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Bungalow Row
This poem is based on a true episode in the life of Elyn Saks, a university professor and author of the memoir
The
Center Cannot Hold: My Journey Through Madness
.
There is a concrete street in Miami lined with bungalows and you are walking right in
the center of this street. Spreads of large-lobed leaves droop over the sidewalk and the
slate-slant roofs and the rotted-wood mailboxes. The suns in your eyes and in the
eyes of the homes and they squint against the light at you as you pass by. Youre
wearing white Keds and your bookbag is slapping your beanpole ten-year-old leg that
Mommy and Daddy told you with flattened lips was too skinny. You better eat more of
those scrambled eggs before they notice youre sliding them under the lip of your
single-ply paper plate. It doesnt have to be a lot, just enough so they think youre
eating. They look at you slant-eyed, just to make sure. The bungalows look at you
slant-eyed, just to make sure. Elyn, they say to you with a regretful sigh as you pass
by. Youre an awful, awful person. Why do you even want to keep living? You try to
plug your ears as if you were sailing past the Sirens, but the homes arent outside of
you. They are inside of you. They are the truth: Why bother? Its easier to be dead.
You are fat and ugly. If you were dead no one would have to look at you anymore.
You walk faster, you try to run past, but like I said before, the bungalows are inside of
you, and they know the truth.
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REM Dreams
Liver-colored membrane stretched over the rim of a glass full of salt and tequila: your
drink, filtered through, tastes like baby formula. You know what baby formula tastes
like because you licked one drop off of the ring finger, off of his ring finger, off of the
babys nose, off of your collarbone, but not with your tongue, with his, and with the
babys. Later, youve taken enough Benadryl to make a grown man cry, but youre still
awake, sitting with the pillow between your knees and counting the blazing blades of
the ceiling fan as they fury the night into weepy solitude. You apply nail polish, plate
by plate, armor by armor, nail by nail, onto every stripe and stipple and every former
drone-frozen area of sleep, onto every realm of REM that you enter and exit, in your
full force, wearing a gown of silver silk made by moths
whose corkscrew tongues charge about the inside of your mouth,
testing your cheeks for nutrients.
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Word Salad
Word salad is a psychiatric term that refers to the jumble of disconnected language indicative of psychoses such
as advanced schizophrenia.
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Hospital Swan
Limp twists of cotton candy drape over the indoor banisters of funeral homes.
Collections of fresh, stenchful hours and the need to urinate reek like the reverb of a
Chinese gong throughout that catastrophic place, taking with them the light, the love,
the furtherance of air. Too often youve come here alone, with no one to huddle your
shoulders against the small of their back and say quiet, unnerving words of Swiss-Miss
comfort to you, to rub undersized marshmallows into your scalp and then rinse them
out again under a long-necked faucet, the hospital swan. This time, though, there is
someone here with you--someone who takes too long to put on pants, who occupies
too much time running double-jointed hitchhikers thumbs over the rubber sides of
shoes that have acted like splash guards for you in the past when youve walked, run,
whocked through puddles and mud-dabbed curbs. In the past when you had puddle
access was the past when you were outside, not inside, sliding your greasy tongue
along the bed-bar beside your head, huffing out hot breath onto the metal so you can
draw shapes in it with your lips like you would a window. They flip you three times a
day so you wont get any bedsores but the sore isnt on your ass its right behind your
ear, behind both of your ears, under your chin, under your nose, in your chest, right
through the pericardial cavity, right through to that aorta you need most.
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I Admit You
You were fourteen when I found you in the kitchen, dual-wielding sticks of butter
without the papers on them, flipping your body like a fucking pancake across the tile
and getting jabbed in the side by the handle of the saut pan that was sticking out of
the left side of the sink where it had been left to dry. Maybe its time to go, I said, but
you shook your head and whirled the sticks of butter through the air like throwing
knives and they stuck with perfect precision with their square hand-melted ends to the
wallpaper over the table. My hands shook because I knew this would happen: I folded
up a pair of red-paper-covered twist ties, over and over on themselves until they
looked like weak paperclips, and placed the matchstick bundle in the toaster oven to
heat until they retained their own fire. Place your head here, on my lap, I said to you,
because today is the day and I need to tell you how much you are loved. Whats my
dad like, you said to me and grease from your hair settled into my jeans. Tell me about
him. Instead of your father, I described God: Hes like a refiners fire, I said, warmly,
patiently, lifting your hand to my mouth to suck, lick all the butter off of the webbing
between your fingers. Hes like a mouthful of salt. Hes like an ocean in a tin can. Hes
like a singed spiderweb, smoldering quietly to itself at dusk. Hes like an open orphan
on a fire escape in a brownstone-city, an orphan that has no home to go to and
nothing but a coffee mug full of ash. Hes like a hurricranial shitstorm, a grain of sand
stuck in the corner of your eye, a slap of seaweed you werent expecting, a turtle shell
hollowed out and beaten by the sun. Hes empty. Hes life-ful. Hes fallen. Hes loved
you all this time.
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I take a good look at her, at her squeeze box, at the light in her distant eyes, at her
daily weight of knowledge: Let me love you, let me pour my melted earwax into your
cracks like an ablution of charity. I belong to you now, my love, my one, my hope, my
all-in-all, my cube of clarity. Tell me where to go, what to do, who to follow, which shoe
to tie first. Tell me how to speak my sayings and melt my headings into cheese, into
five-hour candles, into dark-bunker nights full of starborne dread. Youve carried
within yourself two children and they crawl out from under your skirt: Ignorance and
Want, like the Mother Ginger of wasted aluminum foil. Teach me how to create, I beg,
and look down at where you rest by my atrophied calf. Teach me how to make all
things new. Teach me how to take Newtonian physics and dip a paintbrush into half an
apple full of caramel sauce and slather it onto sliced bread, which I eat off the top of
you. Stone my heart against the glacial orange surface, against the colors of love,
against anything that threatens you. You are my one, my whole, my only. You are
perfect, you are ultimate, you are a finite fling into a rotten sunset. You take what is
least in my sandpaper heart and rub it against your Minos-gold scalp for further
testing, for further longing, for further heat, for further vanishment.
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Our Lady of the Charts Hides Under The Desk in Her Psychiatrists Office
In her memoir, Elyn Saks calls herself the Lady of the Charts when she lapses into severe psychotic episodes. This
poem is based on a hypothetical event.
When you dropped me into the ocean, I expected the water to mushroom into the sky
like the aftermath of a hydrogen bomb. Bikini Atoll
1945, clam fallout: shoot the clams out of a cannon, and if youre lucky theyll hit the
circus man whos cracking a whip over the back of a cockroach the size of Bikini Atoll,
1945.
I hit my head on the underside of a desk and the carpet is imprinting
is shaking.
I think White is scared of me.
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I dont want to be here. Why am I here. Where are my clothes. Why is this thing poking
out of my arm. Its itchy. Will they give me Jell-O like last time. Can you put on Cartoon
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