What Rough Beast | Poem for May 27, 2017

Michael Tyrell
Wormhole

So far it’s like any reality,
scanty foreshadowing,
infestations of coincidence.
The Magi appear on sidewalk murals,
seldom in the flesh, on sidewalk.
Waiting not the story the map tells.
If the bus is symbolic
it is not clear where we are in the plot,
whether the action is rising
or we’ve swerved into a subplot.
I don’t see any face I can’t fathom
not meeting in some waiting room or other.
There’s a lottery here like anywhere,
we must scratch and scratch
to make our nails metallic-black.
And rules about doubles abound
should we encounter them; there are
ropes to know. Who knows, we might
turn out to be the ghosts in this story,
though the budget won’t accommodate
sci-fi monsters to wolf the city down.
Ordinary light, through dirty windows,
touches the faces of the riders facing West.
Only one glances up, baffled and attentive,
like one reading Plato for the first time—
nothing not shadow,
and she can’t stomach another illusion.

Michael Tyrell is the author of Phantom Laundry (Backlash Press, 2017) and The Wanted (National Poetry Review Press, 2012). With Julia Spicher Kasdorf, he edited the anthology Broken Land: Poems of Brooklyn (NYU Press, 2007). His work has appeared in Agni, Barrow Street, Fogged Clarity, Gulf Coast, The Iowa Review, Margie, The New England Review, The New Republic, The New York Times, The Paris Review, Ploughshares, Verse Daily, and The Yale Review, as well as in a number of anthologies.

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What Rough Beast | Poem for May 26, 2017

Mary B. Moore
Texaco

The tanker truck bearing
Texaco’s red star on its barrel
turns the corner gingerly,
its driver peering
in the side-view mirror.
A Mustang sidles
up to drink, but the tanker
keeps angling away. The red
Dodge pickup idling beside it
doesn’t even try.

The two men who get out at the truck stop,
both wearing white tees and jeans, stretch
their arms and walk into the Sheetz.
They’re cut out crisply from sky:
the dry Central Valley air
sharpens every boundary.
The only blur wavers upwards
from the asphalt, the heat’s
visible purr.

Though the tank looks like a sideways silo,
its freight is combustion
not wheat. Does the red star betoken
explosion, or Texas?

The truck gradually reverses
and turns. It has a lumbering grace
like the large, slow man
from the wheat-gold
Malibu. He tours the narrow
aisles of the convenience store,
stooping and reaching,
back-stepping, a dance of looking
for cupcakes. His large straw hat brim
hasn’t blocked the burn. He’s red
with sun.

It’s all so opaque, so solid,
though the heat wavers up
from the truck’s lit barrel
like a spirit, an aura, while
the snout of the gas station’s
tank rifles the truck’s side.

 

Mary B. Moore is the author of Flicker (Broadkill River Press, 2016), winner of the Dogfish Head Poetry Award; the chapbook Eating the Light (Sable Books, 2016 ); and the poetry collection The Book of Snow (Cleveland State University Poetry Center, 1998). New  poems appear  in the Georgia Review, Poem/Memoir/Story, Nimrod, Cider Press Review, Coal Hill Review, Drunken Boat, Birmingham Poetry Review, and more.

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What Rough Beast | Poem for May 25, 2017

Robbie Gamble
There is an “I” in “WHITE”

right at the center, all sounds radiating outward from its core, the long vowel sound creating proud space for the architecture of the word. Tall and slender, lucid, perfect in its upright stance at the hub of all things. The word could not exist without the voweled sonic reach of the “I,” the remaining letters on their own would be just a damp puff crossing the lips with a “ftt!,” barely audible. Notice the letters relegated to the periphery, the “W” and the “E,” which could spell out the collective “WE” if they were not separated. These letters are complex, with angles and branches facing out in many different directions. The components of the “WE” are barricaded from the “I” by the henchmen letters “H” and “T,” erect and vigilant, vertical strokes protecting the “I,” with horizontal spacers to keep the outside world at bay. There is potential here; the “H” introduces a turbulence, a sense of living breath to the word, it could be moving into the profound question, “Why?” But the “T” cuts off that possibility by dropping its consonant chop; it could have created a “Whit,” an inconsequential trifle, were it not for the unappreciated labor of the trailing “E” straining to hoist the “I” skyward into all of its long-vowel glory. And the “I” just stands there, insulated from the tensions swirling all around it, blissful in its singularity. It does not feel alone, attended to by its acolytes, but it will never know the “WE” in all of our painful complexity, and we will never be able to reach through and disturb its safeguarded ego.

 

 

Robbie Gamble lives in Brookline, Massachusetts. He recently completed an MFA in poetry at Lesley University. When he is not preoccupied with image and line breaks, he works as a nurse practitioner caring for homeless people in Boston.

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What Rough Beast | Poem for May 24, 2017

Abigail Conklin
Pubic Maintenance

Why are women always
the crazy ones? Logic applies,
and I apply it. Logic says
he’s coming over so
I’m going to go shave now.
Right?

Though I’m crazy so
maybe I won’t.

But there are other women
who would hurriedly strip
out the hair—
fine, rough,
thin, sharp, straight—
if they hadn’t scheduled in
the doing already,
and I can’t blame them.

There are days when my wishing
to tear out my own fur is countered only
by the ferocity of my entitlement
to it. To that greediest of statements:
this is my body,
this is my blood.
This is the skin in which I stalk,
and men can have beards,
leg hair, a multi-tiered system
of societal oppression behind them
as they preside over the final supper
with arms raised,
but I can have this.
This hair between my legs,
beneath my arms, along
my lip. These conversations,
muttering and unintelligible as I walk,
wishing it were winter
and that I might disappear.

 

Abigail Conklin‘s poetry has appeared on The Bridge, a writer’s community website, and the blog Bonus Cut. She lives in New York City where she writes, frequents poetry readings, and works in curriculum publishing.

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What Rough Beast | Poem for May 23, 2017

Aimee Herman
nasty like janet or the way one feels after a seven day bath resistance but also like that moment when you figure out the perfect way to describe yourself

I still don’t quite get it, but I’ve got my socks on and I remembered to brush my teeth and my hair is long enough for you to know without taking a peek beneath my trousers and my voice and smooth and sorry and hip sway and.

I can sing to you about the kaleidoscope of the muscles in my body, but that’s not why.

I can give you a paper cut with the strength of my words bleeding through my organs, but you’ll probably forget to listen.

I’m not sure.

I’m not sure if I’m nasty because my version of femalia is like Lombard Street, all zig-zagged and out-of-breath.

You want me to stuff my Feminist deep inside my pockets, and fix you supper. You want me shaved and simplified. You want me pink. Knees pressed. Porridgy girl.

On the other side of Woman is me. Buzzed tongue and vague.

A faint of genitals and unfinished and easily bothered and trying trying trying NOT to apologize.

Maybe I’m nasty because of what I’ve done to men.
Or because I used to carry along a cash register held tightly between my legs. Or because I don’t need you to LIKE or swipe RIGHT me.

Am I nasty because I am educated?

Am I nasty because I am queer? Or because I vote? Or because I am pro-choice? Or because I am not in search of a whistle? Or because I do not SMILE because you asked me to? Or because I press my breasts down because I’d much prefer you notice my brain stem?

Or is it simply because you just don’t know what to do with allthis.

I don’t either, and maybe that’s why I am so nasty.

Because I am more than just a symbol on a bathroom door.
More than the color of Barbie dolls packaged like pills with the wrong portion size. More than a procreator. More than a billboard, airbrushed and starved.

I still don’t quite get it.
But maybe the point is, we are talking about it.
About what it is to be ourselves, every version, every twist that turns into a question mark.

And anyway, being nasty is far more interesting than nice.
Because finally, you’re paying attention.

 

Aimee Herman is the author of the poetry collections meant to wake up feeling (great weather for MEDIA, 2014), The Body Electric (CreateSpace, 2013), and to go without blinking (BlazeVOX, 2012). Aimee’s poems have appeared in journals including cream city review and BOMB and in the anthology Troubling the Line: Trans Genderqueer Poetry and Poetics. Nightboat Books, 2013). Aimee is a queer writer, performance artist, and writing/literature teacher at Bronx Community College.

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What Rough Beast | Poem for May 22, 2017

Antonio López
GI Joe’s Stretcher Visits Chuy for his Cinco Años

“Hello? Is anyone there?

“Dios te salve María llena eres de gracia el Señor es contigo.”

“We’re just here to ask a few questions.”

“Mariela, vete atrás del boiler con Hernán.”
“Ma, no te voy a dejarte aquí.”
“Amá, what’s going on?”
“Hernán, vete a tu cuarto, y cierra las cortinas.
Despierta tu hermanito.”
“Wha-Why?

“So-lo. Que-remos pre-gun-tar-les. Un-as co-sas.”

“Porque sí.”
“But who’s outside?”
Are they dropping off the bouncy house?!
This early?!”

“No-Nomás obedézcame!”

“Mrs. García, we know you’re there.”

“Amá no tienes que abrir la puerta.
Dijo la directora que si no has cometido ningún delito…”
“¿Pero qué tal si regresen?”
“Pues que regresen.
No has hecho nada.”

“Bendita tú eres entre todas la mujeres,
y bendito es el fruto de tu vientre…”

“¿Jesús? ¡Chuy! ¡Retírate de la puerta!”
“Mom! You really got me the G.I. Joe—”
“Hello son. Your mom’s going to go with us for a couple hours.”
“Are you Ace? But where’s your pilot helmet?
O-Or your jump suit?’

“Carson, check the backyard.
Floyd, you try the rooms. I’ll stay here.
Ma’am, is there anyone else with you?”

“Amá, who are they?

“Santa María Madre de Dios.”

“Ma’am?”

“Ruega por nosotros pecadores.”

“Ma’am, I asked you a question.”

“Que no cheqan el basement.
Madre adornada con la sábana del cielo,
oiga mi oración.”

“Forget it.
We’ll just get her an interpreter at the office.
Come on.”

“Don’t fucking touch her.
She ain’t do nothing!”

“Calm dow—
Young lady you need to sto—

“Get off!
Y’all some fucking cowards!”

Hey fellas, need one of y’all’s
hand restraining the girl!”

“We not the criminals! The fuck we do wrong?”
“Ahora en la hora.”
“Amá!”
“Ahora en la hora.”
“Amá snap out of it!”

“Hey Captain, heard some things
moving from the basement.”

“Por el amor de Dios,
it’s my little brother’s birthday!
You gonna take his mom when he’s five?!”

“¡Clara Mendoza! Por favor!
No puedo vivir sin—”

“Found another boy!
Looks older, in his teens!”

“De nuestra, de nuestra…”

“Maaaaaaa!”

“Wait wait Wilson let her go!
Think she might faint!

“She’s having a panic attack!
Please let me go!
She needs something sweet!”

“Mue-Muer—”

“There’s chocolate in her purse!”

“All right,
let the girl g—.
Ah shit!”

“Get back! I said GET BACK!”
Just give her some air!”

“Maa! Maa!”
“Dios te salv—…Dios te salv…”

“You pieces of shit!”

“Nora, we have a 10-43.
We’re at 240 Northwood Circle.

“Protect and serve mi culo!
Imma hit up every station
and sink your whole department!”

“Yes, we’re gonna need a rig.
Suspect’s unconscious.”

“Y’all ain’t got no heart! Y’all ain’t even let her breathe!
Are we even human to you?!”

“Mari, what happened to mama?”
“She’s….
she’s just sick.
We’re gonna take her to the hospital.”

“Sick? Oh…
Stretcher’s the GI Team’s doctor.
He’ll know what to do
Can I bring him?”

“OK…OK traetelo honey.”
“Hey mi’jo?”
“Yeah Marie-rie?”
“How would you like to meet a real-life Stretcher?”

 

Editor’s note: The seemless and usually unmarked switching between Spanish and English in the poems of Antonio López is an important and meaningful feature of his prosody. In the case of this poem, however, I wanted readers to be able to follow the gripping narrative, so I asked Antonio to provide a complete English translation and he agreed. The author’s own translation is presented in full below.

Antonio López
GI Joe’s Stretcher Visits Chuy for his Fifth Birthday

“Hello? Is anyone there?

“Hail Mary full of grace. The Lord is with you.”

“We’re just here to ask a few questions.”

“Mariela, go to the back of the boiler room with Hernán.”
“No, Ma; I won’t leave you here.”
“Mama, what’s going on?”
“Hernán, go to your room and close the curtains.
Wake up your little brother.”
“Wha-Why?

“So-lo. Que-remos pre-gun-tar-les. Un-as co-sas.”

“Because I said so.”
“But who’s outside?”
Are they dropping off the bouncy house?!
This early?!”

“Just do as I say!”

“Mrs. García, we know you’re there.”

“Mama, you don’t have to open the door.
The principal said that if you haven’t committed any crime…”
“But what if they come back?”
“Then let them come back!
You haven’t done anything wrong!”

“Blessed art thou amongst women,
and blessed is the fruit of thy womb…”

“¿Jesús? ¡Chuy! Get away from the door!”
“Mom! You really got me the G.I. Joe—”
“Hello son. Your mom’s going to go with us for a couple hours.”
“Are you Ace? But where’s your pilot helmet?
O-Or your jump suit?’

“Carson, check the backyard.
Floyd, you try the rooms. I’ll stay here.
Ma’m, is there anyone else with you?”

“Mama, who are they?

“Hail Mary, Mother of God.”

“Ma’am?”

“Pray for us sinners.”

“Ma’am, I asked you a question.”

“Please let them not check the basement.
Mother adorned with heaven’s shawl,
hear my prayer.”

“Forget it.
We’ll just get her an interpreter at the office.
Come on.”

“Don’t fucking touch her.
She ain’t do nothing!”

“Calm dow—
Young lady you need to sto—

“Get off!
Y’all some fucking cowards!”

Hey fellas, need one of y’all’s
hand restraining the girl!”

“We not the criminals! The fuck we do wrong?”
“And now at the hour.”
“Mama!”
“And now at the hour.”
“Mama snap out of it!”

“Hey Captain, heard some things
moving from the basement.”

“For the love of God,
it’s my little brother’s birthday!
You gonna take his mom when he’s five?!”

“Clara Mendoza! Please!
I cannot live without—”

“Found another boy!
Looks older, in his teens!”

“Of our, of our…”

“Maaaaaaa!”

“Wait wait Wilson let her go!
Think she might faint!

“She’s having a panic attack!
Please let me go!
She needs something sweet!”

“De-De—”

“There’s chocolate in her purse!”

“All right,
let the girl g—.
Ah shit!”

“Get back! I said GET BACK!”
Just give her some air!”

“Maa! Maa!”
“Hail Ma-…Hail Ma…”

“You pieces of shit!”

“Nora, we have a 10-43.
We’re at 240 Northwood Circle.

“Protect and serve my ass!
Imma hit up every station
and sink your whole department!”

“Yes, we’re gonna need a rig.
Suspect’s unconscious.”

“Y’all ain’t got no heart! Y’all ain’t even let her breathe!
Are we even human to you?!”

“Mari, what happened to mama?”
“She’s….
she’s just sick.
We’re gonna take her to the hospital.”

“Sick? Oh…
Stretcher’s the GI Team’s doctor.
He’ll know what to do
Can I bring him?”

“OK…OK bring it with you sweetheart.”
“Hey honey?”
“Yeah Marie-rie?”
“How would you like to meet a real-life Stretcher?”

 

Antonio López‘s poems have appeared or are forthcoming in PEN/America, Acentos Review, Hispanecdotes, Sapelo Square, and Sinking City. His nonfiction has appeared in TeenInk and The Chronicle. Antonio works at the intersections of language, faith, social justice movements, and education. His undergraduate thesis, Spic’ing into Existence, explored the concept of ethnopoetics as people of color’s artistic-political response to regimes of power. Originally from East Palo Alto, California, he is currently pursuing a Master in Fine Arts (poetry) at Rutgers University-Newark.

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What Rough Beast | Poem for May 21, 2017

Claire Wahmanholm
Plummet

light rain and governments falling
—Derek Walcott

spring: terror
and cherry trees
blooming helicopter
blades spiraling into
airspace into short-haired
lawns blade on blade
until the grass is unseen
unbreathing is green
on green on green
like wealth like sour
unswelled fruit in
an unwell mouth

as unwell months
pool like rotten light
like blood in a stagnant
leg like mud in
a stagnant lake

on which the rain
plummets (like lead
like bullets) and in
the strong and stronger
wind even buds
small twigs even

a raptor can be blown
out of the sky its
feathers so white
against the air which
is dark and solid
as a blackboard
against the dark sea
which is rising
to meet us which
is warming its
huge blue hands

 

Claire Wahmanholm‘s poems most recently appear or are forthcoming in Birdfeast, Bennington Review, The Collapsar, Newfound, New Poetry from the Midwest 2016, Bateau, Queen Mob’s Tea House, Memorious, The Kenyon Review Online, Handsome, Best New Poets 2015, Elsewhere, BOAAT, The Journal, Winter Tangerine, and DIAGRAM. Find her online at clairewahmanholm.com.

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What Rough Beast | Poem for May 20, 2017

Ina Roy-Faderman
In Case of False Flags: Instructions

Find a flag of many colors.
Watch the blue leach
into the earth.

Indigo is toxic
or is beautiful.
The human eye
can’t tell the difference.

We have made a world of patches,
mottled like a skin horse.

Avoid the twice-mended uniforms:
they can’t be quilted into a comforting whole.
From a distance, check the stitches—
white and waxy
like dental floss—
are they embedded in the collar
or into the flesh beneath?

This is not a question you should answer:
what is humped under that flag?

The rain burns
and over time can
fade the bands of blood
into the color of bone.

All that’s left is
a white scrap of silk
drooping from a stick,
surrendering to soot
and wind and
sand and sunlight.

You can’t break glass
for this emergency.
Instead:

Stand in front of a classroom.
Tell the children that primary colors
have been known to bleed
into one another.

 

Ina Roy-Faderman’s work has appeared or is forthcoming in Right Hand Pointing, If You Can Hear This: Poems in Protest of an American Inauguration (Sibling Rivalry Press, 2017), Transition: Poems in the Aftermath (Indolent Books, 2017), and elsewhere. Recent honors include Outstanding Poem (Richmond Anthology of Poetry) and a 2018 Pushcart Prize nomination. A native Nebraskan of Bengali heritage, Ina teaches bioethics for Oregon State University, is a fiction editor for Rivet Journal, and is the librarian at a school for gifted children. Further information can be found at inafelltoearth.com.

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I’m Sorry For Your Loss

By CJ Stobinski
Contributing Editor

In July 2015, my grandmother was diagnosed with stage four gallbladder cancer and was given nine months to live. She battled for her life until May 10, 2017, and lived mainly symptom free until the last month of her life, not even losing her hair during chemo. She saw another great-grand child come into this world, got to finally walk down the aisle at a grandchild’s wedding, and enjoyed another birthday and Christmas season, which she loved so much, that nobody but herself believed she would see. I read this at her funeral on May 16, 2017.

“I’ve gone back and forth since hugging my grandmother’s still warm body a week ago whether I should read this or not, but it’s been said nothing haunts us like the things we don’t say.”

I’m sorry for your loss. It’s this stupid thing we say to each other when someone dies and you can’t think of anything else to say. I’m sure more than one of you has said it today, maybe said it in this funeral home before. I’m sure I’ve even said it myself. It’s a way for us to retreat inward and protect our hearts from injury, from fully feeling something.

There’s a quote from my favorite movie (The United States of Leland) that’s stuck with me for over a decade: “I think there are two ways you can see the world. You can either see the sadness that’s behind everything, or you choose to keep it all out.” Another character says, “I recall when our lives were unusual and electric. When we burned with something close to fire, but now we sway to a different rhythm. Lives lived without meaning, or even directed hope. The passage of time measured only by loss. Loss of a job, loss of a minivan…a son.”

To me, a life measured by loss is one of the saddest existences imaginable, and my grandmother’s life will never be measured by loss. Humanity is so afraid of showing each other our hearts, of being vulnerable, raw. On October 11, 2014, I attended a funeral for my work manager’s husband. He was a master carpenter for the restaurant group and he renovated the restaurant I work at in February of 2012. They met, fell in love, and he proposed the summer before I started in 2013. Shortly after, he found he had stage four brain cancer. They got married despite everything and fought like hell. His showing was on their first wedding anniversary.

I sat through that funeral 11 days after learning that I was living with HIV, completely resistant to the idea of medication at the time, and wondered, what will people say about me at my funeral. The resounding voice in my head was, “Wow, this guy’s a DICK.” HIV forced me to examine my life, look in the mirror and see that it was anger, resentment, and bitterness I was carrying around from past childhood traumas which was slowly killing me on the inside, not HIV.

After I went on the news two years ago to advocate for People Living With HIV, my grandma reached out to me in my birthday card to make sure I was okay, all the while dealing with her first rounds of chemo. My grandmother was selfless. Her instinct was not to warn my younger sisters to not drink out of glasses after me as one immediate family member did. It was not to tell me I was sick for taking a single pill a day, as another family member did, a pill which gives me both a life expectancy of 70+ and an undetectable viral load I’ve maintained for over two years now, which brings the risk of transmission down to zero. Her instinct was to love without limits and expectations.

She once called me out of the blue. I was sitting on the floor of the dorm I lived in the year I went to college in Pennsylvania. I had decided to leave and not return so I could figure out my path to the person I exist as today. I hadn’t told anyone yet, but knew all the people who would look down upon me for leaving, for not living the life they expected me to live. I didn’t tell my grandma I was leaving, but she told me, “CJ, you can be whoever you want to be, whatever you do, I believe in you.” She had no idea how much that meant to me, how much it will always mean to me.

When I returned home, the person who needlessly warned my sisters told me I broke my mother’s heart by leaving school. It’s funny how we talk about people who live their lives to their own standards. When they’re alive, we call them hard-headed, stubborn, inappropriate, embarrassing even. When they’re dead, we say, “They did things their own way.” If we spent more time respecting that a path different from our own is not wrong, just different, maybe we could all coexist a little more peacefully.

In January, I traveled with Youth Across Borders to Honduras to a home for children living with and affected by HIV. Sixty percent of people with HIV in Central America live in Honduras, where 10% of children are born with HIV. Traveling to the second most impoverished country in the western hemisphere, naturally people asked, “What did you go to help them with?” But, you see, I went to Montaña de Luz, the Mountain of Light, next to the village of Nueva Esperanza, New Hope, to learn from the children and the people of Honduras who nurture their lives.

They taught me that money is not the only currency worth something in this world, that a smile, laughter, kindness, and looking someone in the eyes when you speak to them are worth their weight in gold and diamonds. Above all, they taught me that the one true universal language in this world is love.

They had this prayer in capilla every morning that I loved. I’m not much of a prayer, but whether you praise the Sun, the Moon, Vishnu, Allah, Jesus and his father Yahweh, or you oscillate towards The Big Electron, the core message is love: it doesn’t punish, it doesn’t reward, it just is. Anything further is a perversion. I like to say, “You can be certain you’ve created God in your own image when God hates all the same people you do.” My friend Emily would just say, “If it’s not LOVE, it’s a LIE. Emily 1:1” I still have some work to do obviously.

The children of Montaña de Luz prayed to Jesus Christos, who is really just the embodiment of love—love is above us (bring hands up above in an arch), love is below us (bring hands to shin-level in arch), love is in front of us (bring arms parallel to the ground in front), love is beside us (pull hands to torso and slide down), love is behind us (bring hands behind you almost parallel), and love is inside our hearts (bring hands up to your chest). Then repeat the hand motions.

My grandma was my favorite person in this world, because the only expectation she had when I was with her was that my heart was beating inside my chest. I didn’t see her very often in the last two years of her life, because frankly I’ve felt like a stranger when I’m around most of my family, that people are afraid to even speak to me, and it was easier to stay away.

When I got a great job finally not in a restaurant last year with Toledo/Lucas County CareNet, helping those less fortunate than me access life-saving health insurance, the two people I hoped would be grateful told me they didn’t believe my job should exist. My grandmother may have felt the same, but she just smiled and said “I’m happy for you CJ.”

It is said the single biggest regret people have on their deathbed is that they wished they had lived a life true to themselves, rather than the one expected of them. My grandma embodied this and wished to cultivate it wherever she went. She was never afraid to tell someone who thought “their shit did not stink” the truth.

I just finished a three-week program at a yoga studio where I’m certifying as a teacher this summer, and the first day I met a woman named Diana Patton. Just sitting in a circle with her I knew I was supposed to meet her. She asked us a question from her memoir, Inspiration In My Shoes. “Have you lived the best day of your life?” She added, “It’s when you decide that this life is your own, and you’re not something someone did to you, that you alone are responsible for your happiness.”

The next morning, I was meditating in the aerial hammocks at the studio, wrapped in a silk cocoon, looking up at what looked like wings reaching to the ceiling, and all I could think was, “Why would anyone choose to stay a caterpillar?”

Have you lived the best day of your life? Have you decided that this life is your own? Have you forgiven the people that hurt you? Have you forgiven the people who did not have the courage to apologize to you? Most importantly, have you forgiven yourself?

“I forgive you Chris (my mom’s husband), I forgive you Katie (my older sister), and Mom I forgive you, I’ll always forgive you.”

I know that my grandmother died with a satisfied mind. A week ago she decided to withdraw care and enter hospice. I got to the long-term care facility she’d been at for a few weeks just as the woman from hospice was talking about her morning transfer, and my grandma asked, “What now?” The worker said, “There’s a nice pond.” She was supposed to have five to seven days. Figuratively, my grandma said, “Fuck that shit, deuces wild bitches.”

I know this because the next morning I started my Mysore yoga practice at 5:30 A.M. with a prayer for peace for her, and I was stronger than I should have been on that mat. Right before I lay down in Shavasana, also known as Corpse Pose, I looked out the window and saw the sun was breaking through the clouds and I swear I heard her say, “You don’t need me to believe in you anymore, because now you believe in yourself.”

My mouth trembled with trepidation as I laid down to rest and I felt her peace wash over me. I was not surprised when my mom’s name appeared on my phone 20 minutes later, calling to tell me my grandma passed between 5:00 and 6:30 when I was practicing.

If you were at her 80th birthday party, she said that she was going to beat this, and if you told me you believed her I’d call you a liar, because I saw the look on all your faces, and knew the look on my own. Doris Jean Akens, Smith, and later Larrow proved us all wrong, and beat this in her own way, on her own time. She saw so much life beyond what was expected, but in the end, she knew the truth that scares us the most: that nothing and no one in this world is worth holding onto, not even one’s life. She knew that, eventually, it’s just time to let go.

I got her this giant amaryllis for Christmas 2015, what was expected to be her last. It’s first bloom was the new moon in April last month, and she passed on the full “flower” moon on May 10th in Scorpio, her sign, and that I find peace in.

So please, don’t tell me you’re “sorry for my loss.” I gained a 26-year lesson in how to be a badass, how to love without expectations, and ultimately, how to let go. Instead, tell me about the time she convinced the county snow plow to give her a ride home from the bar in a blizzard and fell out of the truck three sheets to the wind. Tell me about how many times she told you the same story about shitting her pants that she loved to tell so much. Or please, tell me how funny it was to watch me dance and karaoke at six years old to Clarence Carter’s “Strokin’” at Larrow’s Town & Country, the bar she owned. “Cue the music….just kidding.” Just be real, raw, authentic, show me your heart.

My grandmother’s life will never be measured by loss, but by the life, love, and support she gave unwaveringly.

To close, I’d like to read a quote from the book, The Painted Drum, by Louise Erdrich, that has given me strength over the past few years.

Life will break you. Nobody can protect you from that, and living alone won’t either, for solitude will also break you with its yearning. You have to love. You have to feel. It is the reason you are here on Earth. You are here to risk your heart. You are here to be swallowed up. And when it happens that you are broken, or betrayed, or left, or hurt, or death brushes near, let yourself sit by an apple tree and listen to the apples falling all around you in heaps, wasting their sweetness. Tell yourself, you tasted as many as you could.

For Doris Jean Larrow
November 7, 1935-May 10, 2017

 

Contributing Editor CJ Stobinski is an activist and advocate for the HIV community. He serves as a Youth Ambassador for Youth Across Borders, as well as Youth Ambassador for the social media campaign Rise Up To HIV. He has competed in races wearing the campaign’s No Shame About Being HIV+ tee shirt since May 2015. CJ is currently on his Undetectable=Untransmittable Racing Tour, educating people about undetectable viral loads, and bringing people’s knowledge of HIV into the 21st century. He is a Certified Community Health Worker in Toledo, Ohio, working as a Referral Assistant for the Northwest Ohio Pathways HUB, combating infant mortality and adult chronic health conditions. In his spare time, he loves to cook, play with his two fluffy cats, train for his upcoming triathlons, and is pursuing a yoga teacher certification.

What Rough Beast | Poem for May 19, 2017

Laura Winkelspecht
Nobody Dies Because They Don’t

—For the education of Raul Labrador

Nobody dies because they don’t have access to healthcare.
Nobody dies because they don’t get enough to eat.
Nobody dies because they don’t have a warm place to sleep.

Nobody dies because they don’t have the will to live.
Nobody dies because they don’t start wars they fight in.
Nobody dies because they don’t know enough to be scared.

Nobody dies because they don’t look both ways.
Nobody dies because they don’t make good decisions.
Nobody dies because they don’t stay silent during injustice.

Nobody lives in this world.

 

Laura Winkelspecht‘s work has appeared in Clementine Poetry Journal, NEAT, and One Sentence Poems, among others. She is a poet and writer from Wisconsin who writes with the hope of finding some lightning among the lightning bugs. Follow her on Twitter @lwinkelspecht.

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