the writer’s individual voice, and also conjures the presence of other voices in the room.
I’ve used this exercise when teaching, credited to Shimoda, and have added a second round– which I don’t know if he’d endorse, so I want to be clear that it’s my addition to his process– which is to go around again, students generating a second list of questions, in response to, “What questions do your ancestors have for you?” I’m interested in both speaking to our ancestors and hearing them speak to us, especially mediated through questions, which can so beautifully account for those unfillable gaps we encounter when we try to communicate with the dead.
In Might Kindred, there’s a poem called “Letter to Myself from My Great Grandmother” that was born from this kind of process. It’s in my ancestor’s voice, and she’s asking questions to me, her descendent. My book shared a pub day with Franny Choi’s The World Keeps Ending, and the World Goes On, which I think is an astonishing collection. In it, she has a poem called “Dispatches from a Future Great-Great-Granddaughter.” In the poem she’s made herself the ancestor, and she’s receiving a letter, not from the past but from the future, questions addressed to her by her future descendent. I’m in awe of this poem. She models how ancestor writing can engage both the future and the past, and locate us in different positions– as descendent, ancestor, as source or recipient of questions. The poem contains so many powerful renderings and observations of the world we live in now– systems, patterns, failings, attempts. She could have articulated all of these in a poem speaking from the present moment, in her own present voice. But by positioning her writing voice in the future, she creates new possibilities, and as a reader, I’m able to reflect on the present moment differently. I feel new of kinds of clarity, compassion, and heartbreak, reading toward myself from the future.
These are the questions I return to, that I’d offer other writers: Think of an ancestor. What’s one question you have for them? What’s one question they have for you? Start listing, and keep going until you hit fifteen, thirty, or fifty. Once you have a list, circle one question, and let it be the starting point for a poem. Or, grab five, then fill in two lines of new text between each one. Just write with your questions in whatever way you feel called to.
FWR: Who are some of your artistic influences at the moment? In what ways are they shaping your creative thoughts and energy?
MG: Right now, I’m feeling nourished by writers who explore the porous borders between faith and poetry, and whose spiritual or religious traditions are woven through their writing in content and form. Edmond Jabés is a beacon, for the way he gave himself permission to play with ancient texts, to reconstruct them and drop new voices into old forms – his Book of Questions is one I return to again and again. I love how he almost sneaks his way back into the Jewish canon, as though his poems were pseudepigraphic, as though he’s claiming his 20th century imagined rabbis are actually excavated from somewhere around the second or third centuries of Jewish antiquity. I’ll never stop learning from his work.
Other writers along these lines who are inspiring me right now include Leila Chatti, Alicia Ostriker, Alicia Jo Rabins, Dujie Tahat, Eve Grubin, and Mohja Khaf. Kaveh Akbar, both for his own poems and for his editorial work on The Penguin Book of Spiritual Verse. Joy Ladin, whose writing is a guidelight for me. Rilke, for his relentless attempts to seek the unlanguageable divine with the instrument of language. I’m trying to write on the continuum between ancient inherited texts and contemporary poetry. These writers seem to live and create along that continuum.
I’m also reading Leora Fridman’s new collection of essays, Static Palace, and Raena Shirali’s new book of poems, Summonings. Both books merge the lyrical with the rigor of research; both are books that return me to questions of precision, transparency, and a politicized interrogation of the self through writing. On a different note, I’m thinking a lot these days about how to open up “mothering,” as a verb, to the multitude of ways one might caretake, tend, create, and teach in the world. As I do that, I return to the poems of Ada Limón, Marie Howe, and Ama Codjoe. And lastly, I’m trading work-in-progress with my friends and writing siblings. On a good day, it’s their language echoing around in my head. Right now, this includes Rage Hezekiah, Sally Badawi, emet ezell, and Tessa Micaela, among others. This is the biggest gift – the language of my beloveds doing its work on me.
- Published in Featured Poetry, home, Interview, Monthly, Poetry
HEARTWOOD by Rose Skelton
On the day after Hazel died – it was a Tuesday afternoon in early March – George stood at his woodworking bench, whittling a bowl. He pressed the piece of yew down, and used a bowl gouge to scoop a smooth sliver of the pinkish-white wood so that it curled upwards and away, falling to the bench. He did this repeatedly – he tried not to think of anything else, not Hazel, not the empty house – and then, tired of that singular motion, he reached for sandpaper and ran it over the burrs and birds-eyes until the wood was warm and smooth to the touch.
George looked through the window, out on to the loch, where the water was as flat and as grey as slate. On the loch’s far shore, lying low across the hills Beinn Bheàrnach, Beinn a’ Bhainne, and Beinn Taladh, was a bank of cloud that made the hills seem like stubs that ended only a few hundred feet up. These were the hills that George and Hazel had looked at every day of the 43 years that they had been married. Peat and granite and died-back bracken were George and Hazel’s winter-time palate; these were the hues that stayed with them through the darkest months of the year, until April when the first of the dog violets reared their purple nodding heads.
Hazel hadn’t been well, but despite the pains that tore at her bones, and then the operation just before Christmas, she had been out in her garden every day. A few weeks after the operation, even, she had pulled on her wellies, got her gardening gloves down from the hall shelf and wrapped her purple rain jacket about her. Concerned, George had watched her through the long window at the back of the house climb carefully up the steps, clutching at the wooden rail, and enter her labyrinthine vegetable garden. He had watched as she had become smaller and smaller, eventually disappearing behind the poly-tunnel, just a purple speck on the hillside, a trowel in her hand.
Now white wood shavings curled on George’s fleece jacket, and flecks of wood dust sprinkled his arms and shoulders. He didn’t bother to brush himself off. When the light grew dim, he switched on the overhead strips, which flickered and growled to life. He would stay out here until he saw his tools in double; only then would he go inside the empty house.
*
The next afternoon, the minister called in to visit. George watched him drive up the road in his faded Ford Cortina, and then they sat in the living room where the stove glowed with coals. George served him tea and some Ginger Nut biscuits which Hazel had bought at the Spar Shop just Saturday. The minister had mild Parkinson’s disease, and his hands shook, the tea cup rattling on the saucer. He spilled a little of the milky tea on the beige carpet, both of them pretending not to notice. George didn’t mind; he just wanted the minister to leave. He wasn’t ready to talk about Hazel.
The minister offered his condolences. “Thank you,” George said, and then looked at the spot on the carpet where the tea stained brown. He asked if Hazel had left any wishes for her funeral, any specific requests – cremation, burial, that kind of thing. “We hadn’t expected her to die,” George said, thinking how cruel to be taken, after everything they had been through, by a stroke. He got up to stand at the window.
From there he looked out onto the edge of Hazel’s vegetable garden, which staggered in wild, overgrown terraces up the hillside behind the house. Neither George nor Hazel knew exactly how many acres the garden covered, because as demand for Hazel’s produce across the island had increased, so the garden had stretched out into their land at the back of the house. From the outside, the garden looked nothing more than untamed gorse bushes and rowan trees, trees that Hazel had planted when they had first moved to the house because in local lore they were thought to ward off witches. But on entering, and following the muddy path up the hill, the garden stretched out into large areas planted with every kind of vegetable that could grow in the island’s short season.
Raised beds were planted with leeks, spinach, kale, squash and kohlrabi, beds that sat alongside fruit cages, potting sheds, and a poly-tunnel which in late spring brimmed with sweet peas and, in summer, with strawberries, runner beans, trailing tomatoes. Up higher were whole sections reserved for root vegetables – crops that in summer burst their green tops through the rich loamy earth, and in autumn delivered creamy white offerings of parsnip, potato, turnip, Jerusalem artichoke, roots that kept them going through the cold dark months of winter.
From up here, Hazel had often told George at the end of a long day of work, she could look out across the house, the fields that surrounded them, and beyond to the loch, the hills, and the islands beyond theirs. From here she could be reminded that they lived on an island, because it was so easy to forget, an island that they had chosen randomly off the map all those years ago, its very virtue being that it was disconnected from the rest of Britain. She said that she felt reassured, when she was looking out on the sea that kept them apart from the mainland, that this would stop the rest of the world from encroaching upon theirs.
George now stared out at the rowan trees that bordered the garden, clasping his hands behind his back, his fingers picking at an old woodworking cut on his thumb. Behind him, the minister fidgeted and shook. George wondered what he was going to do about the garden. Keeping it up had been Hazel’s job, not his.
“You’ve been standing there for five minutes,” the minister said kindly, and George turned to find him still sitting there.
“The garden,” George said, then trailed off. The settee springs creaked as the minister prepared to get up. “If it’s cremation you choose, it will have to be a mainland service,” the minister said. “Or there’s burial in the village, of course. It’s a lot to think about, and so soon. Perhaps you will call me when you’ve had time to consider?”
George nodded heavily, his mind darting to when he had seen Hazel in the hospital, just two days ago, after the doctors had said she was gone. He blinked the image away, and right then, through the window, he thought he saw a movement through the trees. He looked closer, squinting his eyes, straining to see through the silvery branches if what he thought he had seen was real. A pair of eyes looked back at him, white and wide, and then another pair, and then another. He saw a flash of tawny hide, a glimpse of cream, the sharp points of antlers. Deer, George started, and the Minister looked at him quizzically.
“Never mind,” George said, and then rushed the Minister to the door, hoping he hadn’t been rude.
“You’ll be in touch about things?” the minister said, “and of course, if there’s anything.”
George nodded.
When the minister had set off in his car, down the steep driveway towards the sea, George went upwards, towards the garden. There, he saw how the deer had got in: a fallen strut had left a gaping entrance to Hazel’s garden, and the fence had been trampled. The deer might come out on their own, but it was unlikely. He would need to fix the fence, and he would need help to get the deer out. He couldn’t do it alone.
*
Early the next morning, frost glinted on the tufts of shoreline grass, and herons stood still and long-legged at the water’s edge. George looked out from the window in the living room, and then picked up the phone to call his neighbour, Karl the farmer, and ask if he had time to come over.
The deer were still in the garden. George had watched them from the living room window as they destroyed an elderflower bush, the bush shaking in great waves as it succumbed to the violent nibbling of teeth. Now George felt a kind of weariness that two cups of coffee hadn’t shaken, a deep tiredness that had lain with him all throughout the sleepless, cold night and had risen with him at the blue hued dawn. It was a tiredness that loomed over him so that he felt if he didn’t keep working, it would crush him.
He was finishing up a slice of Hazel’s sourdough bread when Karl’s truck pulled up outside the house, his two sheepdogs, Ailsa and Aidan, turning circles in the truck bed.
“Hello, mate,” said Karl, eyeing him cautiously. He held out his hand, across the pile of condolence letters that littered the doorstep.
“Karl,” said George, shaking his hand, looking down at the letters. “I’m okay.”
“Whatever you need,” said Karl, and George nodded.
Karl was younger and taller than George, broad-backed, big-boned, carrying a head of bright blond hair. His face glowed red above the neck of the Guernsey sweater he always wore. George and Karl had been neighbors for going on 25 years, when Karl had taken over managing the farm on the Ashworth estate, and had moved to the cottage four miles along the road. The Ashworth estate stretched as far as George and Hazel’s house, and continued on the other side, so George had seen Karl come down on his quad bike, or in the truck if it was blowing a hoolie, twice a day, every day for the last two and a half decades.
George stepped outside and pulled the door closed behind him. The cold air stung his nostrils. Hazel loved this kind of weather, the ground still hard but spring somewhere nearby. She loved the white stillness of frost and the long evenings when a stew simmered on the stove, when she and George would play Scrabble together, which Hazel usually won. Hazel had always been good with words, ever since school where she had won the spelling competition. That was when George had first noticed her; they had both been thirteen.
George led Karl around the side of the house to the garden.
“Part of the fence fell,” said George, pointing to the gap. “This was her department. I haven’t been round here since,” he paused, “the operation. Before Christmas.”
“I see,” said Karl. “Can you get a new section of fence up?”
“I can get some posts,” he said. “And some new wire fencing.”
“When do you think you’ll have it ready?”
“Tomorrow, maybe. By the weekend for sure. I’ll have to go to the town for supplies.”
“Okay,” said Karl.
“But the deer,” said George. “There must be five of them at least. They’ve been watching me.”
Karl nodded. Over the years, Karl had become a feature in George’s life, if not quite a friend then someone George could count on. Hazel had sold her produce every week at the market, sixteen miles away in town, so she knew nearly everyone. But George rarely went away from the house, unless to fit a door he had made or sell his turned wooden objects. He was fine without friends; he had Hazel, and he had his work.
But when Hazel had got sick at the start of the winter, Karl had begun dropping in every now and again after he’d fed the sheep, offering Hazel and George lifts to the ferry for hospital appointments in Glasgow, picking up medicine for them from the town. Karl’s wife, Mandy, might send along a cake or some bread, and recently Karl had shown up on his quad bike with a fallen branch of rowan wood from the estate. He had asked Mr Ashworth’s permission to take it to George to turn bowls with, and Mr Ashworth had said, given the circumstances, that this would be fine.
These were little things, but where they lived, they made all the difference. During Hazel’s sickness, George realized, he had come to rely on Karl and Mandy in a way that made him feel uncomfortable. He didn’t want to be a burden on anyone.
Karl and George stood now, looking into the garden, until they saw movement, a swaying of branches, the snap of twigs and the flash of red between the shades of greens and greys.
“I see them,” said Karl. “Little pests.”
“I don’t know how long they’ve been in there,” said George. “Hazel, she hasn’t been out here since, well – ” His shoulders hunched and his chest caved, as if he were folding in on himself.
“It’s okay, mate,” said Karl, reaching out a hand and placing it gingerly on George’s shoulder. George raised his forehead, pulled back his neck, sucked in a little air.
“Since Saturday. She was fine on Saturday. She was out here on Saturday.”
“Well, it sounds like they’ve had enough of a feed,” said Karl. “What say we get these rascals out of there? I’ll get Ailsa and Aidan from the truck and see what we can do. How does that sound?”
*
While George and Karl were out in the garden trying to get the deer out, the minister left a message on George’s answering machine.
“It’s Reverend Paul,” said the message, which George listened to later on that night. “From the church.” He asked if George might call him, or if he might come round again, to discuss the arrangements. George had listened to the beeps that followed the message and then had pressed the delete button.
George and Karl were unsuccessful with the deer. The sheepdogs did their best to round them up but every time one of the dogs cornered one, the deer leapt away into some further reach of the garden. Karl and George stayed with it until around lunch time, when Karl said he had to go and see about the cows.
“Of course,” George said. “You be getting along.” He tried to say it in a way that didn’t make Karl feel bad. Even so, Karl shifted awkwardly from one rubber-booted foot to the other and offered to come back another day if the deer still hadn’t left.
“If it’s no bother,” George replied, trying not to sound relieved.
“It’s nae bother to me at all, I want to help,” Karl said. “You’d do the same for me, right, mate?” George dipped his head, a heavy nod of agreement.
*
As darkness fell that Thursday afternoon, George went out to his workshop. He pressed the light switch on the wall, and the caged strips flickered to life. The bowl he was working on lay on the bench, its corners cut, its insides gouged, its surface rough with the scoops and turns of his tools.
George had been woodturning for as long as he had been married to Hazel, 43 happy years as a husband and a woodturner. You couldn’t rush either one if you wanted to do them right. George had learned about wood from his father, growing up in the New Forest, where his father had taken George on his wood-seeking trips around their house. By the time George had left school, at fifteen, he had learned to love wood with the same passion that his own father had.
George earned his money from making doors and gates for people, kitchen cabinets, those sorts of useful things. But what he rose for every day, was to turn discarded, forgotten pieces of wood into beautiful bowls, platters, vases, objects that would live in people’s houses for years, maybe even be passed on to the next generation. He wasn’t good with books, or words, or spelling, like Hazel had been, but he was good with his hands and he had the love of wood buried deep within him.
George looked out of the dark window at his own reflection staring back, and then at the row of tools clipped in hooks along the wall. There was the red handled chisel his uncle had bought him when he had turned his first bowl, the saw, 40 years old, a new blade bought on Amazon just one month ago. A bradawl, the rubber grip long since turned sticky but the blade still up to the job, which he had bought in an old man’s yard sale on their first holiday together in 1976. A jack plane that Hazel had bought him for his twenty-second birthday, the same year she briefly went to work at the Clydesdale before deciding an office life wasn’t for her and took to gardening full-time. A sliding bevel square, one of many tools left to him by Jack, who used to farm next door. The froe that George had bought himself, the gimlet he had found. The rasp, the spokeshave, the twybil; a brace, a broadaxe, a bucksaw.
George ran his hand over the blades and handles now, ending with the set of Sheffield steel bowl gouges his father had left him when he’d died. George had spent nearly his whole life with these tools, each one so precise, existing for one single purpose only. He looked once again up at the window out of which he could see nothing, only his own ghostly reflection. What would his purpose be, now that she was gone? What would he be?
Lying on one end of the bench was the piece of rowan that Karl had brought to him from the estate. It had been sitting there, gnarled and knobbled, waiting for him to do something with it, but with everything that had happened – the operation, the slow recovery, and then, this, Hazel’s death – George hadn’t got around to even splitting it open. He had no idea, and could not tell from looking at it, what was inside, what colours and patterns he would find when he eventually laid it out and cut it through with the saw.
But he had the urge to touch it now, to rub his fingers over the bark, and then he wanted to take the branch in his hands, and he did, feeling the weight of it pull on his arms. Then, it were as if his body were acting on its own, and the deer, Karl, the minister’s visits, even the fact that Hazel wasn’t inside cooking dinner, all of that became a kind of haze to which George was now numb. He took the branch over to the saw table and laid it down in front of the circular blade. He pulled on his safety glasses, stretched his fingers into some gloves, and flicked the switch on the side of the saw. The jagged mouth of the blade roared, a blast of sawdust-speckled air gushed upwards onto his face. The teeth began to pierce the rough skin of the wood and the noise drowned out the darkness that had permeated George’s mind. Just the rowan, the blade, and the devastating cut of metal on wood.
George shut off the saw and laid the two pieces of wood down on the workbench, blinking the dust from his eyes and taking in the colours before him. Cream and copper, tan and taupe, specks of auburn and swirls of russet, freckles of chestnut and honey and peach. He swept off the dust, and then licked the tip of one of his fingers and rubbed a little saliva into the wood. Along with the growth rings that he expected, the wood also contained patterns that snaked in one direction and then in the other, the lighter-colored sapwood on the outside spiralling inwards towards the deep treacle-tinged heartwood at its core.
George ran his hand over the wood once more, taking in the brightness of the colors, and then he watched as they began to fade, as the air in the workshop oxidized the wood. It was as if their lights were going out. The colors lost their brightness, the wood lost its shine. It would never be the same piece of wood again.
*
The week lumbered on, bringing with it an entourage of lady-callers, women who lived on the island, many of whom people George had never even met. He had made the mistake of letting one of them through the door, early on in the week, and then they had talked on Facebook, probably, or at the post-office, and before he knew it, they all wanted to come in.
They brought cakes, mostly, but also soups, stews, trays of flapjacks, an apple strudel, a multi-coloured chilli plant from the village shop, all of which lay abandoned on the shelf inside the porch where in April, Hazel would have been laying out trays planted with seeds, ready for outside sowing in June. When the women knocked at the house, he didn’t answer, and so they cupped their hands to the window and then pressed their faces into the aperture their hands created. Then they would decide he wasn’t there and back away, leaving their offerings inside the porch.
Eventually, someone brought George a bottle of Famous Grouse whisky, even though he hadn’t had a drink in God knows how many years. The bearer was new to the island – a blow-in, locals called these people – and had no idea that George had promised Hazel a long time ago that he would never touch another drop. George snaffled the whisky into the pocket of his woodworking jacket and took it out to the workshop. He didn’t bother with a glass.
There was an old leather armchair in his workshop, and he sank back into it, rested the bottle on his knee, and looked up at the rafters. He let out a sigh. Then George twisted the top off the bottle, put it to his lips, and glugged at the amber liquid, wincing and enjoying the pain as it slipped down his throat. The whisky burned the back of his tongue, and gouged tears of surprise from his eyes because he had not tasted whisky in so many years and now he remembered how disgusting and how delicious it was.
He thought of Hazel, and of her garden, and of her windowsill which should be covered in trays of seeds but instead was covered in trays of brownies and other things he would never eat. He tugged at the neck of that bottle and forced himself to swallow the whisky, and after a few minutes of drinking his arms felt light, as if they might lift of their own accord, and his head was woozy, and then he couldn’t remember why he was sitting in his workshop at all. With the confusion came a momentary, welcome relief.
But the feeling that had been plaguing him since Hazel had died, the weight that hung around his shoulders, that dogged him in the house and followed him when he went to bed and when he got up in the night to go to the toilet and when he finally rose to deal with the day, the immense and stupefying weight of her absence still clung to him, and even though he was drunk and he felt like throwing up everything that was inside him, still it was there. And the thought that it would never leave, that Hazel’s absence might for ever hang around his neck, was, even in his drunken discomfort, also a strange kind of relief, because at least that meant that he would always feel her close by.
*
When George woke up to a hand on his shoulder nudging him awake and Karl looming over him, he didn’t know where he was. But by the light coming through the windows, he could see that it was morning. His head was raging.
“You okay, George?” said Karl.
“Just give me a second,” said George, who felt sick and mortified by what Karl had seen. “I was just…”
“Yes,” said Karl, who ran his finger along a knotted branch of ash that lay drying on the racks, looking away so that George could gather himself, straighten his jacket and kick the bottle underneath the chair. “I came about the deer,” said Karl.
George had forgotten about not getting the deer out yesterday, and felt immense gratitude for Karl having come round. They went outside to Karl’s truck, where the sheep dogs snapped and twisted in the back.
“You okay, mate?” Karl said, eyeing him closely.
“I’m getting there,” said George, who had now been without Hazel for four whole days, the longest they had been apart for twenty or more years. “I’m not really sleeping,” he ventured. His head felt as if it were bursting.
“Is there anything we can do?” asked Karl “Mandy says do you want to come over for tea?”
“Aye, maybe one of these days,” said George, who would have loved to eat a meal at a table with someone else. He had been surviving off sourdough bread and cheese, which he nibbled at while standing up at the kitchen counter, too afraid to sit down alone. “Maybe later,” he said, worried that too much warmth would crack him. “I’ll let you know,” he said, knowing he probably wouldn’t.
The sheep dogs, Ailsa and Aidan, pressed their muzzles against the grill at the back of Karl’s truck.
“How about them deer?” said Karl, “are they still up there in your garden?”
“They’ve taken out the rowans,” said George.
“Oh dear,” said Karl, knowing Hazel had planted them. He twisted the handle on the tail gate and the dogs piled out of the truck, panting and dangling their long pink tongues around the rims of George’s boots. “Come,” Karl snapped at the dogs. To George he said, “let’s see what we can do, shall we?”
*
The deer took fright when the dogs appeared, and scattered to every corner of the garden. “You stay by the gate,” Karl shouted, following the dogs with his whistles and clicks up through the paths that wound from each part of the garden to the other. “They might come out,” he shouted, his voice fading as he went further away. Then Karl was gone, only his red jacket visible in flashes.
In actual fact, Hazel had told George when she had gone for her operation before Christmas that, should anything happen to her, she wished to be cremated. She wanted her ashes to be scattered in the garden, Hazel had said, underneath the rowan trees. George hadn’t wanted to talk about it but Hazel had insisted. “Just in case,” she had said, holding his hand in bed the night before she was due at the hospital. “I just want to know that we talked about it.”
George’s head was still thick with the whisky that he wished to God he hadn’t touched. The feeling of having broken his promise to Hazel was enough to make him realize that it was the last time he would ever drink again. He heard a shout from the top part of the garden, somewhere up near the brassicas, then he heard the dogs barking, and then a scuffle of hooves around the perimeter fence as two white-faced stags came trampling down the hill towards him.
“Look out!” shouted Karl, whose head was just visible above a clump of gorse bushes. George was momentarily fixated by the way the animals leapt towards him. One of the stags had just a small pair of antlers but the other was an eight-pointer, maybe a ten. Its haunches undulated as it ran. A fine drizzle had begun to fall on George’s face and it seemed as if the drops were falling on someone else’s skin entirely. The two stags were nearly upon him, undeterred by his presence.
“Let them through, George,” Karl shouted, “stand back.” The stags made directly for the opening in the fence. All George had to do was to let them pass. They streaked by in a flurry of fur and bone and hoof.
“Well done, mate,” said Karl, who had come down the hill towards him. “I’m afraid we’ve got trouble with that young fallow, though,” he said. “She’s tried to get through the deer fence, and I think her leg may be broken.” A fine layer of mist had settled on Karl’s face too, and the two of them, bedraggled and damp, look out at one another beneath rain-soaked hair.
*
Karl came back that afternoon after milking and shot the injured deer. It had been a young one, its leg mangled by trying to jump over the fence, its antlers small but perfectly formed. They laid the deer on plastic sheeting in the garage, split it open from end to end and removed the gralloch which Karl plopped into a bucket, the kidneys and intestines trying their best to slip through his fingers. He left the head on a tarpaulin, and took the feet for his sheep dogs to chew on. Together they hoisted the body up onto a hook in the roof beam, put there for such a purpose. George would skin it for its meat once it had bled dry.
Afterwards, they sat in the house and George lit the wood-burning stove, resisting the urge to ask Karl if he wanted to play Scrabble. George produced the apple strudel, and together they ate it and drank a pot of tea. “Have you decided what you’re going to do about the – ” Karl paused, “about Hazel. About the funeral?”
George sipped at his tea, and said, finally, “Yes.” He knew what had to be done, and tomorrow he would call the minister. “Hazel wanted to be cremated,” said George. “She wanted her ashes scattered underneath the rowans. They’ll grow back, won’t they?” he asked.
When they had gone up to free the deer from the fence, and found its leg broken and the deer weak having wrangled all night, they had found the garden in a state of destruction. The beech trees’ lower branches had been bitten to the core, the purple sprouting, kale and other winter greens were flattened and snapped, stems bleeding white, open to the sky. The potato patch was churned with cloven-hoofed prints, and the rowans were naked, stripped of their bark, the sapwood within shredded and torn as if an angry clawed animal had been trying to get its guts out.
George had run his hand along the trunk of one of the trees, once smooth and silvery, now rough against his palm, like strands of old rope. George didn’t know if the rowans would survive another year, but Karl had suggested he call James the farrier, who was good with trees, to see if he had any advice. When Karl finished his tea, George didn’t offer him any more. They said goodnight at the door, and George heard the truck bounce down the lane to the road, the dogs whining from their cage in the back.
*
In the garage, the deer hung from the hook. In the stark glow of the strip lights, the deer’s hide shone bright, tawny with patches of cream, specks of brown, hazy spots of auburn faintly visible. The head lay on the tarp still, and the deer’s eyes were closed now, its lids pressed shut against its face. But when Karl had taken a rifle and nuzzled it up against its struggling head, its eyes had been wide open, bright with fear and pain, the eyeballs engorged, straining through its own scull. George had hardly been able to bear it, though he knew that this was the kindest thing to do.
“Best to put it out of its misery,” Karl had said, and then he had pulled the trigger. The fawn was killed immediately, its body slumping against the fence where its leg had been caught, but for a few seconds, its muscles had twitched and its eyes had gone on blinking, the nervous system firing impulses even though its heart had stopped. George wasn’t religious, or even spiritual, but he thought, for a moment, that he might have been able to see something pass from its eyes, something fade, before the eyes stopped blinking and the muscles ceased to shiver.
George closed the door to the garage, turning his back on the deer. It would still be there in the morning, and a few days later when George would skin it and carve up the meat for the freezer, taking a parcel along to Karl and Mandy. George went back inside the house, past the trays of cakes, to the table where the phone lived. Holding the receiver, he dialed the minister’s number, and waited for him to pick up on the other end.
- Published in Featured Fiction, home
INTERVIEW WITH Tommye Blount
Born and raised in Detroit, Tommye Blount now calls Novi home. A graduate from Warren Wilson College’s MFA Program for Writers, he has been the recipient of fellowships and scholarships from Cave Canem and the Bread Loaf Writers’ Conference. His work can be found in various journals and anthologies. His full-length collection is forthcoming from Four Way Books.
FWR: How do you protect your time and foster your writing?
TB: Like many poets now, and throughout history, I work a demanding weekday job, so writing can sometimes feel nearly impossible for me. With that said, I do dedicate early Saturday and Sunday mornings (or any off days) as “writing” time. Writing is in quotes, because in these sessions, I make no promises to myself that I have to write anything at all—and, to be frank, sometimes I don’t write. There may be times where I do nothing but read essays or books by other poets or fiction writers. (Oh! One of my obsessions as of late are essays on fashion—have you read The Battle of Versailles by Robin Givhan?) If you were to pop in on me, you might even see me looking at YouTube videos of other artists—either performing or talking about their disciplines. Where I am getting at is this: the act of writing for me encompasses a lot more than the physical act of writing.
Right now, I am in New York for a theater run—something I do often. Yes, I am gaga over musicals and plays, and get gooseflesh anytime someone starts talking about Audra McDonald, but all of this too is a part of my process. Watching other artistic disciplines feeds me. Not so much the subject matter of their work—although that is fair game for me as well—but I am more interested in their materials. For the past couple of years, I have been going to Stratford, Ontario, home of the Stratford Shakespearean Festival. Here, the plays and musicals are performed in repertory—so many shows are going on at once. You will see one actor playing two, or three, different roles in different shows. I love this, because to me, and my poet brain, it always leads me to rhyme and the shapes of rhyme. When I am watching occurrences like this happening, something seemingly minor to most of the audience, I am thinking how can I translate this into a poem. Of course, I can’t ever pull it off when I mean to pull it off—I’m too slow for that. Ha! It takes a while for the idea to sink into my body and, it always seems, out of nowhere I pull it off without thinking about it—or maybe I am thinking about it? I don’t know.
FWR: I’m struck by this image of actors playing multiple rows in multiple shows. It makes me think of the moving between forms and personas, how the self can be fractured and recast (in a poem like “The Bug”, for instance).
TB: Bifurcation is a frequent kind of transformation that takes place in my work. Many of my poems are in first person singular, so I often challenge myself to see what happens when that gets split off into two entities sharing the same space. “The Bug” complicates the first person by allowing that other man to speak through him halfway through the poem. What better way to explore a kind of love than through possession? And going back to your mention of form—in my chapbook there are many received forms that resist the conventions of those forms. These too act as a kind of fracture and recast, but moreover it goes back to my love of bodily transformation and how that allows me to divorce a body from its intent.
FWR: Can you speak further to finding inspiration in different art forms? (and considering those explorations part of the act of writing!)
TB: Of course, as writers we should first be lovers of reading, but other art forms too have much to teach us. In 2017, I was one of 18 recipients of a Kresge Arts in Detroit fellowship. Each year, there are two groups of nine artists chosen from two rotating categories. This time around the categories are Literary and Visual Arts, but everyone is doing all kinds of work: art criticism, sculpture, mural painting, collage, quilting, dance, and more. The fellowship comes with a pretty large amount of money with no-strings-attached, but that has not been the highlight of my tenure. The best part has been getting to dig into the work of the other fellows and, in one case, getting to sit in on a session. I just think writers limit themselves if they are only looking toward their own discipline for techniques or new ways of thinking about stuff. The dancer/choreographer Bill T. Jones teaches me just as much as the poet Carl Phillips.
FWR: I’m drawn to the way you play with syntax in many of your poems (“The Black Umbrella”, for example). It seems to not only allow for a reveal and revision of information, but also to suggest greater possibility in the memory of a poem. Along the lines of structure, I’d love to hear what you were thinking while arranging this manuscript. How did you decide when to echo back to a previous poem or image, or when to expand upon an idea?
TB: Matthew Olzmann, the killer poet and a dear friend of mine, was—thank goodness—my editor for What Are We Not For. The manuscript I submitted to Bull City Press, structurally speaking, was close to the final arrangement, but Matthew encouraged me to meddle with the linearity of the structure. I mean, the narrative of the collection is pretty linear right now, but some of that echoing you are hearing is due to Matt’s suggestions. One of the most obvious examples is what happened with what I call my doggie suite of poems—poems for which you all graciously gave a first home: “Bareback Aubade with the Dog,” “And the Dog Comes Back,” “The Runts,” and “Lycanthropy.” In my mind, that was the order of these poems and that is how they appeared in the initial manuscript. Matthew and I decided to break up the suite and rearrange them, so that they call out to each other across the book while informing the poems immediately around them.
Another choice I should talk about is where the title poem falls in the collection—it’s the penultimate poem. Matt deserves credit for this choice as well. At first, I had this poem so obviously seated at the center of the book. Poems, when putting a manuscript together, are really fractals building toward a single larger version of themselves—that’s what this chapbook is up to as well. Just as each poem is aware of where its volta sits, so too does this collection. “What Are We Not For,” the title poem, acts as a turn of revelation in the collection. “What are we not for,” that phrase, because it is the title of the book, gets teased out for much of the book—it is at once: a dare; a mandate; a question; a resignation. It is not until the penultimate poem that the collection realizes what it has been up to all along.
FWR: Speakers are bodied and performed in a way that responds to assumptions about race and gender (“the black boy/lurking in our imagination” from “There is Always a Face to Tend To”). Yet, there is also this movement away from the body, both as a means of protection (“Our bodies are museums/ Our bodies are objects in a museum A thing a thing” from “The Lynching of Frank Embree”) and a refusal to be limited to the body’s confines. I was wondering if you could speak a bit to this.
TB: The bodies in these poems are always in danger—or at least I mean them to appear that way. These gestures of transformation, or the botched attempts at transformations, are markers of a larger exploration (I think—how can one really be sure) that my work as a whole seeks. Transformation, to my mind, allows me the space to divorce a given body from its intent. My poems mean to explore the breakdown between a body’s intent and the gesture that intent manifests. It’s why the poems in this collection are interested in race, gender, and sexuality. Well—all of that and the fact that I am a Black gay man negotiating all of this stuff. In the case of Frank Embree, I mean the speaker to be victim and assailant at once. He, and his kind, has suffered at the hands of men who look like Frank Embree, so he is enraged. He is also troubled by this rage, because it is, also, directed to himself—inheritor of Embree’s body. I like to think that no one, not even me as creator, is protected in my poems.
FWR: When you say, “the bodies in these poems are always in danger… transformation, to my mind, allows me the space to divorce a given body from its intent” —firstly, I love this. And, I think it speaks to two correlated ideas, the first being that destruction can allow for transformation (the cliché of the butterfly and all that), even if that transformation is happening in the witness. The second thing I think of is the push between identity and the gesture, how performance might codify identity— for better or worse.
TB: When I say transformation allows me the space to divorce a given body from its intent, I’m thinking in terms of how, at last, a body can reveal itself to be meant for another way of being than one those outside of that body anticipate.
As a Black gay man living in Michigan, I often get the silly phrase “You don’t read as gay.” When, in my mind, I am so very gay. There is a disconnect happening between my choreography and how my postures are being seen. And look at all of the police murders of Black folks that are happening: blackness being seen as a threat that must be stomped out. Little Trayvon in his hoodie being gunned down by Zimmerman, because he thought the boy looked suspicious. Or, in my neck of the woods, Renisha McBride, a Black woman shot while knocking on a door for help. It should not be a surprise that my poems want to sit inside of that disconnect between gesture and intent.
FWR: The play between sensuality and sexuality, particularly with regards to expressions of masculinity/manhood, is threaded throughout the text. I see the movement as poems ease from inertia (the experience or suggestion of pleasure) to urgency (wanting, acting on sex). I read it as a desire to reclaim space, in spite of the stereotypes and violence associated with having a “body/dark and big as history”.
TB: Yeah, okay, sure: that is one way one might look at that patterning—it is there of course. But, I must say, I’m not sure if that reclamation of a Black space, or that redefinition of some view of Blackness, was at the fore in my mind. I’m probably repeating myself, but I’m really interested in this breakdown between intent and the gesture that intent brings forth. This misfiring between intent and gesture is how we arrive, often, at points of pleasure and violence. So, yes, I am thinking about this Black body I have inherited, but I am also thinking about this gay body I have inherited at the same time. This is why, for example, right after “The Lynching of Frank Embree” there is “Aaron McKinney Cleans His Magnum”—a poem around Matthew Shepard (whose death scared me further into the closet in undergrad). And in the reference to Shepard’s murder you are to hear echoes of Pinocchio (another “wicked” boy) and his plight. This is not to say that the book is an erasure of Blackness—you are right; it is there—but it is complicated a bit (or at least I mean it to be).
FWR: When you say “he [the speaker] is troubled by this rage”, is there also the element of society’s denial or suppression of Black anger? An awareness that whiteness expects a Black body to hold his/her feelings without release?
TB: That self-inflicted rage of which I speak comes from a kind of shame. The conversation that is happening in this poem has to do with the speaker and his relation to his own black maleness—and the inherent history with which that comes. Any conversations about the role of whiteness is in the periphery or gets superseded by what is happening between the speaker and the image of Frank Embree. That is why, for example, the admission “yes, white” appears in parenthesis; why the speaker’s thumb tip print sits over the image of the lyncher’s brim. The speaker in the poem is challenging what he can say and do and in what space—the boundary between the room of the gallery and the private room in which a porn film is playing is fractured.
FWR: To shift gears, is there a poem you love to teach or share?
TB: C. Dale Young introduced me to Brigit Pegeen Kelly’s book The Orchard while at Warren Wilson. Now, I am not going to lie, I bought that book a couple of years before getting into Warren Wilson and it sat unread on my bookshelf. (Bad poet, I know.) Let me tell you: when I finally read that book for the first time it unhooked something in me. It’s hard to just tell people to only read one BPK poem, so I often suggest they read The Orchard, but then I tell them to pay close attention to the title poem of that book. The images in all of her poems, but in that poem especially, fidget; they refuse to remain static on the page. Specifically, she does this with similes that I always have a hard time explaining to people, because they think I am talking mixed metaphors or something. (It’s not—I swear!) Watch out for the fucking dog in that poem! Just in the first few lines, the dog is said to be like a horse. Then, without warning, the poem calls it “the horse.” I hate poems, including mine, when there are gestures toward figuration that are only a means of comparison or ornamentation. No, figuration should and can do more. In “The Orchard,” and many other of BPK’s poems, figuration is how the poems keep pushing forward. I was so sad when I heard she passed away. What a loss.
FWR: Thinking ahead to when Four Way Books will publish your full length (and congratulations!) and considering what you say about the ordering of your poems, I was wondering if you might speak to what the process is like moving from a chapbook to a full-length manuscript. Will you be pulling many (or any!) poems from What Are We Not For over? How does the process of revisiting those poems change the way you see them working in conversation with each other?
TB: Thanks—it’s all exciting and scary for me at the same time. Actually, that is my everyday temperament; excited and scared. Ha! Martha Rhodes has been such a huge champion of my work and then there I am like, “Who? Me?” It’s still very early in the process, but I am told things are going to get a little crazy in the next few months for me. At first, I did not want to pull anything from the chapbook, but as the concept for the new book is working itself out, I am seeing that a few poems will be making cameos. Then there are these new poems that will totally recast (there is that word again) those old poems in new ways. That is probably my favorite part of this process is seeing how the old poems gossip with the new poems.
- Published in home, Interview, Uncategorized
COLLAPSED by Michael Holladay
When I was at Andy’s house he looked at me and said, “I want to stone that place to the ground.” We were getting high on the basement couch, and he was behind a thin mist of smoke. He was talking about the tobacco warehouse his dad inherited, now dilapidated. Or, his dad called it a warehouse, and so did the granddad before him. Giving it that title was generous though. A joke, really. It was more like a shack. Andy tapped his foot up and down in saggy sweats like he was going to jump out of himself, waiting for a response. I was pretty sure he was looking to me and not my friend, Nick next to me. Nick was silent because I could tell he was hardly paying attention. I heard every word and was silent because I kept noticing the scar creased above Andy’s mouth, which I wanted to kiss since before he knew me.
“Let’s do it,” I said to impress him.
“Come on,” he said and got up, which meant we needed to follow.
He led me upstairs. Nick trailed behind Andy, and I trailed behind Nick. I creaked through the house, careful of the floorboard squeaks my feet could ignite. This was a hushed thrill for me, something covert I didn’t know the consequences of. Andy strutted ahead, taking us past the living room where his dad was in a Wild Turkey pass out, with no care of waking him. I caught some flickering light from the TV emitting onto Andy. He wore his pants down low, and so did Nick: Andy imitating music video rappers, Nick imitating Andy, me in my coupon purchased Penny jeans from a shopping trip with my mom. I was the tagalong.
“Oh shit, look at those tits,” Nick said and halted in front of me so quickly I almost ran into him. He was peering into the living room where Andy’s dad had on a porno. Andy was in the kitchen now, and I would lose him if we didn’t continue.
“Hey, be quiet,” I said.
“The old man’s out cold. Geez. When did you get to be such a pussy?” Nick had never called me that before and began using it recently since we started hanging out with Andy. I had been friends with Nick since middle school because in middle school you needed to call someone a friend. His face was drenched in freckles that hadn’t faded with ears his head hadn’t caught up with: puppet-mouthed – a ventriloquist dummy. I tried to imagine this face more clearly in the dark, sneering at me, assessing me based on our three years of friendship in which we couldn’t have really known each other. It was hard to pity him, because he was the reason I was there in the first place. He had somehow made friends with Andy. He could make that initiation of friendship I couldn’t – if friendship was what you wanted to call it. He had started buying weed from Andy, probably because he was desperate for a sense of rebellion, and desperate to distance himself from me. He was there to get high. I was there because it was Andy.
“Let’s go. Come on. You can fuckin’ watch porn anytime,” I said and passed him.
Andy was already outside, and the footsteps in the sparkly dusting of snow tracked him to the middle of the farm behind the house. I began running to catch up, placing my feet in his indentions on the wasted land, hopscotch jumping to match his stride. The Oldsmobile was parked a yard away from the house, looking abandoned. Andy picked me up in it earlier with a supped up sound system rattling out any words I thought to say to him. His dad lived in the boonies, and I forgot where this tobacco shack was. I knew it was on the outskirts of a tree patch people in town called a forest. I also knew it was right before Mike Kilroy’s land – an eighty year-old legend who owned part of the long-gone farm with Andy’s granddad. Kids called him Ol’ Kil because rumors went around about him on a constant stake-out for anyone trying to cross the wire fencing onto his acreage. He’d shoot you down or sick his Rottweiler depending on whose story it was. A week ago, the last time I was at Andy’s, we stepped over and smoked right in the middle of Ol’ Kil’s yard.
I looked behind me and couldn’t see the house anymore. It was either out of sight or the dark and snow mixed with its white chipped paneling and three lopsided black shutters. Ahead of me, Andy had stopped. The only reason I could see him was from the flood light’s faulty bulb, flashing him like a signal. He was standing in front of the shack.
“So, this is it, huh?” I said and immediately regretted it. Obviously, it was.
Andy shoved his hands in his jacket pockets with head cocked up like he was trying to solve a complex puzzle. I tried to match his line of vision instead of looking directly at him. His newly buzzed head was caught in the wind chill. “Do you want this?” I said and held out an extra cap.
“No, man. I’m good.”
“So, what now?” I asked.
Nick was finally crunching his way to where we were. “It’s freezing out here,” he said while sniffing a runny nose
“I told you,” Andy said. “Find as many rocks around here as you can and throw all of them at this place.” The shack was ash covered from a previous fire and stood on black molded wood. If any tobacco residue was left, it was rotting like algae – dead and sickening. I could smell it from where I stood next to Andy – in the right radius to catch both the faintness of decay and his drugstore cologne masking body odor. He picked up a stone, tossing it from one hand to the other in a single juggle and then launched it against the building. Ash grafted off and hit the snow as it shook. He ran closer and found another rock, larger this time, and threw it against the wood, the sound making the cry he couldn’t, in place for his silence. “Like this,” he said to me. “Come on, Patrick. Let’s see how hard you can throw. Help me take it down.”
About a month ago when I had told my dad where Nick and I were going, he said, “You’re not going around that kid.” It was a Friday night when he was behind the local paper over a chicken fried steak dinner.
“Why?” I asked.
“Not over to that house. Not around that dad of his.”
“Why?” I asked again.
“No good trash is why,” he said, a man indignant that Andy’s dad loused around all day on inherited tobacco money and let the land stay ruined. “A damn shame,” he had said. Andy’s mom had been part of the town rumor mill since I had known – took up with some man she had been cheating with who worked at my dad’s construction site. She worked at the drive thru Dairy Dip, and some girls from my school used to go through and make fun of her, and wives in town made jokes about how their husbands weren’t allowed to go there if she was working. I also knew his dad was probably squandering the granddad’s money, and it had an expiration date. “I don’t want you around a good for nothing shit,” my dad said.
“But Andy’s not his dad,” I had said.
I overturned rocks, trying to find the right size. I threw one, and it made a pathetic smack, hardly moving anything. “Give me a break,” Andy said. “That was a pebble. Get a big one and get some heat on it.” He launched another that pelted a snap into the air. A few boards fell. He was laughing, almost manically. “Or like this,” he said, and he hauled out a huge rock from a ditch. He cradled it with both arms, swinging it to get momentum, counting to himself. I saw how big this one was, and I looked at the shack.
“Andy, wait. Are you sure you want to do this?” I said. He pretended not to hear me the same way I pretended not to know about the bruises on his side, bruises I saw a few weeks ago when his shirt lifted as he leaned into his dad’s fridge to get me my first beer, bruises I wanted to curl inside of and absorb so I could make them better. The rock hit the shack, taking it out. All of the boards on the left gave way and caved in on themselves. I crouched for cover, and Andy towered over the debris as it fell.
All that remained was a frame against a thumbnail moon, and after a distant dog bark, quiet. Nick kept saying “Holy shit,” surveying the damage. Andy paced like he didn’t know what to do. I looked toward the house to see a porch light turned on. There was no way Andy’s dad heard. Not with how drunk he was. Not with how far away we were. Or was it that far away? Or was he really out cold like Nick said? There was no way to know. I didn’t want to imagine what Andy’s dad would do to him – not tonight or the next day.
“We need to get out of here,” I said to him.
His face was still. “Where?”
“Come on,” I said and started toward the trees.
Andy was following me now, and we came to an enclosed area. I was panting, and he was barely out of breath. He leaned against a trunk. “Damn,” he said. “That was great.”
“Yeah, for sure,” I said and sat down on a stump. Andy put one foot against the tree with his thigh flexed out like he wanted me to see it. I allowed myself and then looked up to him.
“Why do you always do that?”
“What?” I asked, scared.
“Look at me, like, I don’t know. Like you know something I don’t.” Back before all of this, back before Andy dropped out of high school, we had a class together. I sat three rows back from him. He used to slink his feet into the front desk’s book cage and coast, sometimes giving one word or smartass answers to the teacher, bragging each month about a new girlfriend, or cocky about a move he made on the JV basketball team he eventually got kicked off of. He was the kind of guy who was all confidence but didn’t know how beautiful he was. He was looking at me pointedly now like maybe he knew I noticed.
“I don’t know anything,” I said.
He squinted at me. “You’re all right, Patrick.” He pulled out a joint, which is what he did when he didn’t want to confront something. We passed it back and forth until he said, “Hey, come here and shot gun with me.” I didn’t know what that was, and he explained. He had the thin strip in the gap of his teeth, and he said to get closer, so I stepped forward with my lips inches from his and pretended to suck in the smoke correctly. The diamond studs he wore seemed to be carved out of the frozen stream ahead of us and pinpricked into his cold-red ears. I exhaled and kissed him. He let out a moan like I should stop or continue or both, so I let him decide, and we kept going. When I put myself against his upper body, the material of his jacket swished, and I imagined what he looked like underneath. He pulled me in closer, our torsos touching, bodies pulsing to shed our clothes, but the cold contained them. I felt him hard against my leg like he wanted me to.
I pulled back. He looked at me with a mouth raw in chapped flakes. Time to say something. Time to acknowledge what he maybe didn’t want to acknowledge. I put my hands on his sides, trying to keep him warm. “Do you want me to…” I said, trailing off, and I squatted down.
“Yeah, yeah,” he said and started undoing his pants. “But hey,” he said among belt buckle chimes. “This doesn’t mean anything.” I took him into my mouth, and it was like the wind stopped from the wet heat. I wanted to take in all of him: his stained sweatpants, the waffled long johns underneath, the musky sweat clinging to them, his wife beater, his stomach hair. Somewhere in the distance Nick was shouting about where we were. Somewhere Andy’s dad was either raging in anger or still asleep. Somewhere was what I thought I was protecting Andy from. Somewhere was the collapsed wreckage of everything I helped him leave behind.
***
The first time I met Andy’s dad, their house was a mansion by my standards, because it had two stories and was bigger than a shotgun. Andy pulled up in the driveway and led me and Nick past the full porch. A swing was to the right with half the chain broken off, so it sat on the ground lopsided. Next to it were metal chairs with tarnished rust eating the spray paint. Miller cans lined the handrails like targets at a shooting range. Andy took me and Nick hot-boxing through town, and it felt like I was treadmill walking – feet moving but in one place, and Andy’s house was shifting around me.
Andy introduced me to his dad in the living room, who got up from a recliner, his recliner, that didn’t want to let him go. He shook my hand tighter than a bear trap and said, “You Frank’s boy, aren’t you?” My hands were probably still grazed in yellow dust from Dorito scarfing in the car. He let go and wiped his hand on his cutoffs.
“Yeah, that’s my dad,” I said.
“Runs firsts and thirds at Lester’s Construction. Right?”
I nodded, and he eyed me, then sipped from his Bourbon tumbler, the ice clanking his teeth, his finger-squeezing gold ring clanking the glass. The guy his wife ran off with – the guy who worked at my dad’s company – his name was either Gus or Russ or it may have been a different guy now.
When Andy’s dad pulled his drink away from his mouth, he sucked his front teeth against his lips in a lemon pucker – a ferret squinched face. “What’s wrong? Can’t speak to me?” he said.
“Dad, come on. Leave him alone,” Andy said.
Taxidermy animal heads ran along the paneled walls, and Andy’s dad was in the middle of them. He looked Andy over for a long time, examining, sizing up. “Boys, can you go into the kitchen for a minute?” he said, which was pointless because we could hear everything from there. He gave me another once over and didn’t acknowledge Nick.
In the kitchen, Nick and I sat at a table with congealed Dinty Moore Stew and stacks of unopened bills. We listened to Andy’s dad booming, berating. I only caught pieces like snippets of hunting entrails. “Why are you such a worthless fuck up? I told you to have that cleared from the back yard today.” I could see sharp hunks of hardwood through a window. They were wrapped in frayed tarp. I learned later of half-ass plans to build a new toolshed. Even if Andy had brought in that hardwood like his dad asked, it wouldn’t have mattered, because the wood had set outside too long and was damaged by rain and rot. “What have you done all day?” Andy’s dad said, which was bull, because he hadn’t done much himself other than recline and drink. “You’re a goddamn good-for-nothing,” he added. I thought of the bruises. They were purpled like a gooey plum smeared on concrete, patched into Andy’s skin. Fragile. I heard his dad say, “A useless condom rip, and you know it.” One time Andy told me his mom probably wasn’t his mom. He thought maybe his aunt but wasn’t sure.
I dared to lean around the corner and saw Andy’s head hung low and belittled. Beneath that though, below a blushed face was a smirk, or a slight resemblance to a smirk, as much of one as he could give standing in front of his dad. And, he said, “Right,” like he was agreeing because he had to but was really saying, Just you wait, and I will get you back. For all the pain. Whatever way he decided to do it, I wanted to be there.
I sat with Nick while Andy hauled the pile of wood from outside and into the basement. He had to do it by himself. His dad’s orders. At one point, I looked to Nick like we should help, but he didn’t want to say anything to me. It took Andy an hour. Nick sighed but was only annoyed because this was preventing him from getting stoned, ruining his fun. I watched Andy follow his dad’s instructions piece by piece.
When he was finished, Nick and I made our way into the living room with him. His dad was snoring with gasps like the gurgling of a clogged drain, inhaling deeply like he was about to suffocate. Andy sat in the chair next to him, and I sat on the couch. The deer and raccoon heads loomed over us, petrified with mouths that would drip slobber if they were alive. Dead things filling empty space. Andy pulled the lounger’s handle and went back with legs in the air, resting, aligned with his dad. He closed his eyes and breathed heavily in a slow rhythm. His face was skeletal and defeated, hollowed out like he wasn’t his own person. Just like me.
- Published in Issue 13, Uncategorized