He gossips like my grandmother, this man
with my face, and I could stand
amused all afternoon
in the Hon Kee Grocery,
amid hanging meats he
chops: roast pork cut
from a hog hung
by nose and shoulders,
her entire skin burnt
crisp, flesh I know
to be sweet,
her shining
face grinning
up at ducks
dangling single file,
each pierced by black
hooks through breast, bill,
and steaming from a hole
stitched shut at the ass,
I step to the counter, recite,
and he, without even slightly
varying the rhythm of his current confession or harangue,
scribbles my order on a greasy receipt,
and chops it up quick.

Such a sorrowful Chinese face,
nomad, Gobi, Northern
in its boniness
clear from the high
warlike forehead
to the sheer edge of the jaw.
He could be my brother, but finer,
and, except for his left forearm, which is engorged,
sinewy from his daily grip and
wield of a two-pound tool,
he's delicate, narrow-
waisted, his frame
so slight a lover, some
rough other
might break it down
its smooth, oily length.
In his light-handed calligraphy
on receipts and in his
moodiness, he is
a Southerner from a river-province;
suited for scholarship, his face poised
above an open book, he'd mumble
his favorite passages.
He could be my grandfather;
come to America to get a Western education
in 1917, but too homesick to study,
he sits in the park all day, reading poems
and writing letters to his mother.

He lops the head off, chops
the neck of the duck
into six, slits
the body
open, groin
to breast, and drains
the scalding juices,
then quarters the carcass
with two fast hacks of the cleaver,
old blade that has worn
into the surface of the round
foot-thick chop-block
a scoop that cradles precisely the curved steel.

The head, flung from the body, opens
down the middle where the butcher
cleanly halved it between
the eyes, and I
see, foetal-crouched
inside the skull, the homunculus,
gray brain grainy
to eat.
Did this animal, after all, at the moment
its neck broke,
image the way his executioner 
shrinks from his own death?
Is this how
I, too, recoil from my day?
See how this shape
hordes itself, see how
little it is.
See its grease on the blade.
Is this how I'll be found
when judgement is passed, when names
are called, when crimes are tallied?
This is also how I looked before I tore my mother open.
Is this how I presided over my century, is this how
I regarded the murders?
This is also how I prayed.
Was it me in the Other
I prayed to when I prayed?
This too was how I slept, clutching my wife.
Was it me in the other I loved
when I loved another?
The butcher sees me eye this delicacy.
With a finger, he picks it
out of the skull-cradle
and offers it to me.
I take it gingerly between my fingers
and suck it down.
I eat my man.

The noise the body makes
when the body meets
the soul over the soul's ocean and penumbra
is the old sound of up-and-down, in-and-out,
a lump of muscle chug-chugging blood
into the ear; a lover's
heart-shaped tongue;
flesh rocking flesh until flesh comes;
the butcher working
at his block and blade to marry their shapes
by violence and time;
an engine crossing,
re-crossing salt water, hauling
immigrants and the junk
of the poor. These
are the faces I love, the bodies
and scents of bodies 
for which I long
in various ways, at various times,
thirteen gathered around the redwood,
happy, talkative, voracious
at day's end,
eager to eat
four kinds of meat
prepared four different ways,
numerous plates and bowls of rice and vegetables,
each made by distinct affections
and brought to table by many hands.

Brothers and sisters by blood and design,
who sit in separate bodies of varied shapes,
we constitute a many-membered
body of love.
In a world of shapes
of my desires, each one here
is a shape of one of my desires, and each
is known to me and dear by virtue
of each one's unique corruption
of those texts, the face, the body:
that jut jaw
to gnash tendon;
that wide nose to meet the blows
a face like that invites;
those long eyes closing on the seen;
those thick lips
to suck the meat of animals
or recite 300 poems of the T'ang;
these teeth to bite my monosyllables;
these cheekbones to make
those syllables sing the soul.
Puffed or sunken
according to the life,
dark or light according
to the birth, straight
or humped, whole, manqué, quasi, each pleases, verging
on utter grotesquery.
All are beautiful by variety.
The soul too
is a debasement
of a text, but, thus, it
acquires salience, although a 
human salience, but
inimitable, and, hence, memorable.
God is the text.
The soul is a corruption
and a mnemonic.

A bright moment,
I hold up an old head
from the sea and admire the haughty
down-curved mouth
that seems to disdain
all the eyes are blind to,
including me, the eater.
Whole unto itself, complete
without me, yet its
shape complements the shape of my mind.
I take it as text and evidence
of the world's love for me,
and I feel urged to utterance,
urged to read the body of the world, urged
to say it
in human terms,
my reading a kind of eating, my eating
a kind of reading,
my saying a diminishment, my noise
a love-in-answer.
What is it in me would 
devour the world to utter it?
What is it in me will not let
the world be, would eat
not just this fish,
but the one who killed it,
the butcher who cleaned it.
I would eat the way he
squats, the way he
reaches into the plastic tubs
and pulls out a fish, clubs it, takes it
to the sink, guts it, drops it on the weighing pan.
I would eat that thrash
and plunge of the watery body
in the water, that liquid violence
between the man's hands,
I would eat 
the gutless twitching on the scales,
three pounds of dumb
nerve and pulse, I would eat it all
to utter it.
The deaths at the sinks, those bodies prepared
for eating, I would eat,
and the standing deaths
at the counters, in the aisles,
the walking deaths in the streets,
the death-far-from-home, the death-
in-a-strange-land, these Chinatown
deaths, these American deaths.
I would devour this race to sing it,
this race that according to Emerson
managed to preserve to a hair
for three or four thousand years
the ugliest features in the world.
I would eat these features, eat
the last three or four thousand years, every hair.
And I would eat Emerson, his transparent soul, his
soporific transcendence.
I would eat this head,
glazed in pepper-speckled sauce,
the cooked eyes opaque in their sockets.
I bring it to my mouth and--
the way I was taught, the way I've watched 
others before me do--
with a stiff tongue lick out
the cheek-meat and the meat
over the armored jaw, my eating,
its sensual, salient nowness,
punctuating the void
from which such hunger springs and to which it proceeds.

And what
is this
I excavate
with my mouth?
What is this
plated, ribbed, hinged
architecture, this carp head,
but one more
articulation of a single nothing
severally manifested?
What is my eating,
rapt as it is,
but another
shape of going,
my immaculate expiration?

O, nothing is so
steadfast it won't go
the way the body goes.
The body goes.
The body's grave,
so serious
in its dying,
arduous as martyrs
in that task and as
glorious. It goes
empty always
and announces its going
by spasms and groans, farts and sweats.

What I thought were the arms 
aching cleave, were the knees trembling leave.
What I thought were the muscles
insisting resist, persist, exist,
were the pores
hissing mist and waste.
What I thought was the body humming reside, reside,
was the body sighing revise, revise.
O, the murderous deletions, the keening
down to nothing, the cleaving.
All of the body's revisions end
in death.
All of the body's revisions end.

Bodies eating bodies, heads eating heads,
we are nothing eating nothing,
and though we feast,
are filled, overfilled,
we go famished.
We gang the doors of death.
That is, out deaths are fed
that we may continue our daily dying,
our bodies going
down, while the plates-soon-empty
are passed around, that true
direction of our true prayers,
while the butcher spells
his message, manifold,
in the mortal air.
He coaxes, cleaves, brings change
before our very eyes, and at every
moment of our being.
As we eat we're eaten.
Else what is this
violence, this salt, this
passion, this heaven?

I thought the soul an airy thing.
I did not know the soul
is cleaved so that the soul might be restored.
Live wood hewn,
its sap springs from a sticky wound.
No seed, no egg has he
whose business calls for an axe.
In the trade of my soul's shaping,
he traffics in hews and hacks.

No easy thing, violence.
One of its names? Change. Change
resides in the embrace
of the effaced and the effacer,
in the covenant of the opened and the opener;
the axe accomplishes it on the soul's axis.
What then may I do 
but cleave to what cleaves me.
I kiss the blade and eat my meat.
I thank the wielder and receive,
while terror spirits
my change, sorrow also.
The terror the butcher
scripts in the unhealed
air, the sorrow of his Shang
dynasty face,
African face with slit eyes. He is
my sister, this
beautiful Bedouin, this Shulamite,
keeper of sabbaths, diviner
of holy texts, this dark
dancer, this Jew, this Asian, this one
with the Cambodian face, Vietnamese face, this Chinese
I daily face,
this immigrant,
this man with my own face.

An absence declares
its blunt self. I can’t believe the extent
of my luck, heard twice, like violets
in a bath of lukewarm water.
The city was my father’s though none
of its sweetness appears here living
before you. A strong instrument.
A blowing on the hands
and neck. A curtain almost open.
I inherited a stiff collar sewn
against loveliness where once
we must have walked freely into
the city square and gathered
there like an intention. Two lips bloomed
on my mother’s cheek. I felt
a heavenly peace. Here, the marker you
might have waited for: ancient
dough, rolled and fried. These days
the lyric’s sentiment floats
away from me. Like a river someone
forgets to bless. Memory, to memory,
to the dirt path opening
again in a dream. I have not been back
for so many years. I walk the distance
in my mind, the margins flowing by
like so much foreign water.

An absence declares
its blunt self. I can’t believe the extent
of my luck, heard twice, like violets
in a bath of lukewarm water.
The city was my father’s though none
of its sweetness appears here living
before you. A strong instrument.
A blowing on the hands
and neck. A curtain almost open.
I inherited a stiff collar sewn
against loveliness where once
we must have walked freely into
the city square and gathered
there like an intention. Two lips bloomed
on my mother’s cheek. I felt
a heavenly peace. Here, the marker you
might have waited for: ancient
dough, rolled and fried. These days
the lyric’s sentiment floats
away from me. Like a river someone
forgets to bless. Memory, to memory,
to the dirt path opening
again in a dream. I have not been back
for so many years. I walk the distance
in my mind, the margins flowing by
like so much foreign water.

Ascending, wheeling
in a gyre, the roc
spreads his wings
ninety thousand li.
Bearing the blue sky,
he looks down, surveying
the little kingdoms of Man.

—from “Dialogue Between Birds” by Mao Zedong



1.

Grandma always spoke fondly of the shrimp
in the spring at the edge of the village.
No bigger than her smallest finger, they frothed
in the small pool—rice-paper shells
bandaged around a bit of milky gray
with long silk threads for whiskers.

Small vehicles of life in deadwater.
They moved like a great fleet of dragon-boats
from one end of the spring to another,
their legs the oars of many men.
For them, the spring was a lake—
an ocean—a continent of water. It was all
they needed to survive. There was nothing else.
No apparent food for them to feed on, as if
they sprouted from the rock itself—
a deep pact between stone and water.

And what did they think of her small net?
She often wondered what it looked like to them.
A fibrous constellation pulled out of the sky,
descending, penetrating the defenseless water with ease,
carrying them towards the edge of the unknown.
The constant pressure of water—suddenly gone:
a strange lightness unbearable.

Were they aware of body, and not-body?
of mind, and not-mind? In the air,
as blind as they had ever been.
How crisp they tasted fresh out of the water!
They tasted even better in the wok: lotus-leaf
shells blooming like rust under oil and tender iron.

Was water dark or full of light? At times, the spring glowed,
thinking itself an ocean and its inhabitants phosphorous beings.



2. (1967)

The fields heaved like a fur-thickened thing
under the midday sun. Its great, slack mouth stretched
for miles, swallowing up the men and women.
It tilled their bodies relentlessly, carving up grooves
like the deep folds of intestines.

Ma was upset again, the sadness upon her face liquid
moonlight pouring over the globe.

The badge-wearing children had come knocking at the door
again, demanding all their photographs. The colored one, too. Yes,
even the colored one had been scratched up and taken away to the fire.

Each face effaced an incision upon the heart.

It was no good to try to console her.
She couldn’t be consoled.
It was so expensive, she said.
You looked so pretty in your new dress, she said.
And the one with your grandmother—
the last one I had.

Uncle came from the city to visit, decorated
and uniformed, bringing with him
coupons for extra portions of rice and cotton.

Even that was not enough to make her smile.

Sister, he said, pull back your dark-grey hood. These things are not necessary for life or
for happiness. And the wok, too. The wok must go. Our soldiers need the iron. Our fields
have sprouted out of their blood. Our fences stacked with their bones. There are certain
rivers here, crossing the land like polluted veins, filled with the piss of dead men.

Sister, he said, I have journeyed through the primal world and seen what evil crouches
over small huts. Establish your mind on the highest cliff, where the eagle’s nest dwells.
Bring your feet to the precipice, and you will see the birds who turn from wing to wing.

Even that was not enough to make her smile.



3. (1944)

Late summer brought the cooling of bamboo mats,
and the Japanese soldiers.

It was said they came from Beijing where
the river dolphins played in the Yangzi.

What did they know of the war,
living, as they did, underwater?
Did they taste the bodies that sugared
the banks with blood? Did bullets pass
dripping brightfire through the water?
Did they feel the march of spoiled feet like a ripple—

a pulse—?

She had been warned often of what they could do,
what they had done in Nanjing:
bayoneted women in their full-moon bellies,
forced fathers to fuck their daughters,
and afterwards taken photographs—
little trophies to remember the war by.

Ba, but they look like us.
Pale-skinned and dark-eyed,
with long, straight hair like the fibers
of falling stars.

No, my daughter, they are not like us,
not like us at all, these ri ben gui.
They sail across the mirrored sea
with blood on their flags
and minds.

On the day they first came,
the stew on the fire was boiling,
boiling and boiling again.

For three weeks, the meat had fallen
away from the pig in long, fibrous strips.
and now its bones turned, uneasy,
in the pot.

Ma was sucking on a thick, yellow bone, sucking out
its spongy stuff. “There’s always something left for you
to eat,” she said, “even when all the meat is gone.”
She lapped at the bone with a little pink tongue.

In the distance, came the sound of the alarm,
a long wail, passing like a ghost through the village
with bare feet, and river hair.

Ma tugged her to her feet. Their small bones
gathered themselves quickly, running
towards the cover of the forest. Near the edge,
she turned and looked through rows of bamboo,
towards the village where the slow ones began to
fall. Her stomach growled.

She thought sadly of the soup left on the table.

In the spring, the shrimp continued to swim.
To them, it was a quiet evening: distilled with light
passing, on its way through the universe.

an essay on assimilation

I am Marilyn Mei Ling Chin
Oh, how I love the resoluteness
of that first person singular
followed by that stalwart indicative
of “be,” without the uncertain i-n-g
of “becoming.”  Of course,
the name had been changed
somewhere between Angel Island and the sea,
when my father the paperson
in the late 1950s
obsessed with a bombshell blond
transliterated “Mei Ling” to “Marilyn.”
And nobody dared question
his initial impulse—for we all know
lust drove men to greatness,
not goodness, not decency.
And there I was, a wayward pink baby,
named after some tragic white woman
swollen with gin and Nembutal.
My mother couldn't pronounce the “r.”
She dubbed me “Numba one female offshoot”
for brevity: henceforth, she will live and die
in sublime ignorance, flanked
by loving children and the “kitchen deity.”
While my father dithers,
a tomcat in Hong Kong trash—
a gambler, a petty thug,
who bought a chain of chopsuey joints
in Piss River, Oregon,
with bootlegged Gucci cash.
Nobody dared question his integrity given
his nice, devout daughters
and his bright, industrious sons
as if filial piety were the standard
by which all earthly men are measured.

*

Oh, how trustworthy our daughters,
how thrifty our sons!
How we've managed to fool the experts
in education, statistic and demography—
We're not very creative but not adverse to rote-learning.
Indeed, they can use us.
But the “Model Minority” is a tease.
We know you are watching now,
so we refuse to give you any!
Oh, bamboo shoots, bamboo shoots!
The further west we go, we'll hit east;
the deeper down we dig, we'll find China.
History has turned its stomach
on a black polluted beach—
where life doesn't hinge
on that red, red wheelbarrow,
but whether or not our new lover
in the final episode of “Santa Barbara”
will lean over a scented candle
and call us a “bitch.”
Oh God, where have we gone wrong?
We have no inner resources!

*

Then, one redolent spring morning
the Great Patriarch Chin
peered down from his kiosk in heaven
and saw that his descendants were ugly.
One had a squarish head and a nose without a bridge
Another's profile—long and knobbed as a gourd.
A third, the sad, brutish one
may never, never marry.
And I, his least favorite—
“not quite boiled, not quite cooked,”
a plump pomfret simmering in my juices—
too listless to fight for my people's destiny.
“To kill without resistance is not slaughter”
says the proverb.  So, I wait for imminent death.
The fact that this death is also metaphorical
is testament to my lethargy.

*

So here lies Marilyn Mei Ling Chin,
married once, twice to so-and-so, a Lee and a Wong,
granddaughter of Jack “the patriarch”
and the brooding Suilin Fong,
daughter of the virtuous Yuet Kuen Wong
and G.G. Chin the infamous,
sister of a dozen, cousin of a million,
survived by everybody and forgotten by all.
She was neither black nor white,
neither cherished nor vanquished,
just another squatter in her own bamboo grove
minding her poetry—
when one day heaven was unmerciful,
and a chasm opened where she stood.
Like the jowls of a mighty white whale,
or the jaws of a metaphysical Godzilla,
it swallowed her whole.
She did not flinch nor writhe,
nor fret about the afterlife,
but stayed!  Solid as wood, happily
a little gnawed, tattered, mesmerized
by all that was lavished upon her
and all that was taken away!