Arts & Craft
I know what I’m going to do next, and I know
What I’m going to trace
Stone moon,
Broken ship,
And the cloud that’s landing
If my mother was the femme in our story,
Raising me with her sister, the butch,
Then whoso frees whatever masc they want
From men is already king
But I’ll torch my energetic sadness, pouring up
To burn my country and my gender
Like the mosquito in its fancy stripes
Trying to bite through my jeans
The doves have been so angry
And horny in their cups
Or in the sky’s domed cup of the season
Around this house with friends who are saying goodnight
From faces that have already been free and leaving,
Taking corners slowly, greasy skids
Going down to the same ditch of solace
Like our kid said petitioning her way into our bed,
I just want to lie here like a number
Meaning the many and the shape
Seen from above when we’re going
With the animals in the transiting black air
Hummingbirds all over this early June
Aren’t war gods because they startle my instruments,
Extending only so far into the layered resin
Darkness the park dogs howl in
To call nearer the estranged
I think they can choose
A sudden give in our future,
Playing at our daughter’s pretend deathbed
This morning, she wanted me to be a theater,
Resounding last words of advice
We glued flakes from the pearlescent edge
Of the nautilus shell to imagine all the folds
And surface strain of a sail triangling forth
The ark she outlined to take her
In the story my mother worked
For a military dictatorship’s ministry
Of health, a sisterhood of clerks
Amid “how handsome, the officers”
And when she chose to have me,
I was born or let go as she screamed
Her mother’s name, bursting
The thinnest capillaries, purple
About her neck—that screaming,
To touch air without breath
At the edges of the words
Along which any point is creation,
Folds a path that doubles back
To what home?
The river can be a border
Or the reason for a city,
A place for mass burials in the first days of a coup
We drink the Euphrates, the Mapocho
In a thirst that tracks to no writ,
No guarantee of a systemic critique when everything
And a people need critiques by many and many
An elegant hand
When the fascists need to get silly
Off themselves—no pretending—
They parade in boats, they dance
At the rally to whatever’s playing,
They tighten their faces
Everyone knows the truth
All the time
It’s beautiful like that, abiding,
Immovable, common
Fady says that Darwish said,
“No people are smaller than their poem”
Say it again
When they come to ask
—Rigor, value, coinage—
Mouthfuls, heavy enough to think we’re here
My child’s fitful, hard words in her sleep
The quiet that follows
The state’s circling planes
Long avenues and different drugs
To meet the moment, not yet dangerous
Or disposable enough to kill or disappear
“Revolution finds a way,” Tongo says
“You guys are negative,” Jane says through
Wind chimes tuned to the golden ratio
We should go
Into a slight band of teal in the sky,
Light the trash fire and palm fronds
Under the new form serpent wending down
To bring air onto Earth, stars onto my eyes
Strung to my belly lines, the gifts—
The rain in rivers
Given to real estate for graves
Cold fingers, gold breastplate
As sure as I wear my grandmother’s cross
I drop the amulet, peeled
Black air turning somewhere in a cave
Pisces wheeling through dream’s black water,
While Venus goes to my mother Taurus
Let the bull eat good grass, drink wet water
Frame my favorite photograph of her
A document says itself
Plus an effluence of time waving
Us back along geometries that adorned
The old vessels with the shapes of the rooms
We’ll come to pour out of
I’ve been a child surrounded
I’ve been a fiction talking, a state flower signaling,
A monstrance filled by everyone not-a-man,
Casting shadows at my eastern wall
In the work of adding one another in time
I see an actual cricket turned gray, clung to the corner’s web
In its deathful leaving and still
My daughter declares that I teach her nothing’s real
Not knowing how to look for her,
I thought the picture held an eye to see with
But it’s a whole head ringing
We send her away with ideas
We take a walk sick with finery,
Seeing all the hill grass blown north,
And she asks, “Why are you so angry?”
Pretender gods, gods of leaving
Everything runs ahead
A story promises that I’ll catch up
But a voice that’s stretching into the words,
So warm, not asking for anything,
Drafts above mother of the sanitation plant,
Mother of the second queen,
Mother of the trees the new hive
Will visit on their way
As quantity, extension, inhalation
Of the fabric that folds
Love inside and outside at once,
Along a transference between atomic poles
That’s transgenerational because it got here
Onto the page where I try to write
About my grandmother’s first pregnancy
She was an Aleppo daughter ordered from a bride book,
Bringing the wrong language to the Andes
Her new stepkids took her first stillborn by the heel,
Far from her Arabic, taunting
I heard the story as a child, not told to me
But strung up in the air around me
That distance from her body to her fetus,
My friends tell me, would be called massafa in Arabic
But she might say it’s buʿd—a whole dimension
Where both the story
And the state break a little,
Dicks are just more of the porous
Surface on the folding river running tense
Enough for anyone to walk on
Or soft releasing the dead
From their shapes; they come nearer
Inside, an increase that wants to turn out
More accountable than each other’s healers
Or comrades,
To train a love for whoever, in their gesture
And trace, would help us make of poems
A resonance not lonely or owned,
Opening at each heel’s step to sense
One another having gone before
Practicing how to vacate detachment and still
Rightly unwelcomed in the words,
I pronounce whatever comes my conviction
I know that the horse wading in to soak
Holds me in the dream water
By letting me see it, I know that when I fill
With breath enough to float
And fold into those already here,
Every inch of altitude surprises,
Falling into the mirror the sky is
Reprinted with permission from Moon Mirrored Indivisible by Farid Matuk, published by the University of Chicago Press. © 2025 by The University of Chicago. All rights reserved.