The Radio Animals

Matthea Harvey - 1973-

The radio animals travel in lavender clouds. They are always chattering, they are always cold. Look directly at the buzzing blur and you'll see twitter, hear flicker—that's how much they ignore the roadblocks. They're rabid with doubt. When a strong sunbeam hits the cloud, the heat in their bones lends them a temporary gravity and they sink to the ground. Their little thudding footsteps sound like "Testing, testing, 1 2 3" from a far-away galaxy. Like pitter and its petite echo, patter. On land, they scatter into gutters and alleyways, pressing their noses into open Coke cans, transmitting their secrets to the silver circle at the bottom of the can. Of course we've wired their confessionals and hired a translator. We know that when they call us Walkie Talkies they mean it scornfully, that they disdain our in and outboxes, our tests of true or false.

More by Matthea Harvey

Introduction to the World

For the time being
call me Home.

All the ingénues do.

Units are the engines
I understand best.

One betrayal, two.
Merrily, merrily, merrily.

Define hope.	 Machine.
Define machine.  Nope.

Like thoughts,
the geniuses race through.

If you're lucky

after a number of
revolutions, you'll

feel something catch.

I May After Leaving You Walk Quickly or Even Run

Rain fell in a post-romantic way.
Heads in the planets, toes tucked

under carpets, that’s how we got our bodies
through. The translator made the sign

for twenty horses backing away from
a lump of sugar. Yes, you.

When I said did you want me
I meant me in the general sense.

The drink we drank was cordial.
In a spoon, the ceiling fan whirled.

The Old World smoked in the fireplace.
Glum was the woman in the ostrich feather hat.

The Backyard Mermaid

The Backyard Mermaid slumps across the birdbath, tired of fighting birds for seeds and lard. She hates those fluffed-up feathery fish imitations, but her hatred of the cat goes fathoms deeper. That beast is always twining about her tail, looking to take a little nip of what it considers a giant fish. Its breath smells of possible friends. She collects every baseball or tennis ball that flies into her domain to throw at the creature, but it advances undeterred, even purring. To add further insult to injury it has a proper name, Furball, stamped on a silver tag on its collar. She didn't even know she had a name until one day she heard the human explaining to another one, "Oh that's just the backyard mermaid." Backyard Mermaid she murmured, as if in prayer. On days when there's no sprinkler to comb through her curls, no rain pouring in glorious torrents from the gutters, no dew in the grass for her to nuzzle with her nose, not even a mud puddle in the kiddie pool, she wonders how much longer she can bear this life. The front yard thud of the newspaper every morning. Singing songs to the unresponsive push mower in the garage. Wriggling under fence after fence to reach the house four down which has an aquarium in the back window. She wants to get lost in that sad glowing square of blue. Don't you?

Related Poems

Humanimal [Feral children are fatty]

4. Feral children are fatty, complex and rigid. When you captured the two children, you had to brush the knots out of their hair then scrape the comb free of hard butter. Descent and serration. No. I don't want to ask primal questions.

5. Kamala slips over the garden wall with her sister and runs, on all fours, towards the complex horizon between Midnapure and its surrounding belt of sal. The humanimal mode is one of pure anxiety attached to the presence of the body. Two panicked children strain against the gelatin envelope of the township, producing, through distension, a frightening shape. The animals see an opaque, milky membrane bulging with life and retreat, as you would, to the inner world. I am speaking for you in January. It is raining. Amniotic, compelled to emerge, the girls are nevertheless re-absorbed. I imagine them back in their cots illuminated by kerosene lanterns. I illuminate them in the colony—the cluster of residences, including the Home—around St. John's. No. Though I've been there, it’s impossible for me to visualize retrieval. Chronologies only record the bad days, the attempted escapes.

d. I was almost to the gate. I was almost to the gate when a hand reached out and pulled me backwards by my hair, opening my mouth to an O. The next day, I woke up with a raw throat. The cook gave me salt in warm water. I waited until she was gone and then I bit it. I bit my own arm and ate it. Here is my belly, frosted with meat. Here are my eyes, bobbling in a tin.

6. It's Palm Sunday and Kamala, with the other orphans in a dark, glittery crocodile, walks from Home to church. Her two arms extend stiffly from her body to train them, to extend. Unbound, her elbows and wrists would flex then supinate like two peeled claws. Wrapped, she is a swerve, a crooked yet regulated mark. This is corrective therapy; the fascia hardening over a lifetime then split in order to re-set it, educate the nerves.

e. The cook fed us meats of many kinds. I joined my belly to the belly of the next girl. It was pink and we opened our beaks for meat. It was wet and we licked the dictionary off each other's faces.

7. Is this the humanimal question? No, it’s a disc, transferring light from corner to corner of the girl's eye. Like an animal tapetum. The way at night an animal. Animal eyes, glinting, in the room where he kept her, his girl, deep in the Home.