SATURDAY POETRY SERIES PRESENTS: LAURA YES YES

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By Laura Yes Yes:

SALEM 1994
(With touring partner Kim Johnson)

Courtesy of Jason Flynn’s youtube channel.


COLLEGE TRANSCRIPT

Courtesy of West Side School for the Desperate’s youtube channel.


Laura Swearingen-Steadwell (AKA Laura Yes Yes) has competed in slams nationwide, notably as a finalist in 2010’s Women of the World Poetry Slam. She tours and leads workshops as part of the queer female duo Shadowboxers Anonymous. Laura’s first book, How to Seduce a White Boy in Ten Easy Steps, was nominated for a National Book Award. She is currently an MFA candidate at Warren Wilson College.

Editor’s Note: I had the pleasure of seeing Laura Swearingen-Steadwell perform at louderARTS this week. louderARTS is home to a longstanding open mic, reading series, slam forum, and workshop series. Monday nights in Manhattan’s Bar 13 have been turning out the likes of Roger Bonair-Agard, Ocean Vuong, Elana Bell, Sabrina Hayeem-Ladani, John Paul Davis, Regie Cabico, and countless other rising stars and champions of the written and spoken word for years. The tradition continues every week. Show up at 6:00, like I did, and be treated to a FREE writing workshop with louderARTS members and visiting workshop leaders. I was lucky enough to kick off my evening with a workshop lead by today’s featured poet.

When Laura Swearingen-Steadwell opened up “Salem 1994” by inviting us all to join in a Kumbaya-esque rendition of Alanis Morissette’s “You Oughta Know,” I was all in. When the performance morphed into a feminist celebration of the songstresses who have been writing and performing the soundtrack of my life since I was fourteen years old, the poet officially had a new fan. When she performed “College Transcript” we were all invited to call out “brain,” “cunt,” “liver,” “fist” to accompany each of the poet’s hand gestures. It was fun. It was interactive. It was engaging. And it was truth, spoken from the poet’s own honest experience to resonate with our own. This is a poet who speaks her mind, who speaks her heart, who tells it like it is, unafraid, claiming the world for herself and for us all.

Want to see more by Laura Yes Yes?
“Habitat”
“Octopussy: The Playboy Interview”

“Thinking of Chickens” By Paul Crenshaw

 

Thinking of Chickens

By

Paul Crenshaw

 

Travel for long in the state of Arkansas and you’re likely to find a chicken. Not that chickens run rampant, crossing the proverbial road at will, but the countryside of Arkansas, The Natural State, is littered with the makings of the chicken industry, which are, as you may be aware, unnatural. Shimmering in the Arkansas heat, long rows of chicken houses line state highways and county roads and dirt tracks where the plumes of dust from passing trucks linger in the air. In remote backwater spots gut factories slaughter tens of thousands of chickens a day, where local streams are usually, though not always, the color of old puke. In the cities packing plants light up entire blocks, generators whirring into the night, and semi trucks, bound for all corners of this great land of ours, provide a regular convoy to and from said plant.

In Arkansas, there is Wal-mart and Tyson. Wal-mart, I think, needs no introduction. Tyson is chicken. And though Wal-mart might be the more ubiquitous by sight, Tyson holds top honors in the olfactory genre. Often, farmers lace their fields with chicken manure. Combined with the dry Arkansas dust that settles on the fields, it is not a pretty sight. Or smell. Gut trucks weave along narrow county roads, leaving a swath of olfactory offense in their wake. And, without going into a chemistry lesson on the decomposition of shit, suffice it to say that during the breaking down process of chicken manure, ammonia is produced, which, combined with the yellow fertilized fields and the loud rumblings of passing trucks, offends at least three of the five senses.

A chicken house can be a hundred yards long and house 25,000 chickens. This is not a small chicken coop, where a dozen or so chickens produce eggs, scratch around the yard, and wake the neighbors at 5 am. These CAFOs (concentrated animal-feeding operations) litter the countryside of the South. Tyson, the largest poultry producer in the world, supplies local growers—who work under contract—with chicks, feed, medicine, and transportation. Growers, then, are responsible for construction, maintenance, and labor costs, as well as disposing of massive amounts of manure.

They are paid by results. And though the data is often conflicting, with industries like Tyson claiming growers are paid well, and environmental groups like Grist! claiming low wages, one rarely sees, at least in my home state, chicken houses butted up against mansions, the wavering light from the backyard swimming pool reflecting off the rusted tin roofs of the chicken houses, or see people sitting on their back deck drinking champagne and conversing over the constant clucking a few feet away. Instead, the industry seeks out rural areas, where poorer farmers are often trying to find ways to hang on to their farms, where the neighbors won’t complain, mainly because they are in the same situation, and there is no unifying body that will group together to keep them—Tyson, Cargill, and other poultry producers—out.

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They are called chicken houses, but they are not chicken homes. The houses are relatively clean before the chicks arrive, and seemingly spacious, but once the chickens near the end of their incarceration, they have produced massive amounts of waste and taken up all the space of the chicken house simply by growing. The industry average is less than half a square foot of floor space per bird, and though that is only slightly smaller than the size of the average college dorm room, college students are allowed out of their rooms to attend class and drink and karaoke and have pre-marital relationships with others of their kind, which, of course, chickens are not allowed to do.

They require tons of work. The water troughs—hundreds of them in each house—must be cleaned with bacterial soap. The automated feeders must be checked and re-checked, the windows adjusted for heat, and the dead chickens gathered for disposal. It is hard work in the summer, the hot air thick with chaff and flies, and the smell so strong in your throat you can taste it. Add to that rodents, maggots, flies, fertilizer, gut-trucks, polluted water, summer heat, and the dead pits. Ten to fifteen feet deep, ten to fifteen feet wide, the dead pits are covered by a concrete slab, not unlike a storm cellar. Each day, as the house fans circle slowly overhead and workers move through the hot air feeding and watering and cleaning, they throw the dead into the dead pits, where, throughout the summer, as the flies get in and lay their eggs and then the maggots appear, they squirm and writhe, seething, and the smell seeps out of the ground and into the air.

The numbers of dead, of course, are less in winter, or else the cold keeps the maggots out and it only seems there are less of them. In summer, the various factors that cause deaths are too numerous to go in to, and though we are only talking about chickens here, many health-related organizations, including the Centers for Disease Control and Prevention, have raised the possibility that we don’t really know the long-term effects manure and other types of pollutants will have on our general health, ecosystems, and air quality. They do, however, post a list on their website of public health concerns, which include antibiotics, pathogens, nutrients, pesticides and hormones, solids such as feathers and feed, and trace elements of copper and arsenic which may or may not get into our groundwater.

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Besides the human element, there is the ethical argument about animal treatment, welfare, and general happiness (of the chickens). The rabid-protector of animals group, PETA, has, among other things, requested that Kentucky Fried Chicken (KFC) implement basic improvements in animal welfare, and boycotted the food-maker, stemming from allegations that KFC “does chickens wrong.” PETA has also boycotted Burger King, Wendy’s, and McDonald’s. Some of the improvements PETA asked be implemented include:

“That the company conduct announced and unannounced audits of all its cow, pig, and chicken slaughterhouses, and stop purchasing from suppliers that fail these audits; increase the living space for hens being raised for their eggs; stop starving chickens in order to force them to produce more eggs; and implement humane catching standards for chickens.”

Among PETA’s claims are that the chickens are overcrowded; that they are fed stimulants and hormones that cause them to grow so quickly that bones break and organs no longer function correctly; that they are subsequently grasped by these broken appendages and stuffed into small crates to be transported to the slaughterhouse where they will often be scalded while fully conscious.

McDonald’s, Wendy’s, and Burger King agreed to PETA’s requests. KFC states it has a “comprehensive animal welfare program,” but has refused to implement the improvements PETA has requested, which roused PETA to post a long list of grievances on their website, as well as videos, literature, “Boycott KFC” shirts, and vegetarian starter kits.

Are chickens smart enough to realize they are not being treated fairly? Is ignorance bliss? Are chickens ignorant? Or simply unhappy, like most of the rest of us? Do the mass of chickens lead lives of quiet desperation? Did the chicken cross the road to get away from the unhappy conditions of the chicken house, only to find that there was another one waiting for him on that side of the road as well?

An article posted on govegan.com states that chickens are “inquisitive and interesting animals whose cognitive abilities are more advanced than those of cats, dogs, and even some primates.” That they are social creatures, they can recognize up to a hundred other chickens, and they have their own personalities. They can “comprehend cause and effect and understand that objects exist even after they are hidden from view” which “puts their cognitive abilities above those of small human children,” and while that is high praise for the lowly chicken, we’re still talking about an animal that will defecate in its own water and food, as well as an animal that will, when bored and not de-beaked, peck at another chicken until it is festooned with gaping wounds, which leads one to believe that the appreciation of the finer things in life might be lacking in them.

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Consider the common chicken. Gallus gallus domesticus, which, for purposes of our essay, shall be known as a broiler chicken. Pre-1930s, which means pre-John Tyson and pre-vertical integration, a micromanagement term for ownership and control, whereby companies are united by a hierarchy and share a common owner (John Tyson), chickens were valued for their eggs, and only slaughtered on special occasions (which could, I suppose, be considered an honor. Of sorts). They lived a life of leisure, pecking around the yard, finding worms and bugs, laying eggs, et cetera and et cetera and et cetera, until the day came when grandma stepped out back carrying a hatchet and they fled for their lives, which may be the reason so many of them decided to cross the road.

With the advent of hatcheries, chicken houses, and slaughterhouses, the life of the chicken changed dramatically. A fertile chicken egg takes 21 days to hatch. Chicks hatch from the egg able to see and walk and feed themselves (they are also cuddly and cute, and that, combined with the fact that they have very little meat, is probably why we don’t eat them then). To prevent diseases that might kill off the chicks and therefore profit, the chicks are vaccinated before they leave the hatchery. From the hatchery, they are loaded onto transport trucks that will take them to their new home, where they are unceremoniously unloaded into a long, not very wide house with 25,000 or so other chicks. I suspect identity might become an issue at this point, if chickens had an intelligence quotient higher than one. But, here, they gambol and cavort (actually they do much more eating and defecating and occasionally pecking at each other) for anywhere from four to twelve weeks, depending on whether they are to be marketed as spring chickens, broilers, or larger roasting birds.

The houses are floored with sawdust, shredded newspaper, or straw, which becomes increasingly slippery and fouled (no pun intended) as the chickens eat, defecate, grow larger, and then defecate more. Feeding, watering, lighting, temperature, and ventilation are carefully controlled, reasons being that A) growers want maximum growth of the chickens, and B) so they don’t kill each other (more light makes a chicken more aggressive). Farmers can grow five or six batches of chickens a year, with a period of two to three weeks between batches for cleaning and fumigating. The litter, sawdust, etc., must be dumped, since most of it is now soiled with feces and urine.

Trucks arrive a few hours before dawn, when the chickens are asleep. They are snatched up and thrown into the trucks, where, unbeknownst to them, the slaughterhouse awaits. Here’s where things get messy. It is also the point where one might ponder the industrious ways we have of killing, the factory line regularity of it all. I suppose one could make a metaphor for war here, or firing squads or gas chambers, but the next few pages are gruesome enough without all of that.

The chickens are hung upside down by their feet on a continuously moving line and an inspector gives them an ante-mortem inspection, which causes me to wonder the sorts of things that would cause said inspector to reject a bird. One supposes signs of disease and the like, but remember that we are talking about a bird that has been housed with 25,000 others of its kind, all shitting on each other and sleeping in piles of shit and drinking from water that others have shat in.

The chickens, upside down and having passed inspection, enter the slaughterhouse through a narrow opening and are immediately stunned, usually by an electrical current running through down-hanging wires or by an electrified water bath. Their jugulars are sliced open. They then pass through a bleeding tunnel, where an estimated 50% of the blood is removed.

Still upside down, they are scalded next, the hot water softening the skin for the defeathering process. They pass through large drums where rubber discs or handles beat at them until they are depilated of all unsightly back hair. Once defeathered, their feet are cut off, and they pass from the “dirty” section of the slaughterhouse to the “clean” section, which is almost, but not quite, like going from junior high to high school, only in reverse.

Here they are vented and drawn, which sounds nice, but venting is opening their guts with a pair of stiff shears and drawing means to draw out all the guts. The edible offal—heart, liver, gizzards—are removed for further cleaning. The head is pulled off. The neck is cut off. The birds are then washed, chilled, drained, and frozen.

So, to review: hung upside down, shocked and stunned, throat cut, scalded, defeathered, vented, drawn, decapitated, washed, and prepared to be shipped to all parts of the country where someone like you or me is browsing through the meats section at our friendly neighborhood supermarket, wondering what to feed our children for dinner.

#

But knowing what we know now of diet, the popularity of the chicken continues to rise. High in protein, low in fat, with much less cholesterol and other bad things than, say, red meat or pig fat fried in lard, the chicken is good for us. And it’s tasty.

Most people never see the dead pit chicken, or the non-point source pollution-causing chicken, or the chicken that has been de-beaked because chickens in close quarters will eventually turn on each other, like most other animal species, and with their beaks fully intact, they will, literally, peck each other’s eyes out, all of which revolves around some sort of chicken caste system, which gives rise to the phrase “pecking order.”

But the fried chicken is divine. Dipped twice in egg-wash and flour, then fried at precisely 350 degrees for twelve minutes a side, lightly salted and peppered, the fried chicken is revered. Franchises like KFC, Popeye’s, and Bojangle’s litter fast-food highways, much the same way chicken houses litter state and county roads in the rural South, though the smell from one is not quite as bad as the other.

There’s also baked chicken and grilled chicken and broiled chicken and rotisseried chicken, chicken and mushrooms and chicken and rice and chicken and dumplings and chicken and almost anything. In Chinese restaurants there’s sesame chicken and walnut chicken and cashew almond chicken and sweet and sour chicken and General Tsao’s chicken and chicken egg rolls and, depending on where said restaurant is, chicken nuggets, much like McDonald’s chicken nuggets, which brings us to the chicken strip or chicken nugget or chicken chunk or whatever name the fast-food industry can come up with for a de-boned and deep-fried piece of chicken.

This is not to mention Italian or French or Mexican or Indian or any other type and/or style of food that I do not know enough about to converse intelligently upon. Nor is it to mention the use of chicken as a breakfast meat, a deli meat, a flavor for snack crackers, or an appetizer such as wings or bite-size buffalo chunks.

But it does take a stubborn nose and selective memory to put aside such concerns as waste, pollution, dried chicken guts in eyebrows, and, for lack of a better word, stink. But if there’s one thing I know about America as a country, is that we will not let small things like non-point source pollution or maggots get in the way of something we really enjoy. And, since it’s entirely possible to avoid rural areas if you don’t live in one, it is now, despite the large and growing numbers of chicken farms, quite easy to go through a day, or several days at a time, without seeing any of this, thereby erasing and/or forgetting and/or never realizing or confronting said concerns, but rather, enjoying the chicken in what for most of us is its natural state, which is to say, cooked.

#

All this occurred to me, suddenly, not too long ago, as I reflected on a rather unsettling two weeks of my life, in which I found myself called to military service to defend the chicken.

In the winter of ’93 my National Guard unit was activated. I received a phone call with a code named operation order, and after an hour or two of turning over various military excursions in my head and wondering what foreign country I would be sent to, I drove to our armory to learn about the more serious nature of the activation: three inches of ice had fallen on Northwest Arkansas, and hundreds of chicken and turkey farms were without electricity. Our job was to save them, launching Operation Save the Chickens, which would, in the next two weeks, save the Arkansas poultry industry millions of dollars. In groups of two, ice still falling all around, coating everything with a thin, and then thickening, layer, we loaded diesel generators into the backs of Hum-vees and were directed to the first of what would become many chicken houses. There, we hooked up the generator to the houses and sat shivering as warmth slowly returned, and, once done, we moved on to the next, and the next, often sleeping on cots inside the houses, where, in many of them, the smell was so overpowering we donned our gas-masks to be able to breathe.

The farmers became a litany of older men, usually short and balding and slightly overweight, with thick red hands and chapped faces filled with worry, watching with a fretful eye the temperature in his houses slowly climb, and there is for me now more than one set of conflicting emotions, such as why the governor spent state money to save a private industry, and why did I not bring a toothbrush, and why, instead of teaming up with Jonathan Britton didn’t I team up instead with Nikki Irby, one of the only females in my unit, who just happened be the same age as me and did not look too bad in camouflage.

It would be the first and only time my unit was activated for military service. We’d been left out of Desert Storm. Had missed Vietnam long ago, before my time. I’d be gone when Operation Iraqi Freedom began. But there were a few nights—tired, possibly hung over if we’d been able to slip in a bottle and the chicken farmer left us alone long enough to drink it—when we felt like old campaigners, like the guys in All Quiet on the Western Front who steal the chickens or ducks or whatever it is and have that moment there towards the end.

But this is all cloudy and vague, a few fleeting impressions. The smell of the chicken houses is still thick in my throat however, the eye-watering rising of ammonia, the dust and chaff that hangs in the air. I remember making four or five hundred dollars. Kicking chickens when they would not get out my way. Never, at any point during the entire operation, wondering if the chickens were happy, or that chickens could be happy, or that chickens even knew what happy meant, or what this was all about, or are slaughterhouses inhumane, or is eating meat of any kind inhumane, or realizing, through a process of looking ahead, that one of them (the chickens) might someday end up on my table, twice-dipped in flour and fried to a crisp golden brown.

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I didn’t set out to write about the slaughtering of chickens, but rather to simply describe the chicken houses in my home state and the noxious effect they have on the surrounding countryside and what could possibly be done about it, but it seems there are deeper concerns than whether or not you might be forced to follow a loaded gut truck on your way to the lake on a hot summer afternoon.

I wonder if our concern for the chicken stems from the realization that we are not so different. The mass of us crowd ourselves into cubicles and office spaces under artificial light, squawking and scrabbling for food, pecking at each other, dumping our waste wherever and whenever we see fit, dreaming of crossing the road, just to see what’s on the other side.

The animal lover will argue here that we are indeed very different from the chicken. We have choices, and it is our choices that force such conditions on the animals. As well as it is our choices, over long periods of time, that have allowed the world to become this way. And we are not eaten. Ever. There is always that.

The environmentalist will argue as well. That the chicken has no choice but to defecate in its own food, but I posit the idea that we do the very same. That in our attempt to satiate our own desires, we allow industry to run roughshod over lesser creatures like chickens and turkeys and all sorts of flying and non-flying fowl; over poor farmers and their neighbors; over ecosystems and rivers and lakes and the Arctic National Wildlife Reserve; over Iraq and any other country in which we have a vested interest; and we do nothing to stop any of it and we are, in effect, shitting all over the world in which we live. That because of our insatiable need for food, oil, money, SUVs, new houses, college educations for our children, swimming pools, Viagra, Vicodin, vodka, a better life, the other side of the road—that in our pursuit for what we often consider the finer things in life we run around like chickens with our heads cut off, listening to chickenhawks who promise a chicken in every pot and acting like birdbrains when we believe them.

I don’t attempt to offer answers here. That would be a matter for a far more philosophical discussion that others have already made and there is no need for me to re-hash. In a perfect world animals would gambol and cavort until old age and then we would ceremoniously and euthanistically slaughter them and revere their souls as we partook of their sustenance, and sustainable farming would protect the environment while we went on about our daily lives blissful and unoffended by waste, treatment, odor, etc.

But we have neither the time nor the luxury nor the appetite for such now. Like the chicken house a few days before gathering time, we have crowded the world in which we live and are forced to deal with it. And though there’s a long way between what we need and what we want, if there is an answer, it’s that we should attempt to bridge the gap, or at least narrow it somewhat. The entire point, it seems, behind the old humorific about the chicken crossing the road is that no one, including the chicken, has any idea what lies on the other side, although I prefer to think of a world without maggots in my groundwater.

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Paul Crenshaw’s stories and essays have appeared or are forthcoming in Best American Essays 2005 and 2011, anthologies by W.W. Norton and Houghton Mifflin, and the literary journals Ecotone, Glimmer Train, North American Review, and Southern Humanities Review, among others. He teaches writing and literature at Elon University. “Thinking of Chickens” originally appeared in the Southwest Review and is reprinted here by permission of the author.

 

Image Credit: “Chicken” Schreiber and Sons (1872) Digital image courtesy of the Getty’s Open Content Program.

SENTIENCE MATTERS: ANIMAL RIGHTS & LITERATURE

 

 

Writing Literature to Benefit Nonhumans

by

Gabriel Gudding

 

This is the first post in a monthly column about animal rights and critical animal studies.

Because I’m a poet and essayist some of my posts will move beyond the strict scope of animal rights philosophy and will concern literature specifically as it relates to nonhumans, veganism, and zoopoetics.

Zoopoetics is a new movement in literary theory and practice that treats nonhumans as individuals with agency, as conscious world-having individuals worthy of moral consideration.[1] Think Kafka, Coetzee, D. H. Lawrence. Think Oni Buchanan and Aracelis Girmay, Les Murray and John Kinsella, Gretchen Primack and Ashley Capps, among countless other innovative writers and editors actively helping to reconceive our relationships with nonhumans.

Zoopoetics is markedly different from ecocriticism, ecopoetics, ecopoetry, and ecological literature in general. Such movements are not concerned with nonhumans as individuals; rather, they are concerned with animals as populations. When they do concern themselves with nonhumans, the essays and anthologies in these genres typically express disquiet about threatened favored populations of animals in the wild — wolves, eagles, bison, monarch butterflies — and rarely if ever mention the plight of farmed animals or question the practice of enslaving, killing and eating the bodies and secretions of nonhumans. The animal in these works is aestheticized and collective. Terry Tempest Williams, for instance, might protest the killing of prairie dogs and owls in the Utah desert, as a part of the general “subjugation of women and nature” in her book Refuge, but think nothing of lauding the hunting of rabbits by her family only a few pages later as a practice integral to her family’s sacred (her word) relationship with nature. Dozens of poets in a collection of essays on ecopoetics will rail against damage to the environment and the loss of connection to the animal world and nature caused by human hubris but never once mention a slaughterhouse, the practice of meat eating, or the fact that animal farming is not only predicated on human supremacism but is also the single greatest driver of climate change and the chief ecological threat to rivers and aquifers worldwide. Forewords, prefaces, and introductions to recent anthologies of ecopoetry and the postmodern pastoral won’t mention the slaughterhouse at all, though the bodies of dead nonhumans are universally eaten and worn, and CAFOs are scattered across countrysides everywhere.[2]

The idea that literature should be written to benefit nonhumans is new. We see no hint of this in western letters prior to now. Book X of The Republic maintains that the only permissible literature is that which praises gods and famous men. Aristotle remarks in Book IV of The Poetics that literature’s purview is the imitation of the actions of men and gods. Sidney’s Defence holds that literature’s purpose is to improve the character of a gentleman. Shelley, Lessing, Schiller all declared that the intent of literature should be to improve humanity. In fact it’s been a broadscale and sustained note since the advent of humanism: the project of literature is humanity’s improvement. Full stop.

Writing literature for the improvement and benefit of nonhumans isn’t some boutique issue, especially when we consider how animal farming is altering our climate and damaging our health and environment. Even for those who cannot intrinsically value nonhumans as ends in themselves, they should recognize that our fate is bound up firmly with their well-being.

A human future that does not acknowledge the injustices done to nonhumans cannot be rosy. Thankfully, a growing body of thinkers, literary and non-literary alike, is increasingly in agreement with political theorist John Sanbonmatsu who writes,

“A Left or socialist politics which does not place our enslavement of other beings at its center, conceptually and politically, cannot possibly succeed: ‘speciesism’ is not merely one more ‘ism,’ but in fact lies at the root of every form of social domination.”

Indeed, Giorgio Agamben goes so far as to insist that the ways we conceive of nonhumans has for centuries been at the heart of all political oppression.

As with the rest of mainstream culture, there is in this eco-centric literature a general disavowal of the suffering of nonhumans despite the seventy billion who are killed each year (trillions if we consider the annual slaughter of sea creatures) for meat, jackets, fur collars, handbags, watchbands, hats, shoes – all commodities unnecessary for, and in fact detrimental to, our health and mental well-being. The rare animal who rises to the status of an individual by such authors is generally a domestic pet or a rescued farm animal.

Rather than coldly expressing concern over animals as populations, we should, in the words of philosopher David Sztybel be “’hot’ for the individual animal.”[3] This new literature does this. And none too soon. Now that we are living through the sixth mass extinction since multicellular life rose on the earth a billion years ago, an extinction caused in great part by animal farming, an extinction, what’s more, that is nearly invisible to us, it’s time we begin to think of literature as a force that can benefit nonhumans too. A zoopoetic literature, which is sometimes straightforwardly veganic, is being written for the benefit of all sentient beings, not just as populations but as individuals, as individuals with bodily and mental sovereignty.

Such a literature will correct our received notions about what it means to share a lived sense of mutual vulnerability with nonhumans, to be one among many, not first among a few, of sovereign and suffering beings, each of whom, like us, is surrounded by the causes of death. Such a literature will also help us understand that humans need no longer be one of those causes.

(photo by Elige Veganismo of cow in restraining device for slaughter)


[1] The term zoopoetics was introduced by Jacques Derrida in his 1997 The Animal that Therefore I Am, but it has recently been more carefully inflected by Aaron Moe in his book Zoopoetics: Animals and the Making of Poetry (Lexington 2013) as a counter to, and a clarification of, ecocriticism and ecopoetics.

[2] This broadscale disavowal of animal farming and slaughter by a discipline that one would think would try to look this issue squarely in the face isn’t a problem intrinsic only to ecology-centric literature; it can also be seen even in the field of new materialist thought about biopower. See my essay, “Ecopoetry, Speculative Ontology, and the Disavowal of the Slaughterhouse: Some Notes on Ethics and Biopower” in Matter.

[3] Personal correspondence.

SATURDAY POETRY SERIES PRESENTS: LIZZIE LAWSON ON SPRING

1185601_827625185839_902627425_nPhoto by Lydia Polimeni.


SPRING
By Lizzie Lawson

The tiny crocus is so bold
           It peeps its head above the mould,
           Before the flowers awaken,
To say that spring is coming, dear,
With sunshine and that winter drear
           Will soon be overtaken.


(Today’s poem is in the public domain, belongs to the masses, and appears here today accordingly.)


Lizzie Lawson (circa 1867–1902 OR 1858-1905) appears to have been a poet and children’s visual artist. This is a rare instance in which I was able to find many poems by the poet, but almost no biographical information whatsoever. The woman appears to have been lost to us, while her artistic creations remain. If anyone knows about the biography of this enigmatic artist, please share with us in the comments below!

Editor’s Note: Crocuses have been spotted on the east coast, “To say that spring is coming.” (See photographic evidence from photographer Lydia Polimeni above.) In fact, the first day of spring has come and gone. But… we here in the northeast expect snow next week, and are facing record lows for the beginning of spring. So, today’s entry is a kind of a rain dance, or, rather, a spring dance. A call to the powers that be: Bring on the spring! Bring on the sunshine! Bring on the—dare I say it?—warmth!!! Let the crocuses be the sign “that winter drear / Will soon be overtaken.” For we have had our fill of winter drear, thank you very much.

Want to see more by Lizzie Lawson?
Public Domain Poetry
Visual Art

The Human Flame War

The Human Flame War

By Tini Howard

 

As part of what I’ve reviewed for at At the Margins, I like to give people a nice, smooth transition into the world of comics, which hasn’t always been… super inclusive. There was a time – a time many of us grew up in – in which comics were an infamous hive of everything wrong with mass media. Everyone was sexually exaggerated and villains were based solely on racist caricatures on the regular and excused through shoddy narrative.

This gives comics nerds a really bad name, one that a great many people live up when it comes to the questions we ask about the recent rise in superhero media. Make a billion dollar blockbuster where Superman’s entire personality is disregarded in favor of neck breaking and no one bats an eye. Give Wonder Woman pants and everyone loses their minds, to borrow from the medium itself. Nary a day goes by when any attempt at inclusion or updating on the part of the big comic publishers is met with the scorn and outcry of a hundred thousand nerds over the most absurd and minor things.

The most recent announcement to generate this sort of insanity is the casting announcement for Fox’s upcoming Fantastic Four film. Actor Michael B. Jordan, who is black, has been cast in the role of Johnny Storm, the Human Torch, a character who has historically been portrayed as white.

I feel like I don’t even need to discuss the first type of backlash here. I don’t even really care to give it attention. I just don’t think the argument that “the movie has to match the comic” holds any water. As in none. At all. To everyone who says “he’s white in the comics,” I say, he’s also been dead in the comics, and now he’s not.

Or, if that doesn’t catch you, I suggest this: One young black guy who was previously going to watch that movie without seeing a single hero that looks like him now will. If that’s less important to you than Johnny Storm’s skin color, if you say (as so many people have), that “seeing a black man in a role that was previously portrayed by a white man ruins the character” for you, I don’t know what to say to you, other than there’s a word for that.

It’s a six-letter word that starts with R and should make you cringe. Hint: It’s not reboot.

Don’t suggest to me that I don’t really care about these characters, that I’m not a real fan. I adore Robert Aguirre-Sacasa’s “4.” I think it was a great run because – and I’ll spare you the recap where I post panels of all of my favorite moments and make emotional commentary – because it nails down what the Fantastic Four are about, what makes them different from the Avengers or the X-Men. And that’s the idea of family.

So this brings me to my second talking point – people claiming that that somehow is shattered by casting a black actor in the part of Johnny Storm. The suggestion has been made that perhaps Sue Storm should have been cast as a black actress – Kerry Washington was suggested, and I think that would be just perfect. She hasn’t been, and white actress Kate Mara is playing the part. But if your perception of the Fantastic Four as a family, of Sue and Johnny Storm as siblings, is just shattered by them being different races, I suggest you watch a few Cheerios commercials. Or take a look at the multi-racial family of writer Brian Michael Bendis – the author of Ultimate Fantastic Four.

I want to be clear, from over here at the margins, that most of the people I know personally and follow socially are not the backwater nerds who are pissed off about this. This is what kind of kills me about the whole thing – literally everyone I know who actually buys comics weekly, all of the people who are reading Fantastic Four, the people who are going to dress up and be there at the midnight showing, who will see the movie four times in theaters so they can fill their Tumblr with references – aren’t bothered by this. All of the people you’d think to be the most hardcore nerds, the ones you’d expect to be giant jerks over this – they’re all for it.

The weird, vocal group of people I’ve encountered who are angry about this haven’t bought a comic in years. If they had, they’d understand what the medium is all about now, how it’s become a haven for characters too other for television and for concepts a little too off-the-beaten-path for those weenies in the mainstream media. These days, we’ve got Batgirl’s transgender roommate, a biracial Spiderman, and a team of teen Avengers who are led by a perfect Kelly-Kapowski-and-Zach-Morris dream couple – only they’re both boys. Stuff that just isn’t getting the representation it needs other places finds a home on the pages of superhero comics.

If nothing else, hear me out on this: If you’ve been staying away from comics because of a vocal group who fancies themselves to be old-school nerds and adheres to canon at the exclusion of minorities, please, come into the fold. The core of us, the fans and creators and cosplayers and conventioners, we love our diverse world. We welcome you into our family. It’s Fantastic.

***

Tini Howard is a writer and semi-professional nerd living in Wilmington, North Carolina. She has recently been featured on io9, Kotaku, and Nerd Caliber. TiniHoward.com, @TiniHoward.

SATURDAY POETRY SERIES PRESENTS: THE ARROW

Picture 9


from THE ARROW
By Lauren Ireland


Picture 4





Picture 8





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Today’s poems are from The Arrow, published by Coconut Books, copyright © 2014 by Lauren Ireland, and appear here today with permission from the poet.


The Arrow: “It took almost a lifetime’s worth of emotions to read Lauren Ireland’s THE ARROW. She says Time eats at the edges of things so we hear her say other things, too, I am hating you from very far away and I am a grownup/flying right into the mouth of fear. This book is fraught with emotional emergencies, sometimes reckless, almost a little demented as one has to be when one faces who and what and where and how we are. Lucky for Ireland there are friends to whom many of these poems are dedicated who accompany her as she’s permanently lost in this very very mysterious flight we all share.” —Dara Wier


Lauren Ireland grew up in southern Maryland and coastal Virginia. She is a graduate of the MFA program for Poets and Writers at the University of Massachusetts-Amherst and an editor at Lungfull! Magazine. Lauren is the author of Dear Lil Wayne (Magic Helicopter Press, 2014) and two chapbooks, Sorry It’s So Small (Factory Hollow Press, 2011) and Olga & Fritz (Mondo Bummer Press, 2011). She co-curated The Reading at Chrystie Street in New York. Currently, she lives in Seattle with her husband and her husband’s cat.


Editor’s Note: As I read Lauren Ireland’s The Arrow I pushed against the book’s air of flippancy, its self-preservation in the guise of farce and self-deprecation, its false oaths of apathy. These are, as Naomi Shihab Nye would say, “the armor [the book] put[s] on to pretend [it has] a purpose in the world.” But this book does not need to pretend. It wears its armor as a tricked out husk around its fervent vulnerability. The poems within its pages are the bloodlettings of a twisted, tortured, and exceedingly human mind.

The Arrow is full of moments of lyric beauty and stunning, brutal clarity interwoven with equal portions of heaviness and frivolity that make for quite the witches’ brew. There is something unsettling about this book. Something that does not sit well. A wound or scab that begs to be healed yet must be picked at. I was often uncomfortable reading it, yet I could not put it down. I was drawn to the beauty and put off by the grotesque, and I believe this was meant to be the author’s poetic commentary on life. Life—like this book—is full of debauchery and death, fear and imagination, the mundane and the absurd. Love is inextricably linked with hate. There is a thin line between reality, waking dreams, and nightmares. This book is labyrinthine, in both the literal sense and the David Bowie sense of the word.

While it is easier to take some poems in the book more seriously than others, this, too, is an artistic reflection of the human life. As a work of art, however, I felt myself anchored throughout my journey by very deliberate artistic choices. Wickedly smart and poignant titles. Moments of lyric clarity that took my breath away. And a healthy dose of killer end-lines, which I am always a sucker for. “Now I am a grownup flying right into the mouth of fear,” “Now… I am running / from the nighttime wolves / in the forest that never was,” and that crushing Orphic echo, “Oh / I am exiled / my friend / this once / don’t turn.”


Want to see more from Lauren Ireland?
Official Author Website
Buy The Arrow from Coconut Books
Buy Dear Lil Wayne from Magic Helicopter Press
Small Press Distribution

SATURDAY POETRY SERIES PRESENTS: GUILLERMO FILICE CASTRO

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RITUAL
By Guillermo Filice Castro

into a hole
something      of the self

always
disappears

light    mother

tongue

into
mouths

and this morning

that
bunch
of hairs

peeled off
the drain

and dropped into the toilet

almost
as mournful      a gesture

as a wreath
laid

in the ocean


(Today’s poem was originally published in Fogged Clarity and appears here today with permission from the poet.)


Guillermo Filice Castro is a recipient of the 2013 “Emerge-Surface-Be” fellowship from the Poetry Project. His work appears in Assaracus, Barrow Street, The Bellevue Literary Review, The Brooklyn Rail, Court Green, Ducts.org, Fogged Clarity, LaFovea.org, Quarterly West, among others, as well as the anthologies Rabbit Ears, Flicker and Spark, Divining Divas, Saints of Hysteria, and more. His translations of Olga Orozco, in collaboration with Ron Drummond, are featured in Guernica, Terra Incognita, U.S. Latino Review, and Visions. In 2012 he was a finalist for the Andrés Montoya prize. He lives in New York City.

Editor’s Note: Into the abyss of grief, of loss, something always disappears. And in the absence that follows it is the little things that remain, reminding us that one day they too will disappear. Those little bits left behind, as they too depart, become “almost / as mournful a gesture // as a wreath / laid // in the ocean.” Death is universal, yet it is the specificity with which today’s poet mourns and pays homage that allows us to feel his unique loss as if it were our own.

Want to read more by and about Guillermo Filice Castro?
“Ritual” in Fogged Clarity (with audio)
“Jones Beach” in Fogged Clarity (with audio)
LaFovea.org
Assaracus
The Bellevue Literary Review

Elie Faure in a Declining Empire

Elie Faure in a Declining Empire

by

Michael T. Young

When I read a book, I don’t want to simply be entertained, I want to be fed. For years I had a copy of Faure’s Art History: Renaissance Art on my shelf and I finally took it down and feasted on it. I was nourished by its depth and insight. But what struck me as peculiar is that as I read Faure—a French writer born in the 19th century and writing about Renaissance art—what struck me is that I was constantly reminded of and thought about contemporary America.

Faure writes in his introduction, “The acquiring of riches destroys a people by raising up around it organs of isolation and defense which end by crushing it. The only real wealth of mankind is action.” I thought of America, devouring most of the earth’s resources though housing less than five percent of its people. We have exported our manufacturing to other places that will do it far cheaper than here: to Mexico and China, so we can live off the labor of others. Later Faure writes of the decline of Venice and states, “After having lived by her work, she lived from her income—that is to say, from the work of others. No society, no civilization can endure that.” Think of those workers in China or Mexico, or our prison culture (with more people in prison per capita than any other developed country in the world), which has worked on assembly lines for everything from cruise missiles to Hot Pockets.

Our isolation is writ large. Our cultural activities are colossal and fragmented at the same time. Two people on opposite sides of the continent might watch the same television show with thirteen million other viewers and chat about it on Facebook while probably not knowing the name of their respective neighbors. This is a deep cultural fragmentation. I might have more in common with someone in a different time zone than my neighbor who shares with me the same air and sunlight on any given day. This kind of colossal fragmentation can be traced in nearly every cultural outlet. For example, in poetry there are so many factions it’s impossible to keep up with them. Poets don’t speak for the community in which they live, they only speak for themselves and the few remote readers scattered throughout the continent. This state reminds me of Faure averring of France at a certain period that “The voice is weak because it is isolated, but it is pure.” Or another context in which Faure writes of a period in Venetian art, “It is an art of poverty, thin and threadbare like themselves, but it is alive and that is the essential thing.” This is what we need. We are in a declining empire and only our small fires will matter as the darkness comes on.

In 2004, New York Times reporter Ronald Suskind was interviewing a top advisor to President Bush and that advisor said, “We’re an empire now.” George Kennan, a political advisor and diplomat wrote in a post-World War II State Department policy planning document: “We have about 50 percent of the world’s wealth, but only 6.3 percent of its population … In this situation, we cannot fail to be the object of envy and resentment. Our real task in the coming period is to devise a pattern of relationships which will permit us to maintain this position of disparity … To do so, we will have to dispense with all sentimentality and day-dreaming; and our attention will have to be concentrated everywhere on our immediate national objectives … We should cease to talk about vague and … unreal objectives such as human rights, the raising of the living standards, and democratization. The day is not far off when we are going to have to deal in straight power concepts. The less we are then hampered by idealistic slogans, the better.” This is the language and motive of empire. And what role is there for a poet in a declining empire but to keep the small fires alive secretly away from the halls of power that Kennan talked about?

The parallels of our culture with the decline of Rome are a commonplace. Yet, it is sobering to outline them as Morris Berman did in his book Dark Ages America where he points out (and here I quote reviewer George Scialabba summing it up), “By the end of the empire . . . economic inequality was drastic and increasing, the legitimacy and efficacy of the state was waning, popular culture was debased, civic virtue among elites was practically nonexistent, and imperial military commitments were hopelessly unsustainable. As these volumes [Berman’s 3 books] abundantly illustrate, this is 21st century America in a nutshell.”

A friend in an online conversation asked if the isolation I mentioned could be broken using social media like Facebook. Some felt optimistic about this possibility. However, another peculiar thing to empires is they confuse spectacle and art. Art takes us into ourselves and refreshes the bonds between reality and the inner recesses “where the meanings are,” but spectacle takes us out of ourselves so we can forget for a little while the reality that pains us. Art is clarifying even if in only a rarefied way, spectacle is nebulous, at best, in its relationship to reality. Rome, in its decline had the gladiators to distract the populace from the immense economic disparities and scarce food supplies. America has Hollywood. What the Roman poet Juvenal wrote of the Roman people in his 10th Satire could be said of contemporary Americans,

Ever since the time their votes were a drug on the market,
The people don’t give a damn any more. Once they bestowed
Legions, the symbols of power, all things, but now they are cautious,
Playing it safe, and now there are only two things that they ask for,
Bread and the games
(Lines 78 – 82, translated by Rolfe Humphries)

The prelude to these days is the days in which art is understood as a luxury and is subject to the powers of wealth. Faure spoke to this as well, pointing out elsewhere that “In reality, the relationship which certainly exists between luxury and art has given to wealth the advantage of a role that it has never possessed. The intellectual forces of a people are born of the effort from which spring, with these forces, the wealth of individuals, the power of radiation, and expansion of the collectivity.” Going on, he writes, “If the aristocracies of wealth avail themselves of the flowering of literature and more especially of painting, it is also they who bring the arts into contempt.”

Thus we have in America, as our highest art, the Hollywood spectacle, and, at the same time an almost superabundant flowering of poetry, a legion of poets but a legion that is fragmented and isolated. We are rich and poor at the same time, our voice “is weak because it is isolated, but it is pure.” Berman suggests our only hope as we walk into a new dark age is in “creating ‘zones of intelligence’ in a private, local way, and then deliberately keeping them out of the public eye.” That is really how all meaning is ever created. It is always local. Perhaps forgetting this truth is what creates empires and their inevitable deterioration in the first place. The desire to dominate the world is antithetical to a meaningful life. Or as the economist E.F. Schumacher put it in the 70’s, “people can be themselves only in small comprehensible groups.”

That quote is from his 1973 book, Small is Beautiful: Economics As If People Mattered. The title says it all but Schumacher sets out in the book to show the dangers of endless growth and the necessity of reshaping our economic thinking to a smaller scale. He gives the lie to thinking in purely quantitative terms and shows the necessity in thinking in qualitative terms. As he puts it “Nothing makes economic sense unless its continuance for a long time can be projected without running into absurdities. There can be ‘growth’ toward a limited objective, but there cannot be unlimited, generalized growth. . . Permanence is incompatible with a predatory attitude.” The idea is true in all areas of life: culture, society, business, government. Uncontrolled growth is not healthy in anything, an organism or an organization. At some point the sheer size of the thing causes it to implode. That is, in many ways, what happened to the Roman Empire. In such times, what we need in all areas of our culture, our society, are small groups devoted to meaningful things. What Schumacher proposes is that we “learn to think in terms of an articulated structure that can cope with a multiplicity of small-scale units.” Or again he asserts, “The fundamental task is to achieve smallness within large organization.” Current thinkers in economics do realize this. They simply don’t get the press. For instance, in his article, “America’s Deficit Attention Disorder,” published on August 13th, 2012 at Common Dreams, Dr. David Korten asserts that one of the things we must do to stop the destruction of the planet to benefit the few wealthiest people is “restructure the global economy into a planetary system of networked bioregional economies that share information and technology and organize to live within their respective environmental means.” It is what is needed: an outlook that would solve small and large problems alike, a framework for local living within a context of national organization and international cooperation.

But I’m not hopeful. Our government is more obviously in the pocket of corporate money than it ever has been. Some people have marked the ever deeper reach of corporate money into politics from the 70’s, back when Schumacher was writing. Of course, that’s debatable. Others, like Berman, trace it back much further. Either way, economic prosperity is still calculated in terms of endless growth. That said, we can still—and must—organize the small units that will weather the storms that come from government and corporate follies. We need the poets, painters, carpenters, plumbers, farmers in their areas to work as small, meaningful communities. Schumacher also states that “man is destroyed by the inner conviction of uselessness. No amount of economic growth can compensate for such losses.” This harkens back to the Faure quote I started with, “the acquiring of riches destroys a people by raising up around it organs of isolation and defense which end by crushing it. The only real wealth of mankind is action.” Surprisingly, or maybe not so surprisingly, Faure’s insights chime with a late 20th century economist’s. But Faure was a man of profound insight. And from him I realized, the kind of poetry and art we need is a small light to illuminate just the portion of the path before us, and knowing we don’t need it to illuminate any more than that. We need an art like Elie Faure’s, one that nourishes us in small, meaningful ways.

***

Michael T. Young’s fourth collection of poems, The Beautiful Moment of Being Lost, will be published in 2014 by Poets Wear Prada Press.  He received a Fellowship from the New Jersey State Council on the Arts and the Chaffin Poetry Award.  His work has appeared in numerous journals including Fogged Clarity, The Louisville Review, The Potomac Review, RATTLE, and The Same.  His essays, reviews and interviews can be found on his blog, The Inner Music: http://inermusic.blogspot.com/.

SATURDAY POETRY SERIES PRESENTS: KATHERINE MANSFIELD

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WINTER SONG
By Katherine Mansfield

Rain and wind, and wind and rain.
Will the Summer come again?
Rain on houses, on the street,
Wetting all the people’s feet,
Though they run with might and main.
Rain and wind, and wind and rain.

Snow and sleet, and sleet and snow.
Will the Winter never go?
What do beggar children do
With no fire to cuddle to,
P’raps with nowhere warm to go?
Snow and sleet, and sleet and snow.

Hail and ice, and ice and hail,
Water frozen in the pail.
See the robins, brown and red,
They are waiting to be fed.
Poor dears, battling in the gale!
Hail and ice, and ice and hail.


(Today’s poem is in the public domain, belongs to the masses, and appears here today accordingly.)


Katherine Mansfield Beauchamp (1888–1923) was a New Zealand poet and short story writer who began publishing work at the age of ten. While her personal life was tumultuous, her literary achievements were stellar; Katherine is today considered New Zealand’s most famous author and one of the most significant influences on twentieth century short story writers. She published three books before her death from tuberculosis at the age of 34; two additional books were published posthumously. (Annotated biography courtesy of Your Daily Poem.)

Editor’s Note: With apologies to those readers in California who are suffering a terrible drought, today’s poem is for my fellow Northeasterners, Midwesterners, and all of us across the country who are suffering this seemingly endless winter. Every time I go outside I think of our fearless editor here at As It Ought To Be, and a comic he shared recently which posits, “The air hurts my face / Why am I living where the air hurts my face.” It is cold out there, as we only just round the bend into March and dream of the warmth that must be coming. But for now it is “Rain and wind, and wind and rain,” “Snow and sleet, and sleet and snow, “Hail and ice, and ice and hail;” it is freezing temperatures and brutal winds, and every day I feel Katherine Mansfield’s pain when she pleads, “Will the Summer come again?” “Will the Winter never go?”

Want to read more about Katherine Mansfield?
KatherineMansfield.net
New Zealand Book Council
Katherine Mansfield Society

SATURDAY POETRY SERIES PRESENTS: THE MOONS OF AUGUST

Lameris Cover-1


FROM THE MOONS OF AUGUST
By Danusha Laméris


EVE, AFTER

Did she know
there was more to life
than lions licking the furred
ears of lambs,
fruit trees dropping
their fat bounty,
the years droning on
without argument?

Too much quiet
is never a good sign.
Isn’t there always
something itching
beneath the surface?

But what could she say?
The larder was full
and they were beautiful,
their bodies new
as the day they were made.

Each morning the same
flowers broke through
the rich soil, the birds sang,
again, in perfect pitch.

It was only at night
when they lay together in the dark
that it was almost palpable—
the vague sadness, unnamed.

Foolishness, betrayal,
—call it what you will. What a relief
to feel the weight
fall into her palm. And after,
not to pretend anymore
that the terrible calm
was Paradise.



LONE WOLF

On December 8, 2011, the first wolf in nearly a hundred years was seen
crossing the border of the Sierra Nevada from Oregon to California.

A male, probably looking for a mate
in this high wilderness
along the cusp of Mount Shasta.
Already there are ranchers waiting, armed.
True, it’s only one wolf.
Except that a wolf is never just a wolf.
We say “wolf” but mean our own hunger,
walking around outside our bodies.
The thief desire is. the part of wanting
we want to forget but can’t. Not
with the wolf loose in the woods
carrying the thick fur
of our longing. Not with it taking
in its mouth the flocks we keep
penned behind barbed wire.
If only we didn’t have to hear it
out in the dark, howling.



THE BALANCE

She was at a friend’s apartment,
my mother, a third floor walk-up.
It was summer. Why she slipped
into the back room, she can’t recall.
Was there something she wanted
fro her purse…lipstick?
a phone number?
Fumbling through the pile
on the bed she looked up and saw—
was this possible?—outside,
on the thin concrete ledge
a child, a girl, no more than two or three.
She was crouched down
eyeing an object with great interest.
A pebble, or a bright coin.
What happened next
must have happened very slowly.
My mother, who was young then,
leaned out the window, smiled.
Would you like to see
what’s in my purse?
she asked.
Below, traffic rushed
down the wide street, horns blaring.
Students ambled home
under the weight of their backpacks.
From the next room,
strains of laughter.
The child smiled back, toddled along
the ledge. What do we know
of fate or chance, the threads
that hold us in the balance?
My mother did not imagine
one day she would
lose her own son, helpless
to stop the bullet
he aimed at his heart.
She reached out to the girl,
grabbed her in both arms,
held her to her chest.



Today’s poems are from The Moons of August, published by Autumn House Press, copyright © 2014 by Danusha Laméris, and appear here today with permission from the poet.


The Moons of August: “Danusha Laméris writes with definitive, savoring power—in perfectly well-weighted lines and scenes. Her poems strike deeply, balancing profound loss and new finding, employing a clear eye, a way of being richly alive with appetite and gusto, and a gift of distilling experience to find its shining core. Don’t miss this stunning first book.” —Naomi Shihab Nye

“This book of motherhood, memory, and elegiac urgency crosses borders, cultures, and languages to bring us the good news of being alive. With language clear as water and rich as blood, The Moons of August offers a human communion we can all believe in. Reckoning with and grieving for the past as they claim the future, these poems are wise, direct, and fearless. “What’s gone / is not quite gone, but lingers,” Laméris reminds us. “Not the language, but the bones / of the language. Not the beloved, / but the dark bed the beloved makes / inside our bodies.” —Dorianne Laux


Danusha Laméris’s work has been published in Alaska Quarterly Review, Poetry Northwest, Rattle, The Sun and Crab Orchard Review as well as in a variety of other journals. Her poems have also appeared in the anthologies In a Fine Frenzy: Poets Respond to Shakespeare, A Bird Black as the Sun: California Poets on Crows and Ravens, and Intimate Kisses. She was a finalist for the 2010 and 2012 New Letters Prize in poetry and has been nominated for a Pushcart Prize. Her poem, “Riding Bareback,” won the 2013 Morton Marcus Memorial prize in poetry, selected by Gary Young and her first book, The Moons of August, was chosen by Naomi Shihab Nye as the winner of the Autumn House Press poetry contest. She lives in Santa Cruz, California and teaches an ongoing poetry workshop.


Editor’s Note: I first discovered Danusha Laméris when I featured her stunning poem “Arabic” in the fall of 2013. When I read that her first book was forthcoming this year—and chosen by Naomi Shihab Nye as the winner of the Autumn House Press poetry contest, no less—I begged the poet remember me when the book was released. When it arrived I read, devoured, re-read, explored, breathed, bled, and grew whole once more within the boundless confines of its pages.

Through Laméris’ words I was the first woman born; I knew the burden—and relief—of being Eve. I was as old as time and as all-encompassing as nature. I was as helpless and as grieved as a mother, and as powerful. The Moons of August is small and light and fits effortlessly in my hands. Yet it reaches far back to human origins and delves deep into the human experience and the complex soul of (wo)man. “With,” as Dorianne Laux so aptly states, “language clear as water and rich as blood,” this is a book to read when you want to feel alive, from the very atoms that comprise you to the farthest reaches of your white light.


Want to see more by Danusha Laméris?
Author’s Official Website