There is something that breaks like skin
the sensation is one at once
both sharp and forgettable
We don’t remember pain, they say
because, if we did, it would
compel us to stay inside
But what of the stories we tell of scars?
We keep those memories
until we have made them myths
Our bodies learn to use them
like constellations pointing
us in directions we never thought we’d forget
Fingerprints magnified look
like they are plats of complicated
land—the ownership of areas marked,
existing mostly to exist,
to show that we can imagine
borders—imagine that we can keep
out what we don’t want in
we all have them, the gates we place
ourselves behind—we think we have
the keys, but we never really did
we just have skin
have our gestures—they tangle
too, like skeins of yarn,
like the crossing of our
palm lines when we thread
our hands together
In space, we lose our ability
to see distance
it happens gradually
a loosening of the threads
between us
The Earth when viewed
from above is a whirl
of colors, of light
Space when viewed
from below is a mass
of darkness, of light
We rarely think enough
about the pleasures
of the stars
except when something
remarkable happens
and we’re reminded
how close everyone else
is to the clouds
We believe in doorways
and stitches of thread
Grandmothers have told us
Home is where the Heart is
and the same is true of Hope
But we know how easy it has always been
to pull the stitches out, the threads
will bruise our fingers, the needles
will prick our skin, our blood
is part of this cross-stitch
between doorways
between windows
between us and another
we and them
you and I
Keep our bones sharpened
to points, because it’s easier
to cut the threads between them
when we’re already bleeding
The mountain floods
it pools and shudders
it slides down its own sides
somewhere a street is overcome
somewhere windows look out
into I am sorry’s
I’m trying to help’s
I need to be forgiven’s
Come through into the light,
a friend said,
I can’t see you yet
Years later, when the stones
have reformed and the mountain
is almost something again,
people will say:
I think I remember that flood
I think we thought it was all there was
Where is the water from? and
where does it go to? These tunnels
you built between us
can only hold so much
Climb them, find the ladder
that will lead you into
the heart
of this city, these held together
fires we call streets
they stretch and flicker and flame
The body, too, is a vessel for valves
holding movement inside
so many thousands of actions
and from the surface, like
the water, it looks so serene
Let’s find our shapes
in the images made by someone else
the intertwining of our fingers
are the roots of trees
the curves of wings
we are the swallows
filling the rafters
of a barn, swooping
with the breeze
Find the shapes of others
in the images we make of ourselves
the scars on her skin
are the bones we magnify
in x-rays
we are the pillbug curled
into itself
over and over
until we don’t know where
it begins
only to end
Livien Yin is a Chinese-American visual artist based in Oakland, California. She recently participated in an art and farming residency at Wormfarm Institute in Wisconsin, and is currently pursuing her MFA in Art Practice at Stanford University. View more work here.
Chloe N. Clark teaches multimodal composition and creative writing. Her work appears in Booth, Glass, Hobart, Uncanny, and more. She is the co-editor-in-chief of the literary magazine Cotton Xenomorph. For her thoughts on baking, basketball, and bats, find her on Twitter @PintsNCupcakes.