Jenifer Sang Eun Park

In a photo, the body of a horse with a malignant tumor is cut for wolf feed. Hung from the neck, the body hangs on a scaffold of three wooden poles peaked into a tripod. The horse's rigid head faces west. A bloated tongue limps out of his mouth. Behind the hanging horse is a parched tree and behind this tree is a ditched school bus. Below, a man wearing glasses; a brown tank top; and a pair of light jeans, hole at the knee, bends to strip the meat from the hindquarters. Beside him, a wooden box where the cuts of meat will be preserved. The mane cascades the same shade of dusty blond as the man's ponytail. If the photo were cropped, it'd be a still of a rearing stallion. The horse's eyes are shut for the pleasure of being carved for another animal.

I split my own body to carry the horse inside me. I lasso my appendages and stretch them onto stakes. I pull the blade from my neck down. I see my cavity stuttering. For each inhalation I blame myself.

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ESSAY: GABRIEL FINE ON LINDA GREGG'S PROLIFIC VISION
 
"Gregg enunciates her doctrine: the poet 'is supposed to look' not just at the beautiful but also at the awful. It’s a strange vision of paradise, a beauty that encompasses ugliness—not pleasant but rather a state of pure consciousness. In paradise, you are wholly awake to the world, to the real. You can see it."

via LOS ANGELES REVIEW OF BOOKS 
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"The poem is ultimately more about what isn’t there (the plums, the speaker, respect for the beloved’s property) than it is about what was there momentarily (the sensual pleasure of something “so sweet / and so cold” or the speaker’s remorse, however genuine)."
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