Meet Me In 811

We Lived Happily During the War

And when they bombed other people’s houses, we

protested
but not enough, we opposed them but not

enough. I was
in my bed, around my bed America

was falling: invisible house by invisible house by invisible house.

I took a chair outside and watched the sun.

In the sixth month
of a disastrous reign in the house of money

in the street of money in the city of money in the country of money,
our great country of money, we (forgive us)

lived happily during the war.

■

Cold Sweat

Drenched in sweat.
I can see the stars
through a bullet hole in the ceiling.
I run my hands through my hair.
My damp trousers
are sticking to my legs.

I hear a noise.
I look around.
There’s no one else in the room.
I cannot feel my body.
I look in the mirror.
It was the chatter of my teeth.

■

The Serving Girl

The calabash wherein she served my food
Was smooth and polished as sandalwood;
Fish, as white as the foam of the sea,
Peppered, and golden fried for me.
She brought palm wine that carelessly slips
From the sleeping palm tree’s honeyed lips.
But who can guess, or even surmise,
The countless things she served with her eyes?

■

Everything is Exactly the Same as it Was the Day Before

mama says: long noodles, long life,
so I slurp them loud, drink gingery
broth—polka-dot beads of sweat
forming as my nose hovers over
the soup’s steam. circles for luck.

circles on my dress. papa says:
make a lot of noise! so the children
bang on pots & pans to hush
yesterday’s demons. later, in the cold,

the family plods up the hill to wonder
at the fireworks, sky like a warzone lit
with spraying flames from Roman Candles—
fire on the ground from Watusi whips snaking
& coiling, sizzling our feet.

I feel it all in my chest—
a drumming,
a warning, a spell.

back in the yard, granny doles out rice
& meat, pineapple liquor, glass bottles
of Sprite. but I am snoring by midnight,
my sisters & I still swathed in red chiffon.

by morning, I cry because I missed it.
I cry because they say I’m not alone.
I cry because home is a warning,
its pulse a whiff of flint in the dark.

■

If I Should Come Upon Your House Lonely in the West Texas Desert

I will swing my lasso of headlights
across your front porch,

let it drop like a rope of knotted light
at your feet.

While I put the car in park,
you will tie and tighten the loop

of light around your waist—
and I will be there with the other end

wrapped three times
around my hips horned with loneliness.

Reel me in across the glow-throbbing sea
of greenthread, bluestem prickly poppy,

the white inflorescence of yucca bells,
up the dust-lit stairs into your arms.

If you say to me, This is not your new house
but I am your new home,

I will enter the door of your throat,
hang my last lariat in the hallway,

build my altar of best books on your bedside table,
turn the lamp on and off, on and off, on and off.

I will lie down in you.
Eat my meals at the red table of your heart.

Each steaming bowl will be, Just right.
I will eat it all up,

break your chairs to pieces.
If I try running off into the deep-purpling scrub brush,

you will remind me,
There is nowhere to go if you are already here,

and pat your hand on your lap lighted
by the topazion lux of the moon through the window,

say, Here, Love, sit here—when I do,
I will say, And here I still am.

Until then, Where are you? What is your address?
I am hurting. I am riding the night

on a full tank of gas and my headlights
are reaching out for something.

■

That’s So Lame

He says when the bus is late, when the TV
show is canceled, when a fascist is elected,
when the WiFi’s bad. That’s so lame! I say
rubbernecking my own body in the bath
-room mirror. See, every time lame comes
out a mouth it doesn’t belong in, my cane
hand itches, my bum knee cracks, my tongue’s
limp gets worse. Some days it’s so bedridden
in the bottom of my jaw, it can’t stand up
for itself. Fumbles a fuck you, trips over its
own etymology, when all I want to ask is, Why
do you keep dragging my body into this? When
I want to ask, Did you know how this slur
feathered its way into language? By way of lame
duck, whose own wings sever it from the flock
& make it perfect prey. I want to ask, How long
have you been naming us by our dead? Baby
-booked your broken from the textbooks of our
anatomy? A car limped along the freeway,
a child crippled by their mother’s baleful stare.
Before I could accept this body’s fractures,
I had to unlearn lame as the first breath of
lament. I’m still learning not to let a stranger speak
me into a funeral, an elegy in orthodox slang.
My dad used to tell me this old riddle: What
value is there in a lame horse that cannot gallop?

A bullet & whatever a butcher can make of it.

■

I want

I want to write poems for construction workers and dreamers
For revolutionaries
For deadbeats and those on the low
I never want to ask please fix us all
I want for us to want
to patch every heart
and pave every road
and destroy every system
that has ever left us
broken. I want to sing
like frank ocean, like wonder
like sonder, like mereba, like the sea
I want to recite the line
Took the wretched out the earth
Called it baby fanon,
I want to call someone baby.
I want to stop smoking because I want to live,
I can only love my comrades if I live,
and I want to clean my room,
I want to clean my room every week
and make my bed and put peppermint in my hair
to stop needing my inhalers
and to inhale solidarity, and to eat the rich,
I want to eat the rich, to cancel the rents,
to know my neighbors
and to know my neighbors
are safe. I want to move like water, to move
from unity to struggle to unity,
to have no perfect world we haven’t fought for.

■

Mountain Dew Commercial Disguised as a Love Poem

So here’s what I’ve got, the reasons why our marriage
might work: Because you wear pink but write poems
about bullets and gravestones. Because you yell
at your keys when you lose them, and laugh,
loudly, at your own jokes. Because you can hold a pistol,
gut a pig. Because you memorize songs, even commercials
from thirty years back and sing them when vacuuming.
You have soft hands. Because when we moved, the contents
of what you packed were written inside the boxes.
Because you think swans are overrated and kind of stupid.
Because you drove me to the train station. You drove me
to Minneapolis. You drove me to Providence.
Because you underline everything you read, and circle
the things you think are important, and put stars next
to things you think I should think are important,
and write notes in the margins about all the people
you’re mad at and my name almost never appears there.
Because you made that pork recipe you found
in the Frida Kahlo Cookbook. Because when you read
that essay about Rilke, you underlined the whole thing
except the part where Rilke says love means to deny the self
and to be consumed in flames. Because when the lights
are off, the curtains drawn, and an additional sheet is nailed
over the windows, you still believe someone outside
can see you. And one day five summers ago,
when you couldn’t put gas in your car, when your fridge
was so empty — not even leftovers or condiments —
there was a single twenty-ounce bottle of Mountain Dew,
which you paid for with your last damn dime
because you once overheard me say that I liked it.

■