^{translated from the Japanese by William George Aston}

The cry of the cicada

Gives us no sign

That presently it will die.

I ask a student how I can help her. Nothing is on her paper.
It’s been that way for thirty-five minutes. She has a headache. 
She asks to leave early. Maybe I asked the wrong question. 
I’ve always been dumb with questions. When I hurt, 
I too have a hard time accepting advice or gentleness.
I owe for an education that hurt, and collectors call my mama’s house. 
I do nothing about my unpaid bills as if that will help. 
I do nothing about the mold on my ceiling, and it spreads. 
I do nothing about the cat’s litter box, and she pisses on my new bath mat. 
Nothing isn’t an absence. Silence isn’t nothing. I told a woman I loved her, 
and she never talked to me again. I told my mama a man hurt me,
and her hard silence told me to keep my story to myself. 
Nothing is full of something, a mass that grows where you cut at it. 
I’ve lost three aunts when white doctors told them the thing they felt 
was nothing. My aunt said nothing when it clawed at her breathing.
I sat in a room while it killed her. I am afraid when nothing keeps me 
in bed for days. I imagine what my beautiful aunts are becoming 
underground, and I cry for them in my sleep where no one can see. 
Nothing is in my bedroom, but I smell my aunt’s perfume 
and wake to my name called from nowhere. I never looked 
into a sky and said it was empty. Maybe that’s why I imagine a god 
up there to fill what seems unimaginable. Some days, I want to live 
inside the words more than my own black body. 
When the white man shoves me so that he can get on the bus first, 
when he says I am nothing but fits it inside a word, and no one stops him, 
I wear a bruise in the morning where he touched me before I was born. 
My mama’s shame spreads inside me. I’ve heard her say 
there was nothing in a grocery store she could afford. I’ve heard her tell 
the landlord she had nothing to her name. There was nothing I could do 
for the young black woman that disappeared on her way to campus. 
They found her purse and her phone, but nothing led them to her. 
Nobody was there to hold Renisha McBride’s hand 
when she was scared of dying. I worry poems are nothing against it. 
My mama said that if I became a poet or a teacher, I’d make nothing, but 
I’ve thrown words like rocks and hit something in a room when I aimed 
for a window. One student says when he writes, it feels 
like nothing can stop him, and his laughter unlocks a door. He invites me 
into his living.

I don’t want to say anything. What is it to be saying? Force speech, rape speech. I have no subjectivity or light subjectivity. Speaking, defunct. Land mass floats. And the forests have been felled. And the antlers, snapped. Morphed lips, already sewn. Most of us are keen to mouth the word, “beast.” Everyone is talking talking talking like dentures, clack clack, but nothing is really said. Or so much chatter static. I am not saying anything either, am waiting and breathing. My body is speaking. Expressing the thingness of the thing. It chats at me, motoring. In the taxi, a tree shaped purple fragrance floats across face.

--

To be a red 
scratch or 
red scotch, 
depending on 
your liking,
calculation 
of the sublime, or 
the sublime itself—

Memory fixed— 
—and 
then splatter.
My mother in 
her pink kitchen 
washes what 
the garden 
and its grey 
chemicals produced. 
Outside, the gate 
ajar, the dog 
run wild-ing. A thing 
called girl splay, 
or wheat heart. 
We could draw 
a chalk line there. 

This is not conceptual. This is a poem. You are a poem. I am. 

The hesitancy.
The undoingness. 

More secrets: humiliation as release. 

The men all say “I want to stretch you out,” feel themselves big in this small corner of the world. How chivalrous, the ache of any obvious sliding down. What would the poem be without wings to block out the light?

^{After Robert Minervini’s “Improvised Garden II (Water Street)”}

more and more of my friends

are becoming parents or partners

to plants

i have lived long and short enough

to remember the homegirls who

danced non-stop until three a.m.

the moon a parabola to our party

i’ve grown up enough

to see them sing their favorite slow songs

to herbs and succulents on their windowsills

in homes they sowed from dreams

the same sister who once dug a heel into

a man’s oblique now steals thyme with me

off of suburban bushes after brunch

in my neighborhood

when a friend locked herself out—

the same person who loses wallets &

laptop chargers & saves my broken earrings

with a hot-glue gun in her backpack—

this pinay macguyver

has me breaking into her house at night

where we be tiptoeing over her

forest of planted avocado jars

into her dark room to find warmth

the one whose living room and bedroom

once resembled a flea market  

or a super fly thrift store

and sometimes ikea—

the one who let me stay

she pays full price for potters &

vases—pronounced with the short

& therefore expensive ‘a’ sound

one womxn named her garden

“grown and sexy”

bringing new meaning

to the phrase garden hoe.

another who tops burritos with

white sauce dots like queen anne’s lace

also commits the crime of eating

one half at a time, you know, meal planning

with a sweet tooth, she drinks all of her horchata

& knows how

my family loves orchids &

she brings me them for my birthday

or any other tuesday

just because.

my mentee once congratulated me with

mint & basil & lavender & rosemary—

sweet aromas gifted when i

was leaving a job that left me to rot

for another that was not  an office

with no windows, no green

the women in my life reroot

over oceans & provinces & planes to cultivate

a geography of trunks & limbs

reminding me that to decompose

is the chance to live again

my mother’s rose bushes open wide this spring

in her backyard without her

my mother’s body is buried in a plot

of other bodies without mine

isn’t a cemetery a garden

of all we’ve loved?

and isn’t a garden full

of already dead things?

those who bury their beloved

put the gentlest parts

of themselves into soil

my mother is a seed

    the first woman i cannot unplant

       cannot pull or twist back into my hands

her orchids bloom reaching

how delicately the petals hang off

their stakes like gold, glass bangles on wrists

against disco lights   against the ambiance of a food truck menu

like lip gloss    how bougainvillea spill onto sidewalks

like how the sun stays lit

during an eclipse

the flowers in my garden grow lively

& loving & hungry from pods & cinderblocks

my friends are florists

they water & cry & bloom & sleep

from loss & clay & unfolded laundry

sometimes we grow tired & tough

sometimes you have to open a cactus   to cut

pieces off so we don’t grow stuck

arranging the flowers

in my garden

is a lattice

a life lesson

on how

to grow

up.

The Bud Light crystallizing in the freezer

Hides high above a child’s reach

The Uncles table sits in the backyard of my mother’s house parties

The beer and barbecue footnote their good time

I go to greet them like daughter, like niece, like good girl,

They say. Like grown woman now, they say.

At what age did uncles stop seeing me as a little girl

Since when did they dress up my growth with their pick-up lines?

Each word sharpening a knife of bedside manner

Each nervous laugh covering up the names of women who don’t stay

Oh you’re a teacher now? They repeat with bedroom eyes

Teach me, they say. To my classroom, they say, I want to come.

The pork belly on the table I used to draw on as a kid

Curls in the cold air, sausage cackling char on the grill

Flatlining my red lips I paint for myself

My voice a fire extinguisher

Against all the family men who pretend family means

Things I can get away with

A myth of fragility trapping too many girls

Forced to call mercy

Each beer sip    a squeal silenced

Each man still a swine on the spit

It's just getting dark, fog drifting in,
damp grasses fragrant with anise and mint,
and though I call his name
until my voice cracks,
there's no faint tinkling
of tag against collar, no sleek
black silhouette with tall ears rushing
toward me through the wild radish.

As it turns out, he's trotted home,
tracing the route of his trusty urine.
Now he sprawls on the deep red rug, not dead,
not stolen by a car on West Cliff Drive.

Every time I look at him, the wide head
resting on outstretched paws,
joy does another lap around the racetrack
of my heart. Even in sleep
when I turn over to ease my bad hip,
I'm suffused with contentment.

If I could lose him like this every day
I'd be the happiest woman alive.

            1

Money is talking
to itself again

in this season’s
bondage
and safari look,

its closeout camouflage.

Hit the refresh button
and this is what you get,

money pretending
that its hands are tied.

            2

On a billboard by the 880,

money admonishes,
“Shut up and play.”

^{“and the people live till they have white hair”
            ―E. M. Price}

The dry brown coughing beneath their feet,
(Only for a while, for the handyman is on his way)
These people walk their golden gardens.
We say ourselves fortunate to be driving by today.

That we may look at them, in their gardens where
The summer ripeness rots. But not raggedly.
Even the leaves fall down in lovelier patterns here.
And the refuse, the refuse is a neat brilliancy.

When they flow sweetly into their houses
With softness and slowness touched by that everlasting gold,
We know what they go to. To tea. But that does not mean
They will throw some little black dots into some water and add sugar and the juice of the cheapest lemons that are sold,

While downstairs that woman’s vague phonograph bleats, “Knock me a kiss.”
And the living all to be made again in the sweatingest physical manner
Tomorrow. . . . Not that anybody is saying that these people have no trouble.
Merely that it is trouble with a gold-flecked beautiful banner.

Nobody is saying that these people do not ultimately cease to be. And
Sometimes their passings are even more painful than ours.
It is just that so often they live till their hair is white.
They make excellent corpses, among the expensive flowers. . . .

Nobody is furious. Nobody hates these people.
At least, nobody driving by in this car.
It is only natural, however, that it should occur to us
How much more fortunate they are than we are.

It is only natural that we should look and look
At their wood and brick and stone
And think, while a breath of pine blows,
How different these are from our own.

We do not want them to have less.
But it is only natural that we should think we have not enough.
We drive on, we drive on.
When we speak to each other our voices are a little gruff.

After hours of delay
and a particularly long layover,

the voice promising me clear blue skies
sounds like I imagined God

would when he asked me to forgive.
And the stewardess

pushing a cart toward me,
with her smart, ruby lips,

thick eyelashes,
and unconventional snakeskin boots,

looks like I imagined Venus would
if she wagged a finger at me,

inviting me to something forbidden.
Michelangelo’s David,

on the cover of the in-flight magazine,
flexes the chest I thought I’d have

if I could work shame’s nine tails
across my back

enough to diet on grapes
or bike to the gym.

The housefly, the only one
I’ve ever seen on a plane,

caroming between seatbacks
like a fire drunk on its own heat,

looks like I imagined I might
if I died in a plane crash

and was immediately shuttled back
into the living body I deserve.

If I close my eyes and let the engine noise
drown out all this useless sense,

I can hear Venus as a heron
and see God as a never-ending chest

of drawers, each
one of the infinite shades of blue,

can feel the surprising litheness
of stretched snakeskin,

and smell brush burning
on the prairie,

and my next body is the wavering sunlight
through the surface of water.