The pier shed its long
splinters into the lake.

A dinghy rubbed the side of the dock
but the dock was still.

Some kids ditched a canoe in the reeds
—the boy's voice was a reed—

they pulled it up the embankment by a rope
where no one could see it from water

or shore. His voice covered everything.
This isn't an opportunity to talk about the body,

how many dogs you get to have over
the course of a life. I'd reckon 6, if you take

good care of them. I'm going back in time
to hold the boy's head underwater.

Just to give him a little scare. The canoe
had vanished when they returned

and his voice became a basket
pushed down a river—nothing specific—

and anyway, this isn't an occasion to talk
about the body. I'm busy going, I need

to go, back through those boggy years to kiss
all of the dogs. Hard, on the mouth.
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Portrait photograph of Caroline Bergvall
Stretching One's Self Toward Others

"In her signature palimpsest of contemporary and Middle English, Bergvall turns Alisoun (that much-debated pilgrim from Chaucer’s Canterbury Tales) into a composite for centuries of women, artists, and activists speaking....Whether riffing on activist clothing, xenophobic fearmongering, or the writing of revolutionaries like Emma Goldman and Audre Lorde, Bergvall’s Alisoun embodies the migratory spirit of language."

via BOMB
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Cover of Jillian Weise's book, The Amputee's Guide to Sex
What Sparks Poetry:
Dustin Pearson on Jillian Weise's "Beautiful Freak Show"


Up until encountering Jillian’s poetry, I’d more or less repressed or compartmentalized the emotions I felt as a result of my marginalization and always ultimately unsuccessful assimilation, both for fear of how dangerous I thought it was to indulge those emotions and out of societally formed habit. I found a way to misplace, overlook, or normalize horrible things, even if I always survived them."
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