Tse’s Noodles

cantonese scribbled on scallion windows,
greasy windows, almost steamed-up
windows, but the special is always
very special — ‘Sichuan Pork Dumpling
Noodle/ 麻辣餃湯面’. and because
you and i live in this island
we are not from, this shitty island
with shit wind, we move
to an inside table, fresh bleach
on fake wood. our bowls of noodles land
after you list the best places to eat in your
faraway city: your mum’s, the best place for
Shabu-shabu, and a Tokyo
neighbourhood with Chinese restaurants.
i wonder if your doctor mum cooks better
than my cleaner mum. what
a beautiful day for lunch? half rain half
the sound of your smile folding. i ask
if you went running this morning,
you reply that you just have no other clothes.
today Mr Tse’s noodles are less salty.
i let silence sit in between your noisy slurps,
my clumsy chopsticks, the limping footsteps
of Mr Tse’s bad knee.
i don’t think i can talk poetry here.
i eat half my heart before i even get to
my scallion oil chicken noodles.

Posted in 112: TREAT | Tagged

BLOOD-BORNE

run out into the streets through the garden shrapnel everywhere is dangerous imagine begin again there are no streets



there are no streets where the garden had been truth we choose our own everyone back inside where we began run out into the streets
Posted in 112: TREAT | Tagged

some generosities

where does the wind begin
and how to make my body fit
into the spaces left in the hollowed trees

I want to surrender to the clay and ash of this landscape
let the paper daisies remember
only a song

there has been a story carrying every night from the inland
see here the branches contour against the path it cleaves

when overcome I push my toes into the grit of this place
notice each flower gathered petalled and leafed

the generosity to keep the whole together
when every shifting wind is an invitation
to fall apart

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A Short Treatise on Tears

It is a secret place, the land of tears
—Antoine de Saint-Exupéry ‘The Little Prince’


Sometimes a thought breaks from the body in liquid form:
O small seismic! Usually this is when we have no words.
Instead we taste our tears and are reminded of the sea.
Others may perceive these tiny flarings but often they are
overlooked in daylight or take place under cover of dark.
Once dry, the face from which they emerge is indefinitely
changed. Other times, eyes remain inconveniently tearless.
For this we have what the Germans call künstliche Träne
artificial tears—bought in small bottles over-the-counter
to administer as needed. The inability to secrete natural
tears should not be taken for a lack of feeling, the same
way the effects of slicing onions do not reflect true grief.
There is no optimal word in the English language for the
inappropriate production of tears. Magnified one hundred-
fold with a high-resolution microscope, tears become
remarkably kaleidoscopic. Photographed, they form
vast yet intricate landscapes suggestive of names such as
Abandonment, Desolation and Loss, as well as the less epic:
Frustration and Dust. Every day, artists and scientists work
to uncover novel and authentic ways of interpreting tears.
They may well be our last remaining frontier.

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Couvade syndrome

For Inez and Frankie


As your nodes decide on legs, on arms,
and while your heart’s not yet enclosed, and your skin
translucent as those fishes’ pulsing bodies,
I develop backache, nausea – not quite phantoms,

but a song, measured against your mother’s
first morning sickness spew, on our house-sit
(she texted me congratulations – I smirked,
and wanted to be there with both of you)

the Friday after Father’s Day. Prolactin
swims milky in my blood, my testosterone
levels, studies suggest, are headed for the tiles.

Your brain starts now; your bones begin to knit;
your eyes are clusters, sealed-over, building patterns
to see worlds with, to be known by, and loved.

Posted in 112: TREAT | Tagged

Treatment

What a treat it was to come home again ! each weekend
freed from need to entreaty egress, ingress, the scarification
of waiting at the gate every night for love or its proximate
arrival: no, weekends were abandonment’s ceasefire, after
five days of school and unconditional grandpama coddling
the sanctioned right of return to that own small room, to the
sistermaking whimpers, to ‘70s pubes on well-wound
VHS in the hidden drawer behind the magic wand, to long
hours alone with matches and flammable newsprint. Eating
watermelon in pearls and heels and clipped-on studs, just to
understand the heft of another body’s mystery, just to try
to see how this meant being treated differently, how
to get the red stains out before rush hour ended. Reagan
rebuking the Evil Empire (Vader’s in Russia?), white Lotus
Esprit floating by in the flood (Bond’s in Toa Payoh?),
a thirteen-floor drop for fruit peel and poor grade report
(talks too much in class!) to long suffering grass, the child
being farther to regret. Not refuge exactly but retreat, an
undergrounding of overkeen senses, hallucinating safety.
Testing then, as now, howhat it is to be the one to decide
when to answer the call. What to admit or withdraw.

Posted in 112: TREAT | Tagged

Pyramid Scheme

Text by Maria Takolander. Photographs by David McCooey.

1. X’s parents had died, first one and then the other. There had been the usual shock and then the hell of clearing out their marital home. Fifty years, and the place was a museum of domesticity, which is to say full of worthless stuff. It was like entering a tomb, Egyptian in plenitude if not glamour, incontrovertible proof they hadn’t been able to take anything with them. X was only in her fifties, but divorced and childless. She started to clean up after herself.

A shiny floor.

2. It was easy to throw away her half-used eyeshadow palettes and stained containers with cracked plastic lids. There was no such thing as away, but X moved bags of junk into her rubbish bin, where they would be moved in turn to the local landfill. The solution wasn’t perfect, but if Earth could bury Chernobyl’s radioactive helicopters and armoured trucks then surely it could also squirrel away her collections of rusty screws and chipped knick-knacks.

A shattered glass cube.

3. Most gifts were unwanted. Sandals she hadn’t worn for years—her feet had been slyly growing all along—went into charity-store bins, along with books that were well-read, books she’d never read, books she’d never read again. X carried occasional chairs and side tables and ornamental lamps onto the roadside. They looked exposed out in public, but there was nothing linking them with her, and it wasn’t long before neighbours herded them inside again.

A watch on a bookcase.

4. She burned her diaries and photographs. The work was laborious, requiring the robust collaboration of an iron poker. X wondered if crematorium workers experienced such satisfaction watching caskets transubstantiate into ash. Soon after she found herself troubled by thoughts of polaroids taken by school friends and letters sent to pen pals. X vaguely recalled a mix tape, featuring commentary and confessions, made for a fellow teenager in Sussex.

The corners of four frames hanging close together on a wall.

5. The thought of her recorded voice appalled her, as if her soul was being held captive. X sought to verify the ancient adage that money can buy anything. Modern thieves were expensive but professional. Emails and texts were extracted from inboxes and phones by a nameless specialist who assured her that his victims would probably never know anything had been lost. X hadn’t succumbed to social media, but she paid extra for the comprehensive wash.

Post office boxes.

6. When she Googled herself, she had gone missing, but she discovered a Swedish woman with a similar name who alleged to read minds. This kept her up at night. Difficult but not impossible, was what the neurosurgeon said when X inquired if memories pertaining to her could be removed from people’s brains. But did she need to go to all that trouble? After all, the controversial specialist said, the passage of time would inevitably render everyone anonymous.

A cherub statue.

7. Cleanliness is next to godliness, X could have said, though she didn’t care to explain. Neither did she care for the doctor’s philosophising. She also guessed that, for all the man’s words about history, his true interest would be currency. After all, he would be furnishing his own mausoleum, which his children would eventually empty of trash and treasure, shocked that their father could vanish when he was surrounded by so much that was material.

A model of a building.

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Prayer

First published in Korean in Hwanghae Review, vol. 121

According to Carson, who has the English name of Jesus’s maternal grandmother, Anna,
‘To be a whacher1 is not a choice.
There is nowhere to get away from it,
no ledge to climb up to.’

Anna was married three times,
and Maria was born to her and her first husband, Joachim.
She broke free from her biological father and two stepfathers,
and got pregnant before making love with Joseph.

Ever since I found out
that one of my Twitter friend’s
friends was an incest survivor,
I wanted to dedicate
a prayer poem
to the angel who always covered Mary’s naked body with her soft white wings.

Beginning with all the things that happened that I didn’t witness,
from the things that happened secretly without catching my eye—thank you, thanks!
With my eyes, I wanted to run away quietly,

because prayer is often like that.
Wrapping the seeds of despair in your warm hands
and desperately hoping that they will never sprout.

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Dear My Annes

First published in Korean in Hwanghae Review, vol. 121

Anne Carson had an older brother, and Anne Shirley was an orphan and
Anne Brontë was the youngest of three sisters and
Ann Vickery was an only daughter.

What about Anne Hathaway and Anne Conway?
I don’t know. They were someone’s wives
and then they tried extremely hard to become someone else
or vice versa.

That morning, the break up didn’t find Anne Carson.
In her mind, Anne Shirley is chatting happily.
‘Today is like a duck made of strawberry cream. I feel sweet.’

They say Confucius’s Discussion of Poetry came out of a large tomb in China.
A bamboo book about poetry.
Ann, does poetry always emerge from a grave where something has been lost?
From the tomb of love, the tomb of fire, the tomb of time?

With red hair instead of a red hat,
like an orphan girl instead of a boy sent under a green roof,
I was delivered to my house by mistake, an eldest daughter instead of an eldest son.

After that, two more girls were misdelivered—Emily and Anne! Welcome!
Would my mother have been less unhappy if I had been a boy?
If I had brothers, this conditional clause would not be possible,
because I wouldn’t have been born.

If the fourth child, born when I was nine, had been a girl,
would my mother have been abandoned?
Wandering between the third and fourth children
what about the two baby girls gone missing?

Ultimately, was my first poem born
in the shiny stainless steel waste bins underneath operating tables?
On all those daughters’ graves?
My mom never looked sad

but her sadness comes to me by accident
and poems are written like daughters.
I don’t miss my mother. I only miss her sadness.
Everyone misses their mom, but I guess I’m a bad bitch — just like mom said.

I always hid behind my red hat like a tired boy
going around, stealing other people’s faces.
Walking back and forth across the bridge
between my mother and grandmother,
trying to
cross the past.

Anne’s hand tugs at my hat brim.
Yarn unravels bit by bit.
My face reddens and tangles.

Someday I’ll go to the park of different faces.
Like a beautiful thread between the trees and the sky
looking differently every time.

When I was young
I prayed to the women who didn’t want me, to my cruel goddesses.
Combining into one, Please love me.

The sacred marriage of my right and left hand.
Now, they’re split up.
The right hand. The left hand.

Each went to find its lover.
The right hand going to move the blind sun to its proper area, and
the left hand following Pluto exiled.

A younger sister and an orphan.
Either the only child or the third child,
or the stars of Anne, alone and still someone’s wife.

Between the fingers of the grave robber digging the dark sky of the park
stars slip and shine
like knives cutting through a black satin skirt.

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The Only Question

First published in Korean in Hwanghae Review, vol. 121

He speaks back:
– Dead or Alive,
differences, wife, not.
Son or God, I am yours.

—Joseph Brodsky, ‘Still Life’

Wooden crosses
fastened into the top of sand dunes
like God’s red toothpicks.

I only had one question
for the woman.

From that place
why didn’t you run? Maria
could do nothing, just stand and watch.

Forever waiting
arms outstretched
until pain’s weight in a human shape
forces your soul to collapse……

While I watched
and pushed helplessness’s big head out from between my two legs
I asked her the question.

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Seasonal Feminists

(to Jin Eun-Young)

In spring, we planned our futures
Yes to a thousand stars cradling
the canopy, the hope
of power in multitudes.

In summer, the fragrant drift
Yes to lovers and the early climb
across glass peaks, unwalled
and believing all was possible.

In fall, the soft earned shade.
Compromise calibrates the answer,
watch our friends channelling
Yes to their child’s own ascent.

In winter, sisters now established
rely on routes once refused.
Yet still the poet’s eye persists:
No in oddly solitude.

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Perfect Timing

The work of the cloud is lonely and continuous.
The rider from Brazil unable to find
other work during lockdown. Whose
bike and capacity to ride remained unchecked,
lucky to leave with just a broken arm.
In such jocund company, what little thought to gaze.
The worker from Malaysia holding
someone else’s food when a car side-swiped
his scooter. For two and a half days,
he remained ‘yet to be identified.’
A platform host, the breezy, never-ending lines.
The driver who hit a woman finishing
her own fast-food job, who went on to
complete his delivery, and received $16.75.
Released on bail he went on to make a thousand more
deliveries that year.1
The flash upon the inward eye, a-flutter in the jig.
The rider hit by a truck as two orders appeared
on his app during the Saturday evening spike.
Deemed outside the twenty-minute delivery
window, his death left his family without
means to repatriate his body home.
When all at once, I saw a crowd whose golden coffers fill.
The worker from China who sent his salary
back to his wife and two children in their small
village. Ineligible, inevitably for workers’ comp.
What wealth the technology to me had brought.
The gig worker is thirteen times
more likely to present to emergency
than other cyclists. Thirteen ways
of looking at this economy, fifteen
food delivery deaths in Australia.
The manager stated that she was unaware
of the legal obligation to report a rider’s death.
But I know better now what companies keep,
and what account they should be made to make.
For oft, there comes to me a sight
of cyclists flying towards green light.


i.m. Bojoy Paul
Chow Khai Shien
Burak Dogan
Akshay Deepah Doultani
Dede Fredy
Xiaojun Chen
Adil Abbas

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In the Wasteland of Other Languages

In my heart nothing was left.

Not even the ruins of a future wiped out by the cruel, modern world.

No flying ridge, mountain shade, not even that dust speck that hurt my eye is hanging.
They’re gone.
A vision of the future, the results of my supernatural powers spread out by my heart!

Only the few leaves of young monocots stand at the wasteland’s edge
as if for the first time.


They don’t look the way they did when they were waiting for something.
There, again, because
they can’t forget the earth’s morning light
that shone on their past-lives now vanished,
just like that time, in my eye-catching mind,
they’re shaking together.

In that place, they make an impossible future into a distant past
and the past into a future that won’t come.
Each of your short times together
are still muttering uselessly in your dead mouths
and are vanishing into the other sides of times
which have all become the past.

A small wind blows from my hand.

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In a Nutshell

The shape of a son hidden in the tablecloth green.
The cherries were painted, smiled as the dish
was stirred with the spoon that occasionally
doubled as a knife. You had a ready mouth
for ripeness. She taught you that scenery matters,
for where else can sorrow be stored?
A mother’s message is in the gloss, two tight
braids, the nod of equivalence, scant wrappings.
You cupped your dress for acorns, crossed the lawn
to feed your hunger. Secret transactions rustling
under the eaves, the poem’s belly hinting at
extremes. Green in nature is one thing,
green in literature another.
A daughter in hand
is worth two in the bush. When taste is not
a division of labour, it becomes love of the light.
The magic square revealed to be, after all, a circle.
You lick your fingers, kitchen days on check.

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Sea

Now I’m off to the beach for a walk.
The sea our fathers didn’t know, can you go there?
Now I’m off to the beach of the nothing sea.

I crossed the road, and passed a kindergarten and street trees,
a clustered fish market, a sawmill, and a used bookstore.
Now I’m crossing a four-lane crosswalk and the road of wickedness.
I leave Dancheong pavilion carrying a beach umbrella
and go beyond the wasteland to the shore where beach roses bloom.

From beyond that sand field, the sea with the morning sun behind its back
is also taking a walk in my direction. Standing up waves before the wind,
we’re determined not to make a move even if we run into each other.
We won’t mix words or date.

The sea isn’t yet in sight.
It looks like the sea doesn’t want to be seen.
To be honest, I still haven’t seen the Earth’s seas.
Only my eyes have seen the sea, not me.
And the seas haven’t seen me.
So we are looking for a path where we don’t meet.

The sea shimmering a ray of gold.
The morning ocean rises closer, a morning where what can be seen is seen.
How do we go from here? Please teach me the way.
I don’t want to open my eyes. I still don’t want to wake.

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Following One Child

The path that blows here from only the north wind of winter, a child walks like a blanket.

Fishy and bitter.
My poems are again subjected to insult.

Night God, that naked dad is a boy again and that naked mother is a girl again.

A day in hell spent wandering crumbled walls, apartments drilled with holes, schools with roofs flown away, and broken bridges. Meeting each other’s eyes, we in the wilderness, can we start a fire and sit around it?
A child’s shadow in the darkness is flapping in this world’s centre, trying to vanish.
In this moment, do we also need morals and creeds, treatises and conscience? Tomorrow will arrive brightly. Will there be any prayers left for humanity?
In the place where children’s souls sway, will there be any fruit left?

In that distant place, will poems continue to be written?

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The Edge of Nature and Death from Natural Causes

The sowing is over.

In someone’s garden. In someone’s furrow. Someone holding a hoe. Someone’s kidney. Someone’s blood cell.

Plod ploddingly. Why did you come? To someone’s land. Humming any song. Chinese lantern plants and intestines. Eggs and corneas. Gallbladders and dried livers.

What will grow? We wait.

We hide in someone’s straw. Why did you come? Why did you come? Through someone’s tight spot. Look, look. Hot air hums. The dirt is psyched. It’s buzzing.

In the liver are raw liver and dried liver. The dried liver has sacred breath. It’s called Ihiyotl. A species introduced from across the sea.1

In the intestines are large and small intestines. The big intestines are said to be life infested. Are said to be twisted.2

Why are you here? Why are you here? I don’t know how to feel.

Why did you come? Why did you come? My memory is filled with vitality.

We are nostalgic.

We become a spirit to guard a house. In someone else’s lot. Heart beats. Life becomes a transplant.

The soul propagated. Feeling like we can do nothing but take root.

We beat. We got used to it.

We felt sluggish. Under someone else’s shadow. Inside someone else’s food. To enjoy others’ freedom. To be fascinated with someone else’s oblivion. To be seriously scared. Expressionless.

Into intense expressionless we. We are going to sprout. You have to be completely immersed.

We were distant from our origins.

Before origins. We could wait.

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After reading Ko Hyeong-ryeol’s ‘I am not in Erdene Zuu Monastery’

If every thought has its own melody
and some melodies land flat, bouncing back onto the earth,
while others launch a little way into the air
and linger just slightly beyond us,

thoughts expressed in words, even if addressed
only to yourself, most often crumble back
into the soil that fed us

but sometimes even one like those, heavily
etched out in syllables, escapes
the pull of our bodies

and orbits a village or a house, some small
part of the planet, for a short while
indifferent to our survival.

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Apprenticeship

You had to go far
inside the eye of a grasshopper,
under tilting polar ice packs,
under the taut shoulders of women
rushing home, slinging a satchel
of rice and vegetables into their haste,
and then go further slipping
between the electric wires that snake
their way through the frames of houses,
under the composite skin
of old photographs —

all this to see
the smallest fragment
of who you are.

But this is barely a beginning.

How do you put a fish into a poem?
Not the label ‘fish’, the mere name,
for that would solve nothing
and a bundle of names can’t swim
in even the shallowest water —
but a fish swimming fast,
we can’t grasp it even with our hands.

Yet in a poem the water
swims even faster than the fish
and we glide, almost effortless, through the water
as through doors leading far inside us.

And if I place a jellyfish, the Turritopsis dohrnii for instance,
inside my poem
what happens then?
Will my room glow
so brightly I will be unable to leave,
shedding my worn-out skin
to stay in its company?

When at last you float on your side
and between the slats of the sauna
the sky slips away
you don’t scream at the void
for robbing you of daylight —
even the smallest grassblades know
they cannot shrink their way
into timelessness.

A long way further than us a fig tree
reaches out,
its green-brown mountainscape of roots
so joyful to climb
for a young grasshopper.

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Multiply

The experience centre was big. A warehouse.

We swept the dust.

We looked through the inventory.

What should we do?

Try to climb up someone’s Jangdokdae (sauce pot platform), take a sip of someone’s fresh water, and get drunk on someone’s mirage…

Sounds like fun.

Try to take someone’s rice out of someone’s rice bin and chew it, try to swallow someone’s spit…

Sounds scary.

Try hiding in someone’s closet, trying on someone’s robe, try to give off someone’s smell, try to cry out someone’s groan…

We are forced into a corner.

Rummaging through expired goods. We were two with one use. Entered the 1+1 experience.

Throbbing. The wave of experience.

Sticky. The flowing experience secretions.

It’s sobering. Is this the consciousness of a sub brand?

We really hit it off. It was exciting. Switch partners. Shall we fight for supremacy? Switch sexes? Become a hermaphrodite? Just once more. Try to smoke someone’s charcoal. Just once more. Try to lose someone’s mind. Shall we try to mix body fluids and reproduce? Shall we try to experience separation through telepathy?

The goods exchanging. The echo of experience spread.

Bribes getting accepted. The dust of experience kicked up.

Junk being scrapped. Collect the remnants of experience. Entered the 1×1 experience.

Electricity flowed.

The gifts, trembling. Were convulsions of experience.

We were shocked.

It was thrilling. Us, through nerves of steel. Shine light. We’re exotic. The lights of the experience centre lit up.

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Five Companions

1. Small spider

Next to the strawberries I am cutting on the kitchen counter
you step out
intent on exploring the world.
Gladly I leave you
your portion of the visible field
and the privacy of your millennial appetites.
                 Already the first day of summer
is carving a space large enough
for both of us.


2. Raindrops

I am wearing a necklace of raindrops, more judiciously
rounded than teardrops, moulded into shape
by the greater gravity of earth and the sky’s
overburdened need for equanimity.
                 And when I come back inside
raindrops linger for a while along the windows
to sign their disappearance with random streaks.
I cannot hold onto a single one of them
long enough to recite even a short prayer
for their death.
                 Gazed at for the moment of their being
they each have the perfection of utterances
the sky makes for the lowliest of creatures —
the slug, the ant, the caterpillar, the grasshopper
and for the outstretched hands of leaves
                 also waiting to fall.


3. What is lacking

As if assailed by doubt
water suddenly lost its ability to move.
It stares at us forlornly from the upper shelf of the refrigerator.

Addicted to my own thoughts,
unable to hold onto my own molecules,
I do not have the immortality of water.


4. My distant brother

Light, like water, is a strange creature.
                 Suddenly, when I thought the day could do nothing but steadily get colder, light appears, stepping beyond the trees that seem to block it to become a presence all along the front windows of my house. Then I notice it has already stepped inside and is now inhabiting a small oblong stripe on the wooden floor. A moment later it’s settled into a glittering half-presence that gently laps the patch of carpet at my feet.
                 Of all the creatures I know it is the one I least understand. I could call it wilful as so it seems to me, but it also strikes me as the most solemn of life’s companions though not without a distinct flair for playfulness.
                 And now it turns firm and resolute, holding the scratch marks and spiderwebs of my east-facing windows in a steady embrace. I think it must be the sole creature whose only instinct is to give. At the same time I am loath to talk about light too much. For fear my words might be judged ill-considered and it would turn its back on me forever. Yet, over and over, since my first days my heart rises to meet it. It surely knows I want to follow it. Somehow I trust that we are kin.


5. In a divided landscape

Three dreams cross the river
while a crow flies ahead to announce them.

                 Citizen of the dark earth
wading across a shimmering landscape
of moss and stone,
water creatures seek to enter you.
Already your belly is ballooning with shapes
that swim, wriggle and kick their way
through tangled memory-zones
of a life spent incubating
below the moon’s surface.

                 Tonight as you sleep
the dreams will gently guide your visitors
back to the margins of firm earth.
Suddenly free and extraordinarily alone,
where you will wake
the dreams will not tell you.

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An Encounter

A plastic bag we never saw before flew.

It was high in the air.

Is it a new kind? One muttered through an excited expression.

It’s pure white. It must have never got mixed up.

Never got dropped on the floor, never got stuck in a tree. Maybe it’s nowhere.

Also with no use. One chimes in too.

It’s excited. One praised. Also with no lineage. Also with no resistance. Look, look. Look at the fluttering.

It must be tired. With a pitiful expression, one shook their head.

With no use. Also without rolling. Also without getting hung up. Wandering heaven, roaming around… Flying around, tearing up… It felt like it wanted a reunion after losing its way.

Maybe it’s something indigenous that went extinct. With a cautious expression one was lost in thought.

The wind changed.

We heard a sound.

Shall we have a listen? One shut their eyes.

Okay, let’s give it a try.

We lay in a landfill. Okay, let’s give it a go. We lie in our arms like they are pillows and close our eyes together.

We open our ears together.

Rustling Polystyrene
Polyethylene
Polypropylene Polytetrafluoroethylene

Methylene chloro
Chlororo

Trichlorophenol. Dichlorodiphenyltrichlororororo

I see.

We were delighted. We had no wrinkles. We were on cloud 9.

The sky was clear.

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Transplants, I

—For Shin Hae-uk

It was reported that no one knew her well enough
to befriend her—this is the genius of her con
as this word clips onto this word and so on, forming
a pattern beneath the bustline of her figure patiently
standing on wooden floorboards in the centre of a room.
If you listen, a voice above wills you to shut your eyes—
inhale a deep breath and whisper—even though I have
been stripped of installation I know I deserve money
in my life.
For the sake of a scene, the room is in a house
with no fence, yet mounds of dirt indicate barriers to regard
the yard as plot. And who is actually addressed here?
If you outline lips with gloss, eyes with shadows and hair
with layers, a loose embodiment may be skulled. After
swallowing, you grasp that the line beneath her bust is no
small thing. Trembling, she guides you into another room.

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Transplants, III

—For Shin Hae-uk

This is no small thing—the borders glossing the room
are large enough for her to visualise being placed somewhere
other than this location. Room for error, she figures, while
performing her daily stretches to increase muscle and joint
mobility—mostly to relieve the pain pre-existing in her current
situation. A report submitted to the board specified that no one
knew her well enough to befriend her, and she now understands
that this was a mistake. Lying with her back against the floor,
knees bent, she rotates her hips and the knots in her lower back
loosen. Inhaling a deep breath, smelling the dirt beneath her,
she whispers—even though I have been stripped of installation
I know I deserve money in my life.
Tracing the beads of sweat
beneath her bustline, she trembles with the conviction that she,
in the centre of the room, is embodying her ultimate address.

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