ORANGES, VEHICLE ASSEMBLY BUILDING

JESSE LEE KERCHEVAL


ORANGES

 

When I was growing up in Florida, we had thirteen orange trees in our yard. I never wore shoes unless my mother made me. Then I fell out of a tree—not an orange tree but the only tall oak where a friend had built a tree fort. A branch broke in my hands. When I hit the ground, my back broke too. Then I was in the hospital, flat on my back. I was fitted for a back brace. My doctor took photos of me that he published in an orthopedics journal, naked, with the brace on, though there was a black floating rectangle over my eyes. When I got out of the hospital, even in the brace I wasn’t allowed outside. I could only imagine my friends playing without me, pretending we lived on alien planets, rolling across the spiky-sharp Florida grass shouting, Gravity Wave!

My mother was worried. Down the street was an old house with a mausoleum in the front yard. People said there was a girl in a glass coffin inside. My mother was worried I, too, might die. My father was worried. He looked at my back brace and was afraid I was a girl made of glass, one with no more life ahead of her than that girl in the coffin. My doctor told my parents I could take my brace off when I swam, that swimming was good for me, but the ocean was forbidden. The waves were too rough. A neighbor we hardly knew lent us her pool which she never used, in her backyard which no one used. I spent the summer there, the only human in a perfect watery world.

When the doctor said I could take off the brace, my parents threw a party in our back yard. My mother set up a table under the orange trees, the waxy blossoms smelling unbearably sweet, and invited the neighbors and people my father worked with. My old teachers. So many people. Too many. I sat at the table full of guests and I felt as if I were floating, as if I were staring at the guests from the bottom of a pool. I closed my eyes and swam away.

And I never did come back.


VEHICLE ASSEMBLY BUILDING

 

It seems strange now I didn’t know you when your son, a boy I went to high school with, crashed his sports car through the fence around the Kennedy Space Centre, climbed the largest single-story building in the world, just to throw himself into the air, saying he was Jesus Christ, saying he could fly. God, in all his wisdom, gave man many things, but wings are not among them. Your son fell forty stories, four hundred feet, and they say that he fell fast. But creation slowed for you, his father, eating dinner alone in your apartment, the one you shared with him. You heard it on the evening news, then closed your eyes.

Later, when I came to know you better than I ever knew your son, you showed me a picture of the two of you. In it, you are standing, all tall legs, the boy between them like a cello, his blue eyes focused on something no one else could see. Even then, you knew you were losing him, like the French you’d brought back from Paris, like you’d already lost his mother, but in this picture, you are holding tight, as if steadiness, no heroics, would be enough to keep him safe. When your eyes opened, you told me, it was months later. Your son already buried, ex-wife come and gone, the world moved on as well, the evening paper full of other leaping stories, as if the children of the world could hardly wait to throw their lives away. Grief was still there, like a break in every bone, and always would be. But you imagined you saw time, that good hand, pointing toward an open window where, like a white and moving curtain, life was starting up again.


JESSE LEE KERCHIVAL is a writer, poet, translator and artist. Her latest poetry collections are I Want To Tell You (University of Pittsburgh Press, 2023) and Un pez dorado no te sirve para nada / A Goldfish Buys You Nothing (Editorial Yaugarú, Uruguay). Her graphic memoir, French Girl, is forthcoming from Fieldmouse Press.


Want to read more great poetry and prose from Issue 70? Great River Review now offers individual issues for sale. You can purchase a copy of GRR 70, or a number of other back issues, here.

Naming the Terrors and Walking Ahead with a Full Heart: an Interview with Jan Beatty

the editors


NAMING THE TERRORS AND WALKING AHEAD WITH A FULL HEART: AN INTERVIEW WITH JAN BEATTY

 

We knew we had to interview Jan Beatty last spring when one of our Great River Review editorial meetings turned into a full-on praise-fest for her genre-defying work. We’re thrilled to be publishing several new poems from her collection, Dragstripping (out this fall from the University of Pittsburgh Press.) But, as you’ll see, we were just as excited to discuss her prose, including her memoir, American Bastard.

For many years, Beatty worked as a waitress, a welfare caseworker, an abortion counselor, and in maximum-security prisons. She is the managing editor of MadBooks, and has taught at the University of Pittsburgh, Carnegie Mellon University, and Carlow University. She directs creative writing at Carlow, where she runs the Madwomen in the Attic writing workshops and is Distinguished Writer in Residence of the MFA program.

We believe her work represents some of the most skillful, daring, and necessary writing in contemporary American literature today.

—The Editors

Editors: Your voice has been described as “tender and broken, at times angry and fierce,” (Richard Blanco). How do you balance these dualities in your poetry, particularly when writing about personal experiences?

Jan Beatty: I don’t think I do balance them. Many of my poems are more angry than tender, or more broken than anything. I’ve always resisted the concept of “balance”—in writing and in life, although it’s something that I’ve had to work for to stay alive, both as a poet and a recovering addict. The poem always gives me the answer. I would hate to write a poem without dimension or without awareness of self-indictment on some level. None of us gets through life without brutal mistakes and transforming moments—and to talk about that with an looking to do.

EDS: Both your memoir and your poetry address your adoption. We tend to have one cultural idea/ideal of adoption, driven by film and myth. But you had a different first-hand experience. You speak to a few different issues: adopters’ savior complexes; adopters being driven by religious and/or financial motivations; phenotypes, bloodlines and legacy. What else do you want readers to know—or, perhaps to question—about the difference between how adoption looks in the movies/pop culture versus how it really is?

JB: Well, I’m hoping that a lot of that is in American Bastard. It took me twenty years to write the memoir, partially because I needed to do more work in therapy focused on adoption. Also, I needed to grow as a writer to learn how I could approach this loaded material. But another element at work was the massive cultural “story” about adoption that whitewashes it, makes the selling of babies a “beautiful” thing, when I knew in my body that these were lies. How could I speak against the “sacredness” of the mother, the “perfect” new families of adoption, knowing that the power of church, government, and popular culture has been successfully producing this PR campaign as the way of life for centuries?

EDS: Can you speak to the hybrid nature of your memoir American Bastard? What drove the choice to compose in a way that incorporates both poetry and memoir? What sort of possibilities does the hybrid form allow for that, say, a more traditional verse wouldn’t? And do you see yourself writing similar books in the future?

JB: I don’t consider American Bastard to be a hybrid memoir, but, rather, a work of nonfiction. Of course, I realize that the book includes a leaping framework and a few poems. Truly, this was the only way that I could imagine writing it. In 2000, I had sent out a book proposal, but never followed up. At that time, I published a few pieces of the book in Creative Nonfiction. Then, I ran into the emotional and writing roadblocks that I mentioned earlier. So, for many years, I kept notes in journals on anything related to adoption: a few lines, images, books on adoption, quotes, ideas for poems, etc. These ideas make their way into many journals over time. When I finally felt ready to write the book, I knew that I couldn’t write a chronological memoir, since I didn’t re member most of my childhood, and I didn’t want to write in any kind of traditional structure.

The short version: I was at a residency in Wyoming called Brush Creek Ranch, and I had taken a topographical dictionary with me, Home Ground: A Guide to the American Landscape, edited by Barry Lopez and Debra Gwartney. I’ve long been traveling West, even before I knew that my birthfather was born in Winnipeg, Manitoba. I’d met Barry Lopez in Alaska many years ago and had kept in touch. The only way I could seem to start writing the memoir was to use some of the definitions of land from that dictionary: infant stream, huérfano, floodway. I would write down a definition and then leap to a metaphorical moment of memory. I continued to do that for two weeks at the residency and came up with a rough first draft that included some poems about adoption. I would work on nine revisions during the following four years that I was sending out the manuscript.

I’m currently working on a book of essays that uses a similar leaping structure, and I hope to write more books in this style.

EDS: Reading the poems that are running along with this interview, I’m struck by many things, but especially the ferocity of “If You Slice the Moon,” which makes a very tall order—a poem about the moon—and not only totally fulfills that big challenge, but also speaks to why we need poetry. I wonder if you could speak about this poem and how it came to be.

JB: Thanks—I’m glad that you saw ferocity in the poem. I feel a lot of sadness and terror in there. It’s a very strange poem in its develop ment. It lived in one of my journals as bits of inexplicable thoughts for a long while. When I went back to my journal, looking for poems, as I often do, I felt that something was moving around in these lines that was odd and energized. So, I worked on it to see what might rise from it, and what it might be about. It still feels mysterious to me, and, of course, who could explain the moon? It came to be a poem about the violence of change, the fading of the way things were—but then, how do we find our life force in the midst of something so much larger than us? How do we stay honest about the difficult things when the world wants us to make things joyful? How do we name the terrors and walk ahead with a full heart? It’s a supplication to the moon, a love poem.

EDS: These new poems of yours have such intense lyricism while they portray and speak from suffering. I’m thinking of the devastating and yet somehow perfectly apt ending of “Scarline”: “I am the scarline.” Could you tell us how these poems figure in your current work—are they part of a new book?

JB: I need to give credit to the amazing Diane Glancy, who used the term, “scar line” in one of her books. She’s a friend and writer whose work has inspired me for many years. I’ve written a lot about adoption, in poems and in my memoir, American Bastard, but I’m driven to write about the markings on the body—how unknown history and trauma relates to splits, upheavals, lines in the earth/in the earth of the body.

These new poems are part of my new book, Dragstripping, which is forthcoming from the University of Pittsburgh Press in Fall, 2024 or Spring, 2025.

EDS: You mentioned that you are currently working on a book of essays that uses a similar leaping structure. Can you tell us more about this project and how it relates to American Bastard? Do you see yourself continuing to write in a similar style in future works?

JB: I’m working on a book of essays called, The Unknown Bodies of Women. It’s in a very early project stage, an unruly mix of leaping story regarding the invisibility, rages, disappearance, and daily knowing inside the bodies of women. It leaps from lyric essay to interview notes— from prose including bits of poetry to craft essays to performance pieces in Paris and the Warhol. It relates to American Bastard in that the lifelong trauma of adoption and the engine of survival compels me to write the cultural markings, the violence against women’s bodies. I don’t know if I’ll continue to write in a similar style in the future. It depends on what I’m writing about, and I always want to grow and develop as a writer. That may or may not mean a shift in style.


JAN BEATTY’s seventh book, American Bastard, won the Red Hen Nonfiction Award. The Body Wars was published by the University of Pittsburgh Press in 2020, and a new chapbook, Skydog, was just released by Lefty Blondie Press. In the New York Times, Naomi Shihab Nye said: “Jan Beatty’s new poems in “The Body Wars” shimmer with luminous connection, travel a big life and grand map of encounters.” Beatty worked as a waitress, abortion counselor, and in maximum security prisons. For years, she directed Creative Writing, the Madwomen in the Attic workshops, and the MFA program at Carlow University.


Want to read more great poetry and prose from Issue 70? Great River Review now offers individual issues for sale. You can purchase a copy of GRR 70, or a number of other back issues, here.

SLOW RUPTURE

ESINAM BEDIAKO

winner of the Walter Nathan Essay Award


SLOW RUPTURE

 

“It’s not about the cat,” the wife often said back then (and would continue to say now if she still dared to talk about the past, which she mostly didn’t). The cat had started things, was the catalyst, you might say, of the rupture.

Throughout the wife’s vomitous pregnancy, Delilah had been there, black paws pressed against the wife’s knees. Claws retracted. Always. When the wife wasn’t kneeling over a toilet or slogging through a workday, she lounged on the couch with Delilah as her caretaker. The cat would nudge her velvety head under the wife’s hands, and the wife would slip into slumber.

But with other people, Delilah was a feisty cat. Delilah loved the husband since the wife loved the husband, but the cat did not take well to most other people.

Pregnancy had been tough on the wife. She’d thrown up multiple times a day, every day, so much that even her high school students noticed and reported her to the nurse, concerned their teacher might have an eating disorder. Instead of growing plump and round and glowing, the wife had withered away, thinner than she’d been in over a decade. Funny, given that the husband had wanted to wait until she lost “just a little bit of weight” before trying to conceive, that in her pregnancy she’d been the skinniest he’d ever known her. Ironic–or something else. Who knew? Like Alanis Morrisette, the wife didn’t understand irony, but she should have, given that she was a high school English teacher.

For better or worse, the wife got pregnant while overweight, then lost that extra weight and more as her baby grew within her, and despite all the sickness and anxiety and the bloodbath of delivery, she was happy. And her husband seemed happy, too.

Some hours after delivery, she lay in the hospital bed, lemon cake fresh on her tongue. During her pregnancy, most foods had tasted terrible. So this cake that the hospital had given the wife and husband to celebrate their son’s birth tasted like the sweetest thing she’d ever eaten, even though it wasn’t, its texture light and moist, its flavor bland. The sunny yellow icing and white trim looked the way the cake surely intended to taste: like joy.

The husband strode into the room carrying the things he’d gone back to retrieve from their apartment: adult diapers, a breast pump, an abdominal binder. Extra sweaters, since the second blood transfusion had left the wife shivering cold. An aqua green onesie for their son, the going-home outfit they’d chosen for him a couple of weeks ago.

Their son was in the hospital nursery rather than in the room beside the wife. Doctor’s orders; the wife needed to rest. The doctor had said that the blood loss from her C-section meant the wife had worse anemia than her baseline anemia.

“How is Delilah?” The wife reached for the husband’s hand. He didn’t notice, too busy arranging the items he’d brought. She dropped her hand on her lap.

“She was freaked out. She hissed at me as soon as I walked through the door. And she barfed all over the rug while we were gone.”

“Did you put our clothes in her cat bed? My cardigan and the hat that the baby was wearing last night?”

Over the past few months, the wife had read almost as many articles and books about how to acclimate cats to a new baby as she had about caring for a baby. Several experts suggested establishing trust through scent.

The husband shook his head.

“That’s okay, we can still do it when we get home…”

“Listen. I think we need to get rid of that cat.” His voice was gentle, but he’d set his jaw the way he did when he had come to an independent conclusion. They’d talked about this. She figured they had at least a month or two to see whether the cat adapted to the baby. He had agreed.

“We’ll see,” she reminded him. “Let’s give it some time.”

“No. We need to get rid of her.”

She wanted to fight, but eating cake had exhausted her. Against her will, her eyes closed.

No way, she thought before she faded into sleep.

When they walk into their apartment a couple days later, the wife now a mother holding her sleeping baby boy, the cat nuzzles her face against the wife’s ankles. When the wife sits on the couch with the baby, the cat stretches on the cushions nearby, ignoring the unfamiliar creature swaddled in the wife’s arms. This could be okay, she thinks, eyes on her baby’s button nose, hand on her cat’s soft fur. This could be good.

But for the husband, it’s not good enough. The cat hisses at the carseat. She hisses at the crib. She stalks the husband’s feet. She vomits up her nerves.

When the wife pushes for more time, the husband snaps. He calls her selfish, a word he rarely calls anyone but his own mother. He questions his wife’s maternal instincts. Any good mother would know this cat has to go. What’s wrong with her? Doesn’t she know any better?

The wife wants to fight, but she can’t. She just had this baby yanked out of her four days prior. She’s still dizzy. It’s August, and the AC is blowing hot air. Her milk won’t come in. She needs to practice latching, but all the baby wants to do is sleep. And her husband, whose siblings usually call him Cool Cucumber, stands in the middle of the living room, tears streaming into his beard. He tells her what she already knows, reminding her of the source of his fears: his childhood home, that place where his stomach panged in hunger while fleas feasted on cats feasting on fleas. He wouldn’t wish that wilderness on his enemy, let alone his newborn son. The cat–this particular cat–reminds him too much of the chaos of his upbringing.

The wife has no fight. Her blood is weak. She holds her husband in her arms, tells the little boy living inside him that everything will be okay.

The wife doesn’t sleep when the baby sleeps. Instead, she looks on local pet websites for someone who might want her cat. She posts ads. She calls friends and co-workers.

Somehow, the husband’s still displeased. He locks the cat in the guest room with food and water bowls. He gives the wife twenty-four hours to rehome the cat; otherwise, he’s taking her to the nearest shelter.

The time comes. She’ll always remember this, live it again and again. The baby sleeps in his crib, safe in another room. The husband, a stranger, paces the living room, searching for the cat. He waves a broom at the cat, trying to scare her into her carrier. The cat bolts. He chases her. The cat yowls and runs. The husband chases. The wife hides in the bathroom, holding the door open a crack so she can watch the scene unraveling. As she stands, the wife’s feet feel like sausage bursting from its casing, the postpartum swelling too intense. She cries for him to stop.

The husband’s head whips toward the bathroom. He stares at his wife like she’s the one who’s out of control. He asks if she’s crazy, if she really thinks he’s going to harm the cat. “I just want her to get in the carrier,” he insists, “I’m not going to hurt her.”

But you’re trying to take her to a kill shelter, the wife thinks. Her blood is still weak. She vomits in the sink.

The wife may not have much fight, but the cat does. Delilah will not be caught. Delilah will stay out of the husband’s way for one more day and one more night, hiding on top of the fridge or behind a bookshelf. And only when the wife calls to her will Delilah climb into her crate, allowing a friend of a friend’s coworker to carry her out of the couple’s lives and into a new home.

After months and months and months of couples’ therapy, the husband expressed contrition. But only after he’d spent months and months and months being angry at her. Angry that she was too sad about the cat. Angry that she couldn’t look at him the same way. Angry that she was acting like he was some kind of terrible guy. Why should he owe her an apology for trying to be a cautious parent? It’s not like he was some deadbeat cheater goon like her own father.

“I’ve put up with a lot from her over the years without com plaining,” he complained to the therapist, “yet here she is, holding a grudge about a cat.”

“It’s not about the cat,” the wife said, even though it partially was. “It’s about respect. It’s about trust. It’s about letting me feel my feelings.”

He didn’t relent. He broke her heart in a dozen ways during those first months of therapy. Told her he was sure about the baby but not about her. Told her that if she looked at the earlier stages of their relationship, she would see it, his ambivalence. She didn’t see it, so helpfully, he showed her. How he’d tried to break up with her when he went away to medical school. How after their engagement, he hadn’t invested much energy into planning the wedding. How he would grow silent sometimes, sullen. Hadn’t she seen it?

She hadn’t seen it. She had recalled their beginnings as pure. They’d met working at the same afterschool program, he as a tutor, she as a supervisor of tutors. She was sort of his boss, except he got paid more, for reasons he didn’t think much about until after they’d been dating for a while (she was black and a woman; he was white and a man). They were both a year or two removed from college. She attended grad school in Bronxville, shared an apartment in Brooklyn with her sister. He was visiting New York for a year, working and applying to med school and living with his ninety-something-year-old grandmother up in Inwood. What had she—the wife in her pre-wife days—seen back then? His lopsided smile. How he fed her, tucking tangerines and donuts into her backpack so that she’d find a surprise during her workday. How he held his grandmother’s arm, leading her on long walks through Isham Park. How on their first date at a Midtown diner, he had grabbed the saltshaker from the sticky table and sprinkled salt in the cup of his hand. He’d rubbed his palms together (to sanitize his hands) and then had thrown the salt over his left shoulder (to blind the devil). All the while grinning, leaning across the table toward her like he wouldn’t want to be anywhere else.

In couples’ therapy, he undid that moment and many others. He cast doubt on all these memories that she’d once held in her heart like charms on a necklace. Yet somehow, they carried on. The therapist used words to explain: attachment issues, transference. Post-traumatic stress disorder. Men can get postpartum depression too, the therapist said, and the wife tried not to show her annoyance. Can’t women have anything for themselves?

Even when the husband had said terrible things during therapy, the husband and wife would leave the therapist’s office and go out to dinner. No need to waste the sitter, after all. They would talk like old times, sharing stories about his patients and her students. They would eat decadent food. Lobster, red meat, pasta coated in pesto. Chocolate cake and pumpkin budino for dessert. They stuffed themselves, drank wine, then made their tipsy way home to their baby boy.

In rare moments of solitude, the wife couldn’t stuff down her feelings, the doubt he had sowed within her. In those brief and anguished moments, there was nothing she wanted more than to turn back the clock and undo it, the oranges and donuts, the salt over his shoulder, his lopsided smile. But like everything tends to do, those terrible moments passed. She couldn’t help but cling to what she still loved: this new family, this new light. Her son, a perfectly warm and tiny body in her arms. Her husband, broad shouldered and strong on the outside, just a motherless child on the inside. She couldn’t undo it. She couldn’t turn back and dismantle it. They were hers.

And besides, the medication was working wonders. He was becoming himself again. He began to sing a different tune in their couples’ sessions. Of course he’d always loved her. He couldn’t believe the things he had said to her over the months. Soon he would forget. Couldn’t she forget too? That had been depression talking, anxiety.

“That wasn’t me,” he insisted over and over. “That was some one else.”

Time is a funny thing. It can bend and stretch. It can crawl and walk and run. Somehow, it began to feel like they were past it. Like everything bad had happened a lifetime ago. He had gained self-awareness. They both had. Their son was thriving. They both had jobs they liked. Maybe they could have another baby. The husband would never make a unilateral decision again, would never give her an ultimatum.

The years are breathless, how fast they run. They are now a family of four. Two curly haired boys, best friends. Two under five is how the mommy bloggers would describe their current state of parenthood. It’s not easy, nor is it a disaster: the kids go to preschool, to playgrounds, the children’s museum, friends’ houses for playdates, and the husband and wife happily facilitate it all. Everything’s fine, until it’s not. The husband is tired of living in New York City, tired of lugging strollers and car seats everywhere, of sky-high rents and mediocre pay at the county hospital.

“We need to move,” he says. He sets his jaw in that way he rarely does, in that way he did all those years ago, and she knows she’s going to have to fight a battle she cannot win.

Time is a funny thing. He can look at these old pictures of their boys’ small hands and sausage roll legs and think how that was just yesterday. Yet he looks at the rupture, the stuff that happened back when their first boy was born, and he wonders why she hasn’t gotten over it. Why she feels like part of herself is still flattened against her postpartum hospital bed, her body hemorrhaging blood almost as fast as her veins drink it. Why she feels like part of herself still resents his inattention during that time, the way he stopped holding her hand or looking her in the eye. Why she feels like part of herself still hides in the bathroom while he tries to broom-scare the cat into her carrying case to deliver her to certain doom. All of her selves, left behind in a past whose presence mocks her daily, reminding her that she’s become a stranger to herself. He wonders why she’s still reliving every foundation-shaking thing he said, why she still hears the echo of words he doesn’t recall saying. Why she’s still reeling in all the slack she has cut him.

Of course he has cut her slack, too. She has been moody and unmovable. In some ways, she can’t function, is a child. She can’t even drive a car. Not just “she’s a bad driver” but she legally cannot drive a car because she doesn’t have a license, hasn’t driven a car since age seventeen. It’s too much work, she says, being alert. She’s too daydreamy to have a three-thousand-pound car in her control. She prefers instead to ride trains and buses, looking out the window and ruminating about god knows what. Impenetrable fortress. Or at least that’s how she imagines he imagines her.

In California, where they move, everyone thrives except the wife. The kids have a house with a yard, a playset with swings and a slide and a climbing wall. They have good schools, three parks within walking distance. The husband’s job pays so much more money, and his father’s twenty minutes away, one of his brothers and one of his sisters a few hours’ drive north.

The wife is adrift. She misses her sister and friends in Brooklyn, misses the students who cared enough about her to wonder why she was vomiting so much during pregnancy. Her new school job doesn’t involve teaching at all; she doesn’t like it. But also, she’s simply too depressed. No job would have been good enough. She’s too weepy and fragile and her body hurts after each long day of trying to do her job and talk to people and pretend she’s not in ruins. She just can’t believe it, that he’d made this decision without her. That she hadn’t put up a fight, or maybe that she was fighting for the wrong thing. She can’t see herself anymore, her self subsumed into someone else.

The house they bought is beautiful, but in their first full week it flooded. Everyone was sleeping in their beds except the wife. She liked to stay up later than everyone else, waiting in the living room in case one of the boys woke up crying, disoriented in their still-new home. She’d dozed on the couch in the living room, the TV watching her. Time passed, and she found herself somewhere else. She was a boat bobbing in the ocean. The sun poured down on her, making jewels dance on the water surrounding her. A gray and black rumble of clouds rolled away, off to darken someone else’s horizon. The water was calm now. But she ached from before. Waves had battered her hull, whatever a hull was. The mast had snapped in half. What was a mast? Water lapped against her, rustling in her broken…oars? Ears? Boats don’t have ears.

Her eyes popped open, and she followed the sound of water in real life. She stood up from the couch and followed the sound to the bathroom around the corner. Water gushed from the sink, the tub, the toilet. Her toes were submerged, but the water didn’t reach her ankles yet. She called his name, her husband. He emerged from their bedroom, eyes barely open.

“What’s wrong now?” He sighed as he shuffled toward her, assuming, she knew, that she was waking him to kill a spider or some inane thing. But then he saw the water and thanked her for acting fast.

They cleaned the mess. Shoveled water outside in buckets, mopped and disinfected and then mopped again. Their boys slept through it all.

In the morning, they would have to call a plumber. Your pipes are crumbling, the plumber would say, and whatever isn’t crumbling is backed up. They duped you during the inspection. You inherited a mess. The house is shifting. The foundation is cracking. There’s sludge brewing beneath the floorboards. This house, one day, will be in ruins. And you bought it, so the wreck is all yours.



ESINAM BEDIAKO is an English teacher who earned her MFA in fiction from Sarah Lawrence College. Her work has been published in Dark Phrases, Floodwall, and Pink Panther Magazine, and she has essays forthcoming in North American Review and Porter House Review. A Ghanaian-American born and raised in Detroit, she lives in Southern California with her family.


Want to read more great poetry and prose from Issue 70? Great River Review now offers individual issues for sale. You can purchase a copy of GRR 70, or a number of other back issues, here.

"River Gods Bend"

DAVID BLAIR


RIVER GOD BENDS

 

“Sad grows the river god as he oars past us.”
—John Ashbery, Flowchart

If you have never cooked up
cheapo fiddleheads
turning black in their
soft blueberry cartons,
the green pulp of them
smells, and so tastes
like green riverbanks
of scrubby weeds
for the entire spring,
or maybe this should be
the other ways around,
and the riverbank
smells (tastes)
like fiddleheads,
and then recesses
away from this alertness
that has a tough
weasel on a rock
saying, “Dare me,”
which is how my friend
the game warden
described a stare-down
with a bad twist
of muscle on her beat,
the shock of river again
can really get to you,
put your nose out of joint.
You can get crop-dusted
by the combined
overflow of Watertown.
Smell though is not
an accident, the start
of the imagined,
substantial grease
in the hair held
by the pony tail’s cinch
where the sweating
musician joins
the chorus
of “Mustang Sally”
for the abstracted
drunks in the summer
citronella
of the patio with a stage.
That fog was weird
glasses of cold water.
I missed Sabrina
so much.
I would
write her letters
that all went, “Hey, listen.”

A river goes by a palace,
what a dump.
These parochial types
need a grand tour
about as much
as the Danube River
needs a hairpiece.
Who could have
a broader swath
of glitter or more
astonishing sleeves
knit with mirrors?
The birds, the fish,
the muskrat head
that fishes around
with unfair advantage
the lily pads,
none of these
in the water smell,
and so from the river
somehow that has
no consciousness
and won’t jump
out like a river god
to complain about death.

I get suburban nervous
as exurbias encroach on cities
here. I don’t want flour
to get all over my pants
if I need bread,
but I do want
to see woodchucks rolling
along or even a chipmunk.
We’re all accidents.
The July bushes
smell of anisette
by the Mystic in Medford.
How did I learn lore,
to see these people
except I felt welcome
and was not cuffed but
confided in, kidded
and not killed. Not yet.
Take a bit of nature
back with you, the river
and the weird birds.
The baseball diamond
in the park by the river
smells of dandelion
and mown clover dust
named for dead aldermen.
Now full sails of cut grass
ride the mowers. Ride on.


DAVID BLAIR is the author of five books of poetry and a collection of essays, and he teaches poetry in the MFA Writing Program at the University of New Hampshire. His most recent collections of poetry Barbarian Seasons and True Figures: Selected Shorter Poems and Prose Poems, 1998-2021, are both available from MadHat Press.


Want to read more great poetry and prose from Issue 70? Great River Review now offers individual issues for sale. You can purchase a copy of GRR 70, or a number of other back issues, here.

"If You Slice the Moon", "Miraculous", and more

JAN BEATTY

winner of the 2023 Pink Poetry Prize


IF YOU SLICE THE MOON

 

If you slice the moon in half
shotgun pellets will spill into sky
and rename beauty.

That’s what I’ve seen.
People running away from their inside fires.
You can’t blame them—

But they are losing life-color,
becoming patterns of their former selves,
into the blueness that’s not really blue.

I’d rather be terrified.
In the moving life
that’s running without me.

I can hear it.
I’m breathing in it.
Right now.

Now I call this my new beautiful
because the terror is too large,
too unseemly.

Can I flip the moon over and name it
a piece of cloistered beauty?
If I do, will it leave me?


MIRACULOUS

 

As a child I spent a lot of time in the closet. I sat, bent like a finger in arthritis.
Here I could become anything: a cloud, a C note, Michael Jackson’s rhinestone hand.
By the time my mother would finally unlock the door to say, “Had enough?”
I was able to imagine her as someone miraculous, someone saving me
from my mother.


LEAVING SANTA FE

 

I’ve known disappearance, but never
4 AM corner dark with months of clothes
on my back. Past Nino’s near St. Michael’s
and Smith’s grocery where I went daily
to trash talk with the bag packers
about hair and magazine covers, maybe
all those years of waitressing.

I’ve fucked men for years to disappear,
drugs for years to go missing,
hungry to be institutionalized
to have my choices removed—
looking for a pathway to sky
without dying, a way to not be here.
5:10 AM driving on Cerillos, the GPS

says Sá-ril-oss in the black dark.
No traffic but homeless people
on the sidewalk. One man pushing
a shopping cart piled high with stuff,
hard to make out in the shadows.
He’s wearing a long raincoat, gloves,
even though it’s 73 degrees.

Another guy on the corner just standing,
staring. I pull up beside him at the light,
his clothes hanging, pants dragging,
no movement. Some kind of Mexican
rap comes on the radio, one click and
my door locks. The DJ says it’s
Roaring Lion doing Spanish Calypso.

The knife pulled on me in the backroom
fucking him to avoid calling it rape,
living in my car—but not for long.
I’ve known disappearance,
moving 14 times in a year,
but what was the man on the corner
staring at?

I came to—in rooms I didn’t recognize
with people I didn’t know.
Never 4 AM corner dark
with months of clothes on my back.
I drove away from Cerillos
in my rental car, wishing him mercy,
my privilege running over me like water.


JUNKIE

 

...the first day i shot dope/
was on a sunday./I had just come/
home from church/got mad at my mother
cuz she got mad at me. u dig?

—Sonia Sanchez

There’s light along the stripline tonight: this is your new family, same as the old—cold, not

there, spot the dealer at 50 ft, shady deal behind the van/side lot, know the city solitaire—5am

light after all-night drugs/don’t look straight in the eye/movement to the corner/same as the

old/don’t acknowledge/who to look at & when/ get the dope don’t be stupid friendly/ shut up &

listen/know the main player/walk away/not too far/the way some one holds their head/behind the

van/same as the old/study the movement/don’t look like you give a shit/night after night/don’t

acknowledge/they know you saw them already/behind the van/shut up & listen/walk away/not

too far/gangster lean doesn’t mean gangster/same as the old. cold, not there/get the dope/walk away


I RAN INTO WATER

 

Last week I ran into Water on the street,
said, What’s up?

I’m fighting the dragon
, he said, trying to blend
male and female.
It’s a big job
, he said.

Later, at the hairdresser, I said, Kill it, cut it all off,
stepping to the measure of my own cavalry.
Because inside my body, there is no home/and I
want to say to anyone:

It’s like there’s no body
I can live in,
so I walk around in the one I have.
I’m wearing striker boots
to kick the straight men away,
spit-shined, with heel irons.


SCARLINE

 

On any given day, they would lock me up.
I miss those hills of the body,
the line bruises from slamming the edge
of the dresser—

Those lines of demarcation are the scarlines
of hurricanes:
new continents rising to the surface:
this happened here
this girl lived

——

I was a split baby/
half a body here, half
nowhere
—asylum baby

split off
with the dull
tools
of the cutters.

——

I stayed
until birds flew out of me
until words became animals

——

Mothers
selling us to
strangers with a wallet—

and the walking bodies say:
when I saw you, I knew
you were mine.

I’m not yours.
You can’t own a split thing.

——

I found the cheap gold cross you sent,
buried under papers and books.

The letter where your priest told you:
Adoption is God’s work.
I don’t know if you’re still alive.

Bloodmother, finding you was like finding religion,
but without the cruelty and deception—
but then, what’s left?

——

Only:
Continents landforms upsurges

In this split kingdom
this body walk of life,
I’m the scarline.


JAN BEATTY’s seventh book, American Bastard, won the Red Hen Nonfiction Award. The Body Wars was published by the University of Pittsburgh Press in 2020, and a new chapbook, Skydog, was just released by Lefty Blondie Press. In the New York Times, Naomi Shihab Nye said: Jan Beatty’s new poems in “The Body Wars” shimmer with luminous connection, travel a big life and grand map of encounters. Beatty worked as a waitress, abortion counselor, and in maximum security prisons. For years, she directed Creative Writing, the Madwomen in the Attic workshops, and the MFA program at Carlow University.


Want to read more great poetry and prose from Issue 70? Great River Review now offers individual issues for sale. You can purchase a copy of GRR 70, or a number of other back issues, here.