Hieu Minh Nguyen
Monthly, my family calls from Vietnam
to inform us about the dead.

Their voices amplified through the speakerphone
while my mother sits upright in her bed

& performs a variety of mundane tasks:
sewing, word finds, removing nail polish.

Of course I want to assume things:
dead body, dead butter-yellow lawn—

If I try hard enough, I can gather
each story, like marbles, into my mouth

spit them into the drain & watch
                             as hair climbs out.

Every month, a new body washes up
in conversation:

a great aunt, a dog, a cousin or two, but now
it’s my father’s first wife.

Four-days-dead in her bathroom
my uncle says
                             —she lived alone, abandoned
                             years earlier, by her husband.

                              Buried in a backyard
                              somewhere in that roadside village

                              the woman he left in Vietnam
                              to come to America

                               he promised he’d return
                               for her & their two sons

                               but instead married my mother.

—well, she was found dead.

Four-days-dead, in a bathroom
my father once built for her.

Buried in my uncle’s backyard.
Had to kill the dog too.

It kept trying to dig her out.

Either anyone can be forgotten
or only the forgotten can bring

forth a good haunting, spanning
the chasm of the living, above which

a bridge made of ghosts, full of ghosts
waiting to be summoned through

                           the receiver

one by one by one by dead one.
I can see them all

                           gathering

in the pixelated air. A patch of light
ruptured by dust. I know my mother

will make a great ghost one day.
They love her, the ghosts. They watch her

all the time. She knows this, but she just sits there
unbothered, biting the seam of a white dress
until it splits.
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DAN CHIASSON ON THE BITTERSWEET POETRY OF "LIMA :: LIMÓN"

"Natalie Scenters-Zapico’s latest poems probe the richness of contradiction, mixing violence and pleasure, damage and repair. Lima :: Limón is rangier, freer to dip in and out of dreams, to try on voices, histories, and roles. Many of the book’s most beautiful poems shuttle easily between English and Spanish."

via THE NEW YORKER 
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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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