Wednesday, April 5, 2006

This is a monster’s dream, conveyed to me by phone:


I sculpt the missing parts of a dog out of leftover pizza. He whimpers when I make him eat it.
It’s the custom here, so I try not to pause when I see youths floating in formaldehyde.

What poetry? I can peel the poetess, layer by cling-wrap layer.
What’s-Left-Behind speaks. This is what he tells me:

"Do you want to know how to control poetry?
Every third day I lose my middle toe. And on that day I’m sure I’m not a poet."

Wednesday, March 1, 2006

Paschal


On a pilgrimage with my brother
to pay homage to our sister’s new child.
A path around the mountain, past tiered adobe houses
dusted white, dusted tan,
dusted with powdered sugar and cocoa,
climb the right ladder to the white hut, and there,
on a bed on stilts that rests on the dusted floor,
she is.
My sister’s daughter.

Eyes oval and complex like a fly’s,
rainbow sheens across the countless facets of their lenses,
facets arrayed like tiles on a roof.
She’s big, too, and learns quickly.
It seems like a secret,
a bond, because I remember the interminable wait
for my little brother to learn to speak,
but this one already understands.
Quick to learn,
and already trying to soften things for other people.

Even if no one else can, I can see
that Fly already knows how to move out of the way,
to put the broom within my sister’s reach.
It seems like a sweet, if sad, trait,
but my mother, Fly’s grandmother, speaks.
Marked.
By her eyes, she’s marked.
I knew about that, but not about the way Fly’s skin scars,
tender to the touch like a the skin of flu patient.

Marked, but so what? I’m marked too.
But my mother the witch, the wise woman --
she says it’s a sign of no good,
like Fly’s cleverness, too. She’s a changeling.
And I can already see my sister fading
as she foresees that the child will get taken away.
I can see now why Fly tries so hard to please even on this,
her second day of life.
I understand about being different,
about the cleverness you develop
in trying to pay off a guilt that was never your birthright.

Whose guilt is it? And who will pay for the loss of this one?

Tuesday, February 21, 2006

Semi-Crown of Sort-of-Sonnets for Sasha

I
I met a girl named Sasha yesterday.
She asked me how her blue-gray eyes appeared
when she stared through me to the wall beyond.
“The mirror doesn’t show me how they look,”
she said. I knew, because I too had tried
to see my eyes unfocused in the glass.
“I know,” I told her, wondering, because
who knew another person thought of eyes?
Of retinas and focus length, and how
observers classify one’s crooked gaze?
“I like you.” That’s what Sasha said. “I like
you too,” I said, and leaned into her arms.

Wednesday, February 15, 2006

Meditation upon Wondering Whether My Brother Will Visit Soon

It’s hot in the department store.
My mother’s mission: Buy a Shirt for Brother.
My brother’s mission: Thwart Mom's Mission.

I am a loyal sister who cries when my brother gets a spanking.
My mission: Be Brother's First Lieutenant, i.e., We Must Leave the Store Shirt-Free.

The sooner we exasperate my mother, the sooner we leave.
I broadcast my conspiratorial boredom by wandering off a little,
among shirt racks and ties
and beige new-clothes-and-metal-poles smells.

My brother marches indignantly towards me
holding a shirt that’s on the teal end of sky blue.
“Do you like this shirt?”
I do, but I remind myself,
We Must Leave the Store Shirt-Free.

My answer is clear.
“No.” Ummmm, “Too plain.”

But wait! I spy drooping hope.
“I thought you’d think it was pretty.”

But—the mission—………and yet,
“Oh, yeah, I mean, I do think it’s pretty—”

Too late. Nothing I can say will take it back.
All I want in the world
is for him to know
that I’m on his side.

Ten summers afterwards,
I will still rewind that conversation
wishing I could get it right.
But by then I will believe my brother
when he reminds me that the best way
to be a good first lieutenant
is to believe my own eyes.

Thursday, February 2, 2006

Betrayal

In the summer you write me a letter
about the smell of porch wood in the sun.
In the winter
you and I
stand in the blistering cold
and sing a duet at a bus stop.

When winter comes again
you say
“I don’t like to sing with you
and I never have.”
I ask myself
could it possibly have been you
who noticed the smell of wood?

I don’t believe you exist.
I don’t believe you have ever existed.
The porch-wood you.

I tell you this.
Do you have an opinion?

The phone rings.
You’ll tell me your opinion later.

It’s later
and you have found me in my room.
I ask silently,
What is your opinion?

You offer me a pack of unwanted
yellow flowery tissues.
Is it a peace offering?
I don’t want them
but would rather take them than waste them.
You know this and
sneer at me for it.
Not a peace offering, then.

What just happened? asks my roommate.
Laughter rips through me like retching.
Violent,
unexpected,
unwelcome,
unquenchable.

It’s later still.
A spider jumps into my life like an
unmet deadline.
I leap away and stand back breathing hard, wielding a
yellow flowery tissue,
this my bayonet against my harmless opponent.
How silly;
and yet I can’t let him go,
can’t let him inhabit my bed like a
forgotten errand,
lurking at the margins
unseen but at times suddenly
urgent.

I lunge and hold my breath,
willing myself absent for the moment of death.
But even though I hold my breath and close my eyes,
I am still far too present at the moment when
a tiny spider infrastructure
fractures under my thumb.
The crunch,
like a bite,
makes me jump and shiver.

I am shuddering. But I
revel in the
fate of your
yellow flowery tissue.
How quivery it looks now,
faux forty-cent optimism
lined with something dead and
leggy.

How crystalline.

Sunday, March 6, 2005

Healthy v. Potentially Destructive Self-Interest in The God of Small Things and Samskara

Both Arundhati Roy’s The God of Small Things and U.R. Anantha Murthy’s Samskara are centered on the debate over traditional societal structure versus individual agency. However, the two novels differ in theme: The God of Small Things unambiguously supports individual agency over traditional structure, whereas Samskara presents a more complex view in which both sides are shown to have flaws and merits. Both authors use types of self-interest on each side as a lens through which to present their cases: in The God of Small Things, we find destructive self-interest only on the side of tradition, whereas in Samskara, we find it on both sides of the divide.

In The God of Small Things, the conflict between tradition and individual agency surfaces in the form of the “Love Laws”—laws inherent in the societal structure that forbid love between certain people, such as between people from different castes, and such as between siblings. (“[It could be argued t]hat it [all—the sequence of events that would lead to a great deal of destruction] really began in the days when the Love Laws were made. The laws that lay down who should be loved, and how. And how much” (33).) The novel tells the story of twins, Esthappen and Rahel. Their family owns a canning factory, which has employed an outcaste man, Velutha. The children enjoy playing with Velutha. Their mother, Ammu, who has been abandoned by her husband and is increasingly shut out from the management of the factory by her un-business-smart Oxford-educated brother, falls in love with Velutha and meets and sleeps with him secretly. When Velutha’s father realizes what is going on, he tells Ammu’s mother, Mammachi. She and her sister, Baby Kochamma, lock Ammu in her room, where, in her desperation, she curses Rahel and Estha through the door.

Tuesday, March 1, 2005

Waiting

Gray grit under red plush
My nose dabbles in gray lint
Eyes fight ancient loose flesh
Begone, obstinate gray tint!

I sift fragrant pale dust
Pastel chemical sharp guilt
Can’t shed jaded aged sight
Beware—lavender scenes melt.

Why come, scarlet strange gust?
Return, vanishing life’s glint!
Don’t dare tremble, heart’s thrust,
Despite spiraling scarred faults...

Stiff grip grabs a stuck crust
My nails wiggle a stale mint
One chance finds my choice lost
Intent tangles my round brush.