Bluest Nude
Chapters (44)
- Cover
- Dedication
- I.
- Blueprint
- On Seeing and Being Seen
- Two Girls Bathing
- Marigolds of Fire
- Labor
- Poem After Betye Saar’s The Liberation of Aunt Jemima
- Diamondback
- After the __________, I yearned to be reckless. To smash
- Detail from “Poem After Betye Saar’s The Liberation of Aunt Jemima”
- Primordial Mirror
- Le Sacre du printemps
- After the __________, I had the urge to dance
- II.
- She Said
- III.
- Posing Nude
- Burying Seeds
- At the Fish House
- Why I Left the Garden
- After the __________, I mothered my mother,
- Facing Off
- After the __________, time turned like a mood ring.
- Resembling Flowers Resembling Weeds
- Of Being in Motion
- After the laughter subsided the crying kept after we held hands
- Heaven as Olympic Spa
- IV.
- Bluest Nude
- Bathers with a Turtle
- Slow Drag with Branches of Pine
- Lotioning My Mother’s Back
- Aubade
- A Family Woven Like Night through Trees
- Etymology of a Mood
- Poem After an Iteration of a Painting by Lynette Yiadom-Boakye, Destroyed by the Artist Herself
- Head on Ice #5
- After a Year of Forgetting
- There is a scar near my right eye no lover ever noticed
- Notes
- Acknowledgments
- About the Author
Cover
Dedication
To the most beautiful
“To name ourselves rather than be named
we must first see ourselves …
So long unmirrored in our true selves
we may have forgotten how we look.”
— LORRAINE O’GRADY
I.
Blueprint
As I lay on the prickly grass, grasshoppers chattered
in my hair. I stroked the ground like a beard. No one
sang. The whole sky was watching. It’s animal
piss in the dye pot that makes indigo blue. Blue
seeped out of me, but I wanted to forge it myself.
I was obsessed with making. The yellow leaves
browned; the sugar pine needles refused
to shed. I couldn’t get the pigment right, it kept turning
to mud. I had attempted this before, making wine
from another’s body, stamping and stomping
my grape-stained feet. When I rose, I left the print
of a woman behind. I noticed the pear tree, how it gave
without question; I asked anyway, was asking
again, collecting broken seashells and tiny
elephant figurines. I needed a herd of blue.
I soaked black beans for the color they left. My blue
was a habit, a kind of river I stepped into—sometimes
crossed—because it held the sky so perfectly.
I swung the axe. I swam with my arms.
I hammered nails—though crookedly. Timber
was my sacrum, timber were my metatarsals,
timber was my lungs’ pink flesh, timber was my skull.
I was a blueprint, blue on blue, mapless
but for those warm bones and my red heart barking.
—And when I turned without making my skirt
a basket, when I turned from all the fallen
pears, the sky was full of shaking: wet
with river-water. It wasn’t rain that fell—whatever it was
I collected in the cups of my hands.
On Seeing and Being Seen
I don’t like being photographed. When we kissed
at a wedding, the night grew long and luminous.
You unhooked my bra. A photograph
passes for proof, Sontag says, that a given thing
has happened. Or you leaned back to watch
as I eased the straps from my shoulders.
Hooks and eyes. Right now, my breasts
are too tender to be touched. Their breasts
were horrifying, Elizabeth Bishop writes. Tell her
someone wanted to touch them. I am touching
the photograph of my last seduction. It is as slick
as a magazine page, as dark as a street
darkened by rain. When I want to remember
something beautiful, instead of taking
a photograph, I close my eyes.
I watched as you covered my nipple
with your mouth. Desire made you
beautiful. I closed my eyes.
Tonight, I am alone in my tenderness.
There is nothing in my hand except a certain
grasping. In my mind’s eye, I am
stroking your hair with damp fingertips. This is exactly
how it happened. On the lit-up hotel bed,
I remember thinking, My body is a lens
I can look through with my mind.