no elegies
Sheila Black
Kind of like the whoosh of the Coney Island roller coaster or
the time I went to the Continental Divide and I didn’t believe
the old man at the gas station in the watchman plaid
who told me, “Your eyes will change.” But the plains leaping
like an animal untwisted something in me that made me wonder
who I might have been had I not always been twisted. Made
me think of you in Al’s Canal Street loft, with your high-arched
bare feet, and how bone-sad it made me feel when you let your mom
talk you into a nose job. I know—the surgery didn’t change a thing,
but it seemed to mark the moment when the excitement of being
flattened by a big bad world shaded into a will to be flattened,
a kind of obdurate defeat like when a woman finds herself
lying under someone and communicates her resistance by simply
refusing to move. I remember so much—your delicate flower hands
and dying our hair in Al’s narrow black bathroom and how carmine
that carmine seemed when it was on top of our heads. The time
you plucked your eyebrows so you could look forever surprised
as if “in love with life.” I hate the graph-pattern one can trace in
an elegy, that familiar two-step aria of love lost or addiction.
I want to give you something fiercer, more precise, what I miss
about that old world, which was just as cruel as this new one:
the material weight and slowness—our razors, our blunt scissors,
the fact that we never had access to a phone. Remember when we
tried to make a soup out of the last of the peanut butter and a cup
of hot water? Was this only youth—that we could endure the apocalyptic
nature of our everyday? I remember you said the subways were our
cathedrals—the shivering walls of names of those who gave themselves
other names, letters, sums, incantations, in order to mark what they
had suffered. I don’t think most ODs even make it in the paper. Waking now
again in the whiteness of death, what do you see—a girl is a thing trembling
with what the world will put inside her and take from her, put inside
her and take from her.
Sheila Black is the author of four poetry collections, most recently Iron, Ardent (Educe Press, 2017). She is a co-editor of Beauty is a Verb: The New Poetry of Disability (Cinco Puntos Press, 2011). Her poems have appeared in Third Point Press, the Spectacle, Poetry, Diode, The New York Times, and other places. She currently divides her time between San Antonio, TX, and Washington, D.C.