Contents ( 37)
- POSTCOLONIAL LOVE POEM
- POSTCOLONIAL LOVE POEM
- Contents
- Postcolonial Love Poem
- Blood-Light
- These Hands, If Not Gods
- Catching Copper
- From the Desire Field
- Manhattan Is a Lenape Word
- American Arithmetic
- They Don’t Love You Like I Love You
- Skin-Light
- Run’n’Gun
- Asterion’s Lament
- Like Church
- Wolf OR-7
- Ink-Light
- The Mustangs
- Ode to the Beloved’s Hips
- Top Ten Reasons Why Indians Are Good at Basketball
- That Which Cannot Be Stilled
- The First Water Is the Body
- I, Minotaur
- It Was the Animals
- How the Milky Way Was Made
- exhibits from The American Water Museum
- Isn’t the Air Also a Body, Moving?
- Cranes, Mafiosos, and a Polaroid Camera
- The Cure for Melancholy Is to Take the Horn
- Waist and Sway
- If I Should Come Upon Your House Lonely in the West Texas Desert
- Snake-Light
- My Brother, My Wound
- Grief Work
- Notes
- Acknowledgments
- Dedication
Like, Don’t you want a little light in your belly?
Like the way Orion and Scorpius—
across all that black night—pass the sun.
My brother loosens his mouth—
between his teeth, throbbing red Antares.
One way to open a body to the stars, with a knife.
One way to love a sister, help her bleed light.
These Hands, If Not Gods
Haven’t they moved like rivers—
like glory, like light—
over the seven days of your body?
And wasn’t that good?
Them at your hips—
isn’t this what God felt when he pressed together
the first Beloved: Everything.
Fever. Vapor. Atman. Pulsus.
Finally, a sin worth hurting for, a fervor,
a sweet—You are mine.
It is hard not to have faith in this:
from the blue-brown clay of night
these two potters crushed and smoothed you
into being—grind, then curve—built your form up—
atlas of bone, fields of muscle,
one breast a fig tree, the other a nightingale,
both morning and evening.
O, the beautiful making they do,
of trigger and carve, suffering and stars.
Aren’t they, too, the carpenters
of your small church? Have they not burned
on the altar of your belly, eaten the bread
of your thighs, broke you to wine, to ichor,
to nectareous feast?
Haven’t they riveted your wrists, haven’t they
had you at your knees?
And when these hands touched your throat,
showed you how to take the apple and the rib,
how to slip a thumb into your mouth and taste it all,
didn’t you sing out their ninety-nine names—
Zahir, Aleph, hands-times-seven,
Sphinx, Leonids, locomotura,
Rubidium, August, and September—
and when you cried out, O, Prometheans,
didn’t they bring fire?
These hands, if not gods, then why
when you have come to me, and I have returned you
to that from which you came—white mud, mica, mineral, salt—
why then do you whisper, O, my Hecatonchire. My Centimani.
My Hundred-Handed One?
Catching Copper
My brothers have
a bullet.
They keep their bullet
on a leash shiny
as a whip of blood.
My brothers walk their bullet
with a limp—a clipped
hip bone.
My brothers’ bullet
is a math-head, is all geometry,
from a distance is just a bee
and its sting. Like a bee—
you should see my brothers’ bullet
make a comb, by chewing holes
in what is sweet.
My brothers lose
their bullet all the time—
when their bullet takes off on them,
their bullet leaves a hole.
My brothers search their houses,
their bodies for their bullet,
and a little red ghost moans.
Eventually, my brothers call out,
Here, bullet, here—
their bullet comes running, buzzing.
Their bullet always comes
back to them. When their bullet comes
back to them, their bullet
leaves a hole.
My brothers are too slow
for their bullet
because their bullet is in a hurry
and wants to get the lead out.
My brothers’ bullet is dressed
for a red carpet
in a copper jacket.
My brothers tell their bullet,
Careful you don’t hurt somebody