Tag Archives: Issue 20

Watching Drew Die

You stay in the room with him the whole time. You only leave once to pee, and you let yourself linger, praying it’ll all be over by the time you get back. But, of course, it isn’t; it won’t be over for hours.

Sometimes you’re alone with him. Most of the time, your father and brother are there. Sometimes you sit, sometimes you stand beside the bed. You try talking to him, but you don’t try for very long. You don’t know if he can hear you, and if he can, he can’t respond. You give up. You let the machines do the talking: the whirr, buzz, beep, and click of air forced into failing lungs.

At first, he’s able to make eye contact with you, and you know, at least temporarily, that he knows you’re there. But as they up his morphine dosage, his gaze wanders to the ceiling tiles and sticks.

You’re there when they take the air pump away. They replace it with a steady stream of oxygen, which he must inhale and exhale manually. You know he can’t keep this up for long. Your father agreed to this. You agreed to this.

 

… [Click here to purchase a copy of the magazine]

Zaftig

Your mother used to call you zaftig.

Yiddish for: a full figured woman. Used mostly for women, though occasionally for men if they are a little chubby. You had long, beautiful brown wavy locks. Gorgeous hair, the women used to say, in their nasally Long Island Italian accents. Hairdressers would pose you for pictures like a mannequin while their long plastic fingernails combed through it, made the curls so big you could hide behind them as if they were the coveted walls of an attic. After you come out as gay during the pandemic, the first thing you do is buy a brand new masculine wardrobe.

When you were zaftig, you took all the Jew jokes at your new southern public high school with a smile. You made yourself laugh each time a boy did the Hitler salute or suggested you should be in an oven. You didn’t call out your friends for laughing. And you didn’t punch that Q-anon looking asshole, with his ugly toothbrush mustache in the mouth before first period, even though you wanted to when he asked if you had horns, since he heard all Jews have horns,  and even though you debate giving him an uppercut, putting a childhood filled with sweaty Tae Kwon Do lessons to good use, you don’t, because you are a nice Jewish girl, and even if you did have horns, you’d keep them rinsed and shampooed, hidden beneath your Nice Jewish hair.

You keep a list on your phone of all the times you have been called sir in public. You stop counting after five. You enjoy the game of it, the agency you get when men think you’re one of them. Your hair is boy-short. Your clothes are from the men’s section, but even on feminine days, they don’t see your body and think your shape checks the box of a woman. This should bother you, but it doesn’t. You learn how to be a man: how to walk like one, how to talk, how to do a proper handshake, lift weights at the gym without being anxious, how to win instead of lose.

On Yom Kippur, the security guard gives you a firmer handshake than usual, compliments your haircut. When you walk into the synagogue, dressed in beige trousers, purple Nike Jordan basketball shoes, and a boy’s collared t-shirt that’s way too big on you, the rabbi offers you a blue yarmulke to put on your head and the chance to give an aliyah blessing at the bimah before the congregation, to sit in the men’s section, says without saying it that now you are a mensch. You have dreamed of this moment your whole life. But when you look up at the closeted Arc of the Torah, folded in on itself, you think of G-d watching you, of all the sins you are about to repent for, and sit back down in the women’s side of the mechitza.

The first time it happens, you are in a restaurant with your mom. A waiter arrives and after he goes through the usual spiel about specials in his southern accent, he asks your mother for her order. What can I get for you today, ma’am? She tells him what she wants. He turns to you, stands up a bit straighter. And for you, sir? It rolls off his tongue with more purpose, more power. Your whole face lights up. She’ll have the Caesar salad. Your mom corrects him. He steps back, his eyes wide. I’m sorry, I didn’t know, I- It’s okay, you say, basking in the compliment. I don’t mind.  Later that same day, you tell a butch friend about your new ability. Welcome to the first of many, my friend. She says.

How can I help you, sir? The men ask you. What can I get for you, sir? Nobody holds the door for you anymore, you hold the door open for them. Uber rides are no longer plagued by uncomfortable, unwarranted questions, but comfortable silences, the driver’s eyes remain on the road as rap music plays instead of bubblegum pop. When you ask for the restroom, you are given directions to the men’s bathroom. When you order food, the waiters write it down as you speak, not afterwards. There are pluses to the patriarchy that you never observed before in a lifetime of minuses. When you say you are a writer, you no longer hear things like what your cousin once said, nobody reads books written by women. What job are you going to get with that degree? They ask what you write about, if you’re working on a novel. When you say you are autistic, you are not given  anecdotes about how you’re nothing like two year old autistic family members or a list of solutions to cure your puzzle piece: yoga, gluten free diets, essential oils, walking, meditation. When your autism speaks, you no longer have to worry about your voice shaking.

At the airport, your mother is asked if you are her son. You are referred to with he/him/his pronouns, go from a pretty lady to a young man. Sometimes even she slips up, uses your brother’s name for you by accident. You take any spare coats or shirts he doesn’t want, mold your gender from pink to blue like a clay Golem. You asked to cut your hair short in seventh grade, yet didn’t know how to say what you meant, so you ended with a bob—continued to maneuver your hair in the mirror until it resembled a guy’s cut. Each time strangers address you, you can see the multiple choice survey appear instantly before them right above your undecipherable body. Is this person A. Male B. Female or C.Neither? You come out as nonbinary twice, hoping this will give people the explanation they need, then end up at your starting point.

In your senior year of college, once lockdowns end, you try to be zaftig again.

You grow out your hair, contemplate getting a wig, wonder if lesbians can wear sheitels after marriage. You replace suits with dresses, buy the frilliest pink dress you can. It hugs your shoulders and has a lacey bow on the front. Your mother says you look mousey. The fabric clings to your skin too tightly. A friend sees a picture of you and says you look uncomfortable. You feel like you have gone back into the closet. Your shoulders hunch over, your eyes are downcast. You sit with your legs together instead of apart, keep your hands on your lap, speak quieter, apologize more. Men go back to talking to you in Uber rides and seeing phone-tapping silence as an invitation for questions. As hard as you try to be one, a zaftig is just not who you are anymore. You are a mensch. The tally proves it. The next time you wear a suit to synagogue, the sides of your head buzzed off,  you feel like the Torah as the arc opens; your scrolls of truth unfolding. You stand up and down three on your tip toes during Kedushah, repeating Hebrew praises in a chorus of the body’s movement, returning to a place where you finally feel:  holy, holy, holy.

Cratylus’ Pinky in 2022

What does it mean to be lying on my bed

and feel nothing belongs to me? The world is…—

 

Detached? /

/ Simulacrum??

 

—have we finally reached the place where the movie

I’m watching is more real than reality? The irony: the movie

 

is The General, from 1926—the movie is silent, is black

and white, is the kind of thing made when morals

 

were loose and people noticed because reality was still

a thing that existed, a green light’s flashing, if distant.

 

It is December 2022—here is Pennsylvania—I am Lizzy,

now a poet and a wife. These should be my anchors,

 

but I could just as easily write: it is April 1865—here is

Washington D.C.—I am Dolley Madison, once a First

 

Lady, now a painting. Maybe it’s not that things

are less real, it’s that we’re noticing how categories

 

always have been just that: categories, nothing more,

nothing less. The words that stood for something

 

have always been ink on a page. The land we stole

to give our noble ideas a home, a real place

 

we could defend … — In China, people are

waving blank sheets: the thing Kaminsky

 

said he must write upon over and over, to keep the dead

from waving flags of their surrender. The dead in Urumqi

 

are still dead, turned to black ash, while white paper

protests catch wind. Over and over. Maybe simulacrum

 

means this: not that reality ceases to exist,

but reality has always been a place    beyond what’s left to say.

 

Nightly News, 1972

My family forked mashed potatoes, peas,
and Salisbury steak from Swanson’s TV dinners
served on TV trays as a reporter’s urgent voice

narrated poorly filmed scenes: green blur of jungle,
young men toting guns and ammo, helmets heavy.
I read comics as I ate: Batman, Richie Rich,

Sad Sack. What did Vietnam have to do with me?
After school, Keith K. and I played with army men
of metallic blue and olive green, the two sides

in their enmity poured from the same mold
and striking the same poses. A sniper crawled
supine, a soldier raised a bayonet overhead,

one took a knee to steady his bazooka, another flung
a grenade. Some merely marched, weapons slung
over shoulders. Others hunched over rifles,

and their leader wielded only a pistol. In battle,
Keith and I made spitty sounds of gunfire,
hurled dirt clods, and detonated bombs

deep in our throats. We never dreamed up
reasons for our fighting. We just went at it,
gung-ho. Our war was endless

entertainment—until, come suppertime,
our parents called us in. We never declared
who won or lost—soon, our truce would end,

our make-believe resume. I collected my little men
and hosed them clean, while Keith, who’d ground
his troops into the dirt to hide them,

couldn’t find them all. He left them buried.
Maybe they’d turn up tomorrow, maybe not.
What did we know of war? It strikes me,

these years later, Keith’s grasp was far superior.
What happened during. What came after.

The Ballade of Janus in D Minor

January comes, and he forgets to look both ways when crossing
the street. To say forget implies innocence, that it was not a choice.

Light that is not quite morning not yet day sleeping just
below the sky’s marbled skin. Morning is another way of saying

is it over yet? Over his doorway, he staples jade leaves for good luck.
He believes he needs it, his face looking both forward and back,

as if his past indiscretions might help better steer him from the
future’s pitfalls. He does not trust himself with this world.

It is far too thorny, too quick to draw blood. This world wears eyes
in the back of its head, never letting him out of sight.

Where has all the love gone, he often wonders. At crowded
crosswalks, he can nearly feel the velvet breath of the tomb.

Men leave him behind in his bed because he lacks the courage
to transform into a gold finch, a lion, a dragonfly. Anything

that might make him miraculous. Instead, he accepts that he
is a sonata with no name. A music that seeps into the peat

and becomes food for the speckles of creation we cannot see.
When he returns home, he pulls the same books from the same shelves,

elucidating on the machinations of lovers who are closer to being ghosts
than being his own. Time is sour, metallic. Like blood in his mouth.

Like a split lip. He swallows the darkness of his room every night.
Drowns in it. Gorges himself with it. He is imagining waking before

he’s wise enough to fall asleep. He is, most days, merely dying and living.
Living and dying. He is two heads for the price of one,

certainty in the uncertain; proof that nothing, not even love, can be proven.
But today is a good day: he chooses to look both ways when he crosses the street.

Oneiromancy

The Feast of Flowers: A Floral Game of Fortune
Adams & Co, 1869

 

a flower appears in my dream

not nodding

they don’t always nod

and reminds me of Trisha, a florist,

who always told me—

branches in a field of moss behind her—

about arrangements, the structure of corsages,

and the languages no one speaks any more

 

the flower tells me

that humans speak the language of chemicals

but they aren’t very good at it, flowers though

it is their only way

a pause

but that’s not quite right

we use light in ways your eyes can’t see

and now the nod

 

… [Click here to purchase a copy of the magazine]

Imagine

yourself behind John Rawls’ veil of ignorance.
You know nothing about your gender, your country’s stance

on faith or border, your age, your health, your assets. There,
in such a swaddling, pronounce. It gets much harder,

doesn’t it? Suddenly, you become a fan
of the conditional. You write in pencil, not pen—

 

… [Click here to purchase a copy of the magazine]

My Sister the Fire

Anna came in hot / told Mom she was having / an abortion / Mom said wait / and didn’t she
know Mom and Dad / had been trying / to have another baby / and no they couldn’t / could
she? / do it / for her mother? / Anna crackled and heaved molten / warm teenaged tears / ran
from the house / who doesn’t want a mother’s love? / being born a twin / Anna’d always had
half / of everything / Anna said she would / grow into an offering / incubate a sister / ash to
ash / kindle to kin / I saw that she wore / the same / big / black and red polka dot sweater /
day after day / despite the swelter / of summer in Florida / she covered / what she didn’t want
/ her classmates / to see / sometimes Anna let me come near / hold my hand to creation / feel
her shimmer / Anna ballooned into a circle / floated away one day / seemed to me / but they
just took her / chopped her / open / took the baby out / put nothing in / to her arms / I sat on
Anna’s bed / Anna said / I Don’t Want To Scare You / and showed me / the staple marks /
biting her / belly like a bear snare / I wasn’t scared / then / but now I’m a mother / I know /
I could / never / burn my child / the way they burned Anna / from the inside / licking her up /
with their own trapped longing

If You Get This Message

Help. I can’t stop opening my phone.
Someone has placed my life on a high shelf
where I cannot reach it. Help me.
I keep toying with time
like it isn’t a tiger on fire.
Worse, my interest in the rhyme
between satiety and society
makes me full. When it doesn’t,
I try to remember we’re all drunk
under one slant of sun. Help.
I’ve fallen on the concrete
details of capitalism. I’ve had too much
to eat. Please don’t touch me. When thinking,
students say my face looks like hatred.
When thinking about thinking, I imagine
a camera turning in a windowless room,
trying to get an angle on itself. Once,
lifting my hand from an itch,
I saw the ant’s illegible dismemberment.
Worse, my interest in the rhyme
between satiety and society makes me full
of fear. When it doesn’t, I remember a friend’s
recommendation: a good pair of sweats
to weather these secular heavens in. Help. I’ve fallen
through this little window of infinite distraction.
I’ve learned fire ants, on a raft of their own bodies,
can weather floods for weeks. They all survive. Help.
I’ve learned: replace ecstasy with spectacle.
I’ve learned: don’t quit your daydream.
That always, in science, the most pertinent question
is why is there something rather than nothing? I have
had too much to drink. Please kiss me. My ugliness
is needing to be everybody’s good boy. What’s yours?
Worse, my interest in the rhyme between
satiety and society makes me full of fear
I have nothing to say about it. But, you mistook me
when I said nothing has meaning.
I meant it the other way.