Chapters (43)
- Cover
- Note to the Reader
- Acknowledgments
- Dedication
- Still Life
- Hum of the Machine God
- Athazagoraphobia: Fear of Being Ignored
- How to Disappear Completely
- Man Matching Description
- The Sky, Now Black with Birds
- Looks Like a Boy
- A Detroit Hum Ending with Bones
- On Metal
- Masticated Light
- On Gentleness
- Chionophobia: Fear of Snow
- The Boy Who Bathes the Dead
- Thalassophobia: Fear of the Sea
- Coming Back for You
- Hum of the Machinist’s Lover
- Hum for the Hammer
- Neat
- How to Get Your Gun Safely Out of Your Mouth
- And Even the Living Are Lost
- Aichmophobia: Fear of Needles
- I Do Have a Seam
- Triage
- The Man Who Paints Mountains and Helicopters
- Hum for the Stone
- The Girl Who Builds Rockets from Bricks
- Mechanophobia: Fear of Machines
- Pomegranate Means Grenade
- The God Engine
- Paper Frog on Spring
- Thinking Like a Split Melon
- If They Hand Your Remains to Your Sister in a Chinese Takeout Box
- Paper Crane on Letting Go
- Hum for the Bolt
- Paper Tiger to Wind
- Macrophobia: Fear of Waiting
- The Hum of Zug Island
- Ask What I’ve Been
- About the Author
Go ahead and squeeze, but not before you put on some tea, clean two cups, lift shades and pin back curtains. Not before the end of this song, before dawn reaches in, before you turn the page or a woman apologizes for dialing the wrong man again—not before you learn her name, how to pronounce it, how to sing it with and without regret catching in your throat—Are you done? Go ahead and squeeze after the hinges are reinforced on all doors, the house secure from storm or intruder, your laces tied, this commercial break over, drywall taped, spackled, painted—a nail driven, a painting hung and adjusted—there is still so much to adjust, arrange, there is still time—and you write your letter, correct every letter, scrawl the signature so swift and crooked it becomes the name of another—relax the jaw that holds the barrel in place, remove gun, point to heaven, and squeeze until the clip is empty like the chamber.
And Even the Living Are Lost
And Even the Living Are Lost
Pigeons scrap over a crust of bread while feathers
fall into filthy runoff water. The gutter spits them
down the throat of a sewer. The sewer gives us nothing,
the curb at least returns the dice.
Today, it is meaningless to look for your fist,
there, shaking until the rattle of bones
sounds like winning. You wanted to see clean water
someday, eat sambussa in Ethiopia and fumble
a foreign tongue. Now, in prison, you are as far away
from Dexter Ave as you’ve ever been.
Yesterday your son pressed his nose to the screen door
to watch a gaggle of baseball caps crowd the sidewalk.
The bones did what bones do.
Streetlights buzzed with their particular sadness.
The last night of your last free summer, streetlights
added a sickly orange glow to the shimmer
of guns, slippery with sweat, so your son could see
the casual havoc of it all. He watched the teeth
of handcuffs close around your wrists the way
a perched bird watches: quiet, flinching at slight sounds.
The dice game erupts, a bottle shatters, a door slams shut
and the sound ricochets off pavement, darts off
like some worried pigeon while your son stares at us.
How long has he been staring at us?
Aichmophobia: Fear of Needles
Aichmophobia
Fear of Needles
Understand, uncle, I learned the plunger
of a hypodermic needle fit neatly in the hands
of action figures before the first time
I had my blood drawn.
Maybe this is why I couldn’t make sense
of my sister’s trembling legs as we waited
for the crooks of our elbows to be needle-kissed.
There’s so much I didn’t know then:
how much fear I needed to carry,
the definition of skin flute,
why the back of my hand was struck
after I found, lying in woodchips,
what I thought would make a sturdy sword.