Bodies
Try as we might, we can’t
help believing heaven is up,
though the truth is we’ve
no purchase in this black ice
universe, our language
skidding from one nothing
to another––direction, shape.
The what of it: selfless,
unthinged. Also lacking
in edges, although scientists
like to say it’s a tattered
dress, always flaring
outward, if there were out,
in. We stand on the front
porch when spring comes,
our feet bare, scarves
solved cosines mapped
to hooks on the mudroom
wall. We tilt our necks,
believing we look up,
while in fact we’re turning
pirouettes in mad
overlap––orbit, daybreak,
galactic year––plus
plunging headlong
into a nothing so thick
it feeds itself with light
but never shines. Closest,
perhaps, at night, dark-
drunk, when we click
the lamp switch and hope
there is no one we don’t
know standing
in the doorway, and we
slowly come to understand,
while we wait
for our pupils to sharpen,
that whatever called us
stayed behind in the blunt
bafflement we woke from
and we are alone, safe
if not certain.
It’s winter––
the wind hurries by & I steal
some for breath. Rain beads
my wrist & chin, waiting
for an invitation in. I believe
in a heart I’ve never seen,
impassive empath
repeating its dumb ignitions.
It isn’t clear whether
I always exist. Crumpled
socks & cutlery provide
evidence. But parts of me,
barbed, ill-visited, go
missing for months on end.
The Violence
So the glass shifts on the edge
of the shelf
affixed to the other side
of the washing machine’s wall.
The spin cycle starts; the basket
shudders. Or the machine
shifts, the glass edges
from shelf to floor.
Something brilliant
stutters across linoleum.
What seemed single
admits its multitude.
Beside the city’s
little knuckle of ocean,
a tractor trailer
passes. The octopus
who frightens spreads
itself wide as a circus
tent, then gathers
its limbs, grasps away.
Soon now, one of the women
will starburst and a son
slip out of her,
at which point the other
woman will kiss her
will kiss him, and not a single
cell stand still––a body
must forever be made,
must split, must
shed and repair.
Knock Knock
Whose breath?
Whose rock?
Who’s lit from within
and what struck? The room
suffused with a color other
than light.
All deft & decorous
she smiles,
a tender denouncement.
Who doesn’t love
dusk’s double
vision? Squirrels’
barked pontifications
hushing
to the rustle of sleeker
rodents. Bicycle
tires, pooled alleyways,
winter skelter trees,
their leaves long-lost
to sodden lawns,
already half recast.
Break In
I’m not sure if gold, with its memoirs
scribed in blood & threat,
is the right hue for what you might
have seen through the cracks
of the plank cedar fence
with its moss & lichen hemline
on a dark night cold-poached
in mud & falling rain,
your mind full of mutiny,
brandishing one of its old
certainties––that of pursuit––
and you running up an unfamiliar
alley, running nowhere away
from noone in particular.
Yellow, more likely, that parceled
window with its steady light
through the cedar fence, a color
so primary as to be unthreatening,
which must be why you wrenched
the stuck gate, stutter-stepped
the cement stairs, scraped the glasses
from your own face as you dove
through the pet door and fell
into a strange kitchen, eliciting
screams from the women
on the other side of the half-wall,
panicking a cat who hurled herself
behind the couch and wouldn’t emerge
until morning. In that moment,
everyone had reason to be afraid.
Especially you, who’d only come
for help, but now couldn’t stop
the terror from curling out
of you, filling the room like a cloud.
Call the police! you said and the women
did, or rather they had already––
they kept asking you to leave,
but you couldn’t, not until the cops
arrived and grabbed you hard
by the arm, pulling you out the door,
so you left not knowing
that though they’d watch
the back door the rest of that whole
wide night, the women had begun
to care for you a little, saw no
need to press charges,
understood they’d been blessed
with the lesser fear.
Proposal
So be the dress unfastened.
Stop somewhere.
Hold on to your haunches.
Illuminate the way dust does
stirred behind a figure walking
in 5 o’clock sun.
Toe point.
Sharpen your arrows.
Those who falter
will reap their reward.
Vector
Think of the spirits
on the shelf of the liquor store
at the corner of 5th & Plum,
their fine taste of petal
and stem, ingredients
never known by more
than two living monks
these past 400 years.
Think of secrets
guarded that long.
Think of the plastic card
with its raised digits
and mysterious black strip
which reads plain
as speech to the simplest
machine.
Think of the far stars
announcing their births
after 10 billion years––
the time it takes light
to arrive.
Think of what is deliberately
excluded, how it sharpens
the edges
of what’s kept.
Think or don’t,
sometimes you only
get sore reaching.
Start again.
In which direction?
Someone has sent
you something beautiful.
Not in passing.
And there isn’t anywhere
you need to be.
Sonja Dahl is an independent artist, writer and researcher based fluidly between Oakland, CA and Yogyakarta, Java. Her longstanding use of and research about indigo dye is what originally led her to explore other blue arts, including the cyanotype printing process used to make her collages in this collaboration. Sonja’s artwork has been shown nationally and internationally. Her writing and research span topics from the significance of intangible culture in textiles worldwide, to the importance of nongkrong (an Indonesian word for non-goal-oriented hanging out) in sustaining mutually supportive relationships in the contemporary arts. She is always available to nongkrong.
Emily Van Kley was raised in Michigan’s Upper Peninsula, but now lives in Olympia, Washington, where she writes, practices aerial acrobatics, and works at a cooperative grocery. Her poetry has appeared in numerous journals and anthologies, including Best New Poets 2013, Nimrod, The Mississippi Review, and The Iowa Review, among others. She was the recipient of the 2015 Loraine Williams Poetry Prize from The Georgia Review, and holds an MFA from the Inland Northwest Center for Writers in Spokane, Washington.