Padraig Regan
I know what animates this bunch of tentacles:
it’s just the salt in the soy filling the blanks in the dead nerves.

I tell myself this, but as the GIF keeps looping
through the same few frames, the same pattern of flicks & wiggles,

it’s difficult to not imagine necromancy, or worse,
the dumb protest of a lump of brain-stem.

At any moment I could stop this wonky, eight-limbed Charleston,
not by eating it but by closing the tab. I tell myself this.

Is it empathy that’s stopping me, a sense of duty
to bear witness & attend to the whims of the dead,

no matter how random? Not quite. Maybe it’s envy
or aspiration that keeps me watching. But do I envy

the hand that pours the sauce & turns this stump of a squid
into its own erratic puppet, or aspire to be as pliable

as the clump of tissue that receives its grace?
If, as the physician says, the soul weighs twenty-one grams,

it seems important that we find a way
to figure out how much of this is sodium

& therefore how much of us is lost in a fit of crying,
or passed back & forth throughout a night of sex.

It will take perhaps a minute for the last shudders
to peter out & the tentacles to lie still again.

I want to know is it best to wait before you start
the process of dismantling the legs with your chopsticks

& testing each one for its flavour; or is the reciprocity
of your tongue’s movements part of the pleasure of the dish?

When the time comes, feel free to keep a limb of mine
& drench it with soy if you feel lonely.
from the book SOME INTEGRITY / Carcanet Press
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Formal color photograph of a seated Peter Straub
Peter Straub, Master of the Supernatural, Dies

"On a lark he submitted the novel, Marriages, to a London publisher, who accepted it immediately. He was unhappy with the quality, and much happier with a short run of poetry books he published with a small British press. Neither prose nor verse made him much money, though, and in desperation he turned to writing about the supernatural instead."

via THE NEW YORK TIMES
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Cover image of Michele Glazer's book, "fretwork"
What Sparks Poetry:
Rob Schlegel on Michele Glazer's fretwork


"In an explanation of the process the multidisciplinary artist Saul Melman uses in his Anthropocene Series (featured on the cover of fretwork) Glazer writes, 'The artist sets a process in motion, but the materials have the last word.' It's a deeply instructive metaphor for how Glazer allies with language to create poems that feel and sound as though she is tapping into a frequency just beyond herself."
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