If You Must Know

We’re at our mentally healthiest when we’re
influenceable, a state that ranks #11 in the Top
Ten most-able states. A state Gen. George Douglas
MacArthur described as “flimsy yet motherfu*king
impenetrable.” Rigidity helps influenceable adults
keep on the sunny yellow line. If you lose the line,
like after the sun goes down, feel around for a strip
of unbroken smoothness surrounded by bumpy
asphalt, the opposite of Braille. You can’t feel the
yellow, but it will feel you! If the dog could talk,
she’d tell you, “Take it in, all in.”

Posted in 111: BABY | Tagged

Graze in the genocide

My son whose name is radiance
Tripped and skinned
His little knee. My god the wailing!
the wailing in my heart! A blot
Of blood, about the size of the sun
Or my thumb. It was ages ago.
I can still hear it.

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La cuna

Mother has no baby
all the rocks are hollow

fears hushed to sleep
black and still as sonogram

Heartbeat an echo,
smoke between the boles

clothes burned, photos buried,
we feed holes in the ground.

Mother nurses herself, finds the fruit
returns home,

arms around the wind
little husks of existence.

What has been forgotten
mutilated, confused, sucked dry.

Sacrifice her love, how we ride the horse
a paradox since the beginning.

We live in her, braided into being,
we separate to find her and…

Once you…call her…
she absorbs you

Her own house of spawns
milk, blankets, kitchen, doctor’s waiting rooms,

Mother who does everything,
destroys everything…

And we never let her play.

Posted in 111: BABY | Tagged ,

Bridget Jones’s Diary

Bridget Jones’s Diary (2001)

Each time that babe Cleaver walks into the room
Bridget Jones’s Diary must go mad as a bad
Christmas sweater with a gherkin up its arse;
in part because he’s found the elevator that opens
onto every turn-of-the-millennium interior,
only ever enters between parted chrome
in close up; in part again because Kafka’s motorbike
revs so hard at cocktail parties it harmonises
with flutes and postmodern small talk like Rushdie
and the politically incorrect arithmetic
of a 90s hangover, my mid-30s, and a skirt;
in part again ad infinitum because after a certain age
there are always Alsatians waiting at the bottom
of the next bottle . . .

I’d have done it. Shagged him.
I’d have done it and so much more just to replace food
with sex and stop singing each time Céline Dion came on.
I mean, how often does Hugh Grant jump at you,
from his punt, screaming “FUCK ME! I love Keats.”

I’d have done it again and again and again
and then written it all down in Bridget Jones’s Diary.
Because karaoke is more common than snow
and lovers rarely fight on the streets of Soho;
because if he’s not a knobhead without a knob
then he’s my uncle who’s not my uncle
and the only purple passage I’ve ever known
is the prolonged bridge of my mother’s lover’s nose
selling on the telly . . .

I’d have gone mad for Cleaver,
mad as a Human Rights lawyer on St Nick’s
mistaken again for the reindeer. But what are the odds?
My chances are up there with a sequel
or F.R. Leavis calling on the phone.

Posted in 111: BABY | Tagged

VAMPIRE PROBLEMS

It took us just sixty years
to slurp up the Ogallala aquifer.

Poets keep asking, “What
if poetry won’t save us?”

It’s fun to say ”Whaat??”
I taught my granddaughter, Renee.

Now she’s ready for first grade.

But, seriously,
we needed that water

for alfalfa.
Isn’t it great how

things we don’t expect
still happen.

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Antediluvian Sonnets

On the way to the end of artifice
On time departures, ancient bonds
Catalytic prescriptions for mending
Reluctance to say ‘loss’ when gain

Is in gathering through, for and across
Swiftly folding time or swirling, skirted
Triangular like a hat, orb-like as in water or web
Makes no difference except that bodies

Unknowingly pause hesitant to leave
Cultivated stillness and quiet for scuttling
A pilgrimage to Bernadette who is
No longer in Lennox or anywhere earthly

So we travel toward her laughter
One location she inscribed

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SPARKLING HEART EMPIRE

The greatest relationship I’ve ever had is with Empire.
Even before my mother, there was Empire; long after she’s gone, Empire.
My mother disowned me when I became pregnant, but not Empire.
I gave over my body to motherhood, in a country not my own, except for Empire.
Empire held me in its arms, Your child is my child, said Empire.
Parakeets burst out of the Northern sky, singing to me as a gift from Empire.

That my son has thick black hair and long legs is because of Empire.
That my daughter rolls her “r’s” is because of Empire.
That my children have Dutch names my parents can’t pronounce is because of Empire.
That my children have Korean names everyone approves of, but no one uses, is because of Empire.
That my children learn Korean history by watching K-dramas on Netflix is because of Empire.
That my children call themselves half-Dutch, half-Korean, half-American, that sometimes they also say English, not yet knowing why nations and languages have different names, that excess is also because of Empire.

My children are beautiful in a way I will never be, in the eyes of Empire.
But I see that as one way I’ve come to succeed within Empire.
After all, I gave over my body to birth to these perfect specimen-citizens of Empire.
Just like I gave over my name, at age three, to become legible to Empire.
Just like I gave over any claim to a home, just to be at home with Empire.
I’ll give you the world, anything you dream is yours, promised Empire.

But I rarely remember dreams, and if I do, they are only of Empire.
I post photos of myself with cat ears, anime eyes, my true emotive self in a shower of sparkles, “what cocktail am I?,” a spinning thirst trap for Empire.
All the Valentine’s Day cards I’ve ever written were really to you, Empire.
In fact, every word I’ve sighed or sung or screamed authentically was to you, Empire.
Every line I’ve loved from Dante to Baudelaire to Tsvetaeva I read through you, Empire.
Empire comments on my post in a language I don’t understand; I hit “see translation” and then feel grateful to my beloved Empire.

I buy Napa cabbage in an Utrecht supermarket to make kimchi for Empire.
I bury the French glass jar in my garden, next to poppies, as an offering for Empire.
At midnight, I turn on my computer to commune with other poets writing about Empire.
We’re lit with the light of three different continents, but we marvel at how space and time don’t matter for Empire.
In a movie theater I watch Parasite with subtitles I don’t need but were offered by Empire.
Don’t you know it’s because of you they’re given American names – like I was – a European family moves in at the end – like in my home – it’s the perfect Hollywood film – like my immigrant dream, I whisper in the dark to Empire.

My son points to the idols and asks, Why do they all look the same? and I don’t tell him that’s racist, I tell him that’s Empire.
When I was his age, there were such same-looking soldiers on the street, all in the name of Empire.
We ate spicy stew with pieces of hot dog and sliced cheese, tenderly prepared by Empire.
The radio played songs with nonsensical lyrics in English, and I danced along with Empire.
My parents claimed they tried to give me a better life by moving into the heart of Empire.
But it wasn’t necessary; at the center of my heart was always Empire.

They put me in Empire’s arms and said, Our child is your child, to Empire.
And if they hadn’t, could you have kept your body, name, home from me? asks Empire.
Could your parents have come to love you? sighs Empire. Could your children have been beautiful? sings Empire. Could you have written your poetry? screams Empire.

Posted in 111: BABY | Tagged

Job Speaks of the World Under

“Are you still trying to maintain your integrity? Curse God and die.”
—The Book of Job
, New Living Translation



In the beginning, there was light
strangeness in me as they, without fail,
wanted me to speak
about human rights.

It swelled at a Q&A
where a white woman grabbed the mic
and apologized because we had to
converse in English.

“It’s so harrowing none of us here
could speak Bahasa, or Thai.”
Even though NT
was Vietnamese.

After the panel ended
a man—complimentary wine
in his hand—might’ve gone to me
and started mocking his ancestors.

“Oh, how evil they were, ravaging
every corner, oh, every corner, of the world.
And murdered your people,
oh, your people!”

And then I’d feel guilty after I saw mountains
of books—unsold and mine—in the festival bookshops.
If I was being a lake that day, I’d purchase some
and sleepread my own words during the flight home.

O, Lady of the Ocean Blue, why
did I have people translate my work? Why
tf did I even write? Will I forever be seen
as a voiceless subaltern?

On my walk back to the hotel, I might
pull a hysterical cry and curse God.
In the beginning, I lost a job—now I’ve to do this
to keep my parents’ rice cooker steaming.

During these festivals, my main support system
was the room’s bathtub. I would slip my tear-
wet body into the boiling baby lake
and right away I would feel safe.

Boat-like on the foamy water, I’d miss terribly
the grandparents I never met. Ompung Boru
who died on a ferry on her way
to the mainland.

“Could never forget the sunset, as Omak
was on her last breath, how orange it was,”
Namboru Ana would say. Father said she kept
her only picture and she said she didn’t.

Alone like an arrogant God, I would just jump
on the bed lake-wet. Woke up at 7 AM in the lavish
hotel room and dragged my hunger to the McDonalds across
the street—since it didn’t come with breakfast, which would be $50.

O, my dear Baby Lake, it’s an illusion, all of it.


For NT

Posted in 111: BABY | Tagged

Patty Melt

When my grandmother died, my mother called me because there was no one else to call. I know we’re not talking but I need you to keep me from dancing on her grave. I met her at Marie Callender’s. A waitress with an engraved name tag brought me a patty melt and a glass of milk. It calms my mother when I drink milk. She had a chicken salad. I watched some cars pull into the parking lot, watched other cars pull out. The drivers seemed reasonable as they navigated between the lines. Some people think that parking lots are like the open sea but really, there are rules. At the funeral, my mother didn’t try anything at all, which was disappointing. A machine lowered the casket into the ground and we took our turns throwing dirt on it. I don’t think she had thought the whole thing through. There was nothing to celebrate or protest, just a hole in the ground with a box in it and no real way to prove a point or turn the afternoon into spectacle. On the drive back to my car in the Marie Callender’s parking lot my mother explained why we should return to not-talking, which we did. Marie Callender’s says they’re famous for their pies but really, who doesn’t say that? I was still in a wheelchair when my mother died. I had her cremated. There was nowhere to put the box.
Posted in 111: BABY | Tagged

Dry-eyed

Elder sister’s downy chicks
have lost their peep in butcher’s
twine. You pay in Dong 1 and snap
a Kodachrome and concur a Doi Moi 2
petty enterprise. And your own nan
too−a slayer of bobbing apples held
down. When mother cat adopts
a surrogate sock, you decry the cull
as birth control, mourning kitten coats
through UV tints.

Posted in 111: BABY | Tagged

Queerbaiting: The Musical

fellas, is it gay to queerbait? is it sleight of hand calling
attention to unspoken fires in each breath?

where there is space for quiet ache, the yearn you keep
to yourself until you find a trusted friend.

gay gaze in search of joy—ode to open shirt & hint
of cum gutters—ballad of bitten lip

all mixed messages—lust thirsts, in need of quenching—
to extinguish the names you call yourself

when you spit at the mirror each morning for being
so easily fooled by this cynical game—

head-in-hands realisation that we have played
ourselves, over & over—our needs

dumbed down & caught in every rainbow net. the bait
isn’t queer—it’s late-stage capitalism.

eventually, the 11 o’clock number—that straight men
are bad for your health—they complicate

attraction in exchange for your dollars & fandom.
what can we do but to will the walls

to crumble & reveal a stage where there are no velvet
curtains to hide behind at the end

of each performance—when the trend or TikTok
challenge has failed—when we have

seen through & beyond to where queer desire is canon
—smoke signals guiding us home.

Posted in 111: BABY | Tagged

BABY DOLL PYJAMAS

to even up the more stoic exactitudes –
If that is your intent –
arcing up the atmos with a little ambient fizz
can be the solution.
Would you put on
a baby doll pyjama?
It’s very cute of
coarse and strident, much more
than it should rightly be
as so much whipped cream, textile-wise.
And yet
A baby doll contains all the
best parts for yourself and
others if you (blink) hard enough
Hmmm.
Still…
Imagine a doll in a
Baby Doll. Imagine a barbie in a baby. Imagine if it were silk
or brocade and you wore it with your
Legs (bien sur) and sat atop a
fire hydrant as throne,
orating a verrrry long poem
in lieu of comedy, in lieu of desire.
And you were never cold in limb, oddly, maybe
If the baby doll were felt lined or velvet
lined or lined with ancient fur that
creates the best inner coating then, well…
is that pleasure for you entirely or for those who
come to see you
atop
the hydrant

performing…?


is this the Pleasure Principle, after all

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IL BAMBINO

Posted in 111: BABY | Tagged

Critical Failure

[ Background Perception Check ]

**PERCEPTION FAILED**

You do not see it coming.
The greatest poem ever written,
guard it carefully,
garner a carefree attitude to art.
It intimidates life,
the dated schoolyard kind of flattery.
it flaunts to fawn the fault of fauna.
Stop.
And smell the flora.
(Read: Roses.)
(as in, Actual Red Roses)
as the image becomes artifice
by other name, by any means.
I was once bitten
at a biennial celebration of shyness.
Almost ironic
as I’ve been courting fame.
The score is love-none.
The melody of disillusion and loss.

Delusion is the opiate of the main character
and the antidote.
Add a passive buff.
[+1 Luck]
Nothing can prepare you
for success
like a good modifier,
reckless swings akimbo.
I came for the party,
stayed for the friends we made along the way.
Respec’ed for character development,
Save Scummed for plot.
Started over.
A dexterous D20 roll.
Games are made for playing,
Bard is still the best class.

Posted in 111: BABY | Tagged

God Is Pooh Bear

for D.M.


My lecturer picks corn
chip from his beard
before telling me
how his world turned
darker than a black bean
the morning it dawned
on him that Kerouac
possessed only one
emotional register—sad.
Lowell’s favourite Jack
found everything sad.
The middle-class
philosophy was sad.
His lover’s post-coital
yawning was sad.
(Parenthetical thoughts
between streetlamps
were sad). Even
spreading mustard
on salami sandwiches
in a parking lot toilet
was sad. But burning
the roof of your mouth
on hot joe or running
out of Benzedrine
was lugubrious. Despite
his thirst for adventure,
I don’t reckon Jack
would be my first choice
of passenger: at stop signs
and red lights he’d recite
scraps of Nietzsche
or spill his cask wine;
he’d detail how the folks
sharing a meal together
down the RSL were sadder
than most because they
didn’t know or accept
their sadness; he’d let
his cigarette grow
perilously floppy
with ash while he gaped
at a cloud that stuck
like a lump in the blue
throat of the sky;
and when cruising by
Cold Tea Creek,
I couldn’t bring up
the anti-tank ditch
in case the car combusted
with his disgust
for the faceless military-
industrial complex.

What would Jack make
of me eating all alone
this Saturday night
in an empty SUBWAY
opposite the highway?
Maybe he’d say no gal,
no digs of my own,
and no permanent gig
are ideal ingredients
for an authentic poetic
existence. Or he might
just think it sad. After
damming the river
of drool that floods
the cotton fields
of his faded plaid shirt,
he’d wonder why
his offbeat dream
had suddenly come
to a halt; he’d bang
on the windows or kick
the driver’s seat,
laughing as he shook
half a century of sleep
from his wandering
eyes; and then he’d cry
until we were back
on the road—a sea
of shadowy houses
ebbing in our rear-
view mirror and jazz
flowing through our ears
as daylight oozes
over the horizon
like God sat on a lemon
or upset his honeypot.


*The title of this poem comes from a passage out of Jack Kerouac’s novel On the Road (1957).

Posted in 111: BABY | Tagged

Aftertaste

In the beginning? There was buffering.

There was a butterfly flapping its wings in the Amazon.

There was certainty, orange juice (sugarless) and Coca-Cola, there was a Lhasa Apso, there was hardly any horizon, and there were fruit in the trees in the old house where we went every summer and there was moving and maps and strawberry syrup antibiotics and time, so much time you could drown in it, and there were dumplings and TGI Friday’s mustard and cake mixes and butter fingers, and I’ve mentioned butterflies already but there was waiting and there was magic and triplets on TV, and there was carnival with its confetti, there were cassettes and cousins and their ferrets and stories so many stories but there still are – in fact I think sometimes that’s all there is – what was it like, though? When words were that concrete

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Emergency Exit

It’s not as if I don’t remember
anything of our werewolf months.
The shipwrecked femur, sticky dark.

Now it’s just some scenery thawing,
and the edges have grown a little wisteria –
bruised foam, some freshwater light.

And in the decades since, I read books
with the word “innocence” in the title.
I can’t remember the last time I blushed,
felt all my arrowed blood, admitted to anything.

You were right to leave.
It takes six trillion years, after all.
The moments in which I’ve caused my life.

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666

1.

Hey Nine’s Many Sides, who
you calling “arse-up”? Six
could claim the same. Besides,
they’re the other half of
that tantric act and it
does take two to tango.

2.

Six, you are everywhere.
You’re all strings strummed on a
guitar, beers drunk from the
pack, and the degrees of
separation between
two people anywhere.

3.

You’re revolver bullets—
just like the number of
shots Dirty Harry claimed
he lost count of from his
.44 Magnum on
some punk’s luckiest day.

4.

In the mountains, you’re the
crystalline symmetry
of a snowflake. And you
categorise insects,
shape the sides of beehive
cells. Bent little tadpole.

5.

Six, you sense dead people.
Your nightly news is dark.
Ancient Greeks put a hex
on you. You’re also sex
from the Kiwi tongue—or
said in Latin. In the

6.

Bible, six is seen as
sinful—even more so
in a threesome: Satan’s
secret symbol. Bad, they
say. It’s a good thing you’ve
turned 18, Six Six Six.

Posted in 111: BABY | Tagged

spanish cream

all the scars are movie stars
when you drag my body along the lawn
ill go put the movie on
and watch our bodies spiral like a lighter song
broken ginkgo in heady fall
and the noise of your bloody voice
baby falda
a dip of vanilla cream
you taste like soda
does your history taste like sugar or bloody bliss
counting all the scars near your hips
nunca quiero ir no quiero marcharme nunca
the movie stars
youre a movie star kissing me on the lawn
smoking my melancholy song
baby falda
spanish cream

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Lamb Couplet

While salivating on a lamb cutlet,
I rack my brains to write this damn couplet.

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I Still Don’t Speak my Father’s Tongue

To be so close yet disconnected
Long stap pasim yet liklik long

Through divorce and loss, death and marriage
Long namel long katim marit na loss na maritim

The bird shaped scar across the heart of a people
Pisin sua kilok bilong manmeri

There’s no Tok Pisin word for colonisation
Because we have always existed in its wake

Both separate and connected
Tupela narakain na abrus long

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Alligator weed (Alternanthera philoxeroides)

Presenting a white paper flower
On your birthday I was wearing
The worst possible behaviour
Limbs all hollowed out.

On your birthday I was wearing
Rivers I’d found somewhere I shouldn’t be.
Limbs all hollowed out
In plants lining Georges

River-side. Found somewhere I shouldn’t be,
Lurking in what someone else has tended
In pants lining George’s
Knees on the ground.

Lurking in what someone else has tended.
Presenting a white paper flower.
Knees on the ground.
The worst possible behaviour.

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in our sharehouse

u have
eat the rich
inked on ur arm
and i have a $50 note

i kiss
the back of ur knees
and ur fever breaks
a hundred times over

hold ur face
collapse here

yes yes yes

here we are
here we want

the air leaves the room
so we can be alone

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Itai Hoteru Are Open 24/7

–thanks to 2July17 New York Times


No Bronx roach motel cliché
–rather this is a Tokyo reality:
half the minimalist hotel rooms
are furnished with traditional twin
beds, flat-screen TVs, plastic-wrapped
cups, toothbrushes — and across the hall
the other half, fitted with plain small altars
and narrow platforms designed to hold coffins,
is where all the corpses rest. Checkout time for both
living and dead is without exception no later than 3 p.m.
Premium suites may have climate-controlled sarcophaguses
with transparent lids so mourners can peer inside. Part mortuary,
part inn, these establishments serve a growing market of Japanese
seeking an alternative to a big old-style funeral in an island country
where the population is aging rapidly, community bonds are fraying,
crematories are not able to keep up with the sheer amount of business.
By custom, families take the bodies of loved ones home from the hospital,
sit an overnight wake followed by a service the next morning in the company
of neighbors and colleagues and friends. Then, in the afternoon, the body is sent
for burning. The ashes are kept at home before burial for 49 days, when according
to the Buddhist bardo, the passed are believed to arrive at the next world. But as strong
communal ties weaken, lower cost practical ceremonies are more and more the province
of nuclear clans. Demand for corpse hotels’ll increase till the supply of baby boomers disappears.

An Itai Hoteru - or corpse motel - in Japan.

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