Back to Issue Forty-Nine

Violet and Incommensurate

BY SYD WESTLEY

 

The length of my suffering

is the length of my arms.

 

At the end of my arms

are my two hands,

 

which are small,

scarred, and ugly.

 

I make things

with my hands, things

 

like poems, and I destroy

things with my hands,

 

like the mosquito

at my window, which

 

I’ve crushed and disposed

of with the rest of my trash.

 

Everyone want to compare

their suffering to mine,

 

theirs being more

beautiful or well-

 

behaved, like dogs at a

show with little red ribbons.

 

*

 

At the peace park

in Hiroshima,

 

there are shadows

burned into concrete

 

from the nuclear

blast. Suffering is

 

the size of the

shadows of the dead.

 

My family wasn’t

in Hiroshima

 

at the time of the

explosion. My family

 

was in America, safe,

in camps

 

in the Idaho desert

and the Oregon plains.

 

Elegy

BY SYD WESTLEY

 

At the Peace Park I find I can only understand death 

in approximation: 

 

I see a shadow. I imagine a body. 

I hear a child. I imagine a history. 

 

The sky is a long grey sea. Unending.

 

I am not in Japan but Pismo Beach. 

 

Wednesday, fucked up, I didn’t think about death, 

wanted to make out with all my friends. 

 

Today is Trans Day of Remembrance. Memory

is a container, all the dead trans people stuffed inside. 

 

All the dead trans people don’t care if you’re remembering them,

I think. They’re dead. But maybe that’s too cruel.

 

If not to memory, where do they go?  

 

Waves lap at the shore.

Or a murmuration in the grey sky.

 

At the service, my father recreates my grandmother’s life:

her emigration from England, her hatred of America, her laughter. 

 

She becomes more alive to me 

as she becomes more dead. 

 

My mother’s mother was interned during World War II in a camp called Minidoka. 

When she died, I felt a whole history had enclosed itself. 

 

When my father’s mother died, it felt different, less significant. 

When Dylan died, my chest opened and I could not control the seams that split.

 

Of course, we can’t spend our entire lives in our heads, 

in the past, even to resurrect those we love. 

 

It’s better that my grandparents are dead. Better for me at least—

less guilt to bear. 

 

Have we already established my cruelty? 

 

I wish, in fact, I could be crueler to those I love. 

 

My grandmother’s funeral is makeshift. My family, my girlfriend, my cousins, 

my dog. Her house off a golf course on the California coast. 

 

For hours I walk alone on the beach. 

 

I smoke some weed to make the ghosts hospitable. 

 

It doesn’t matter how I feel about them. 

They’re here. Even the ones I do not know.

 

When I began transitioning, my mother began grieving 

her eldest daughter. 

 

Perhaps I sit among her parents, 

among the ghosts of her mind. 

 

Perhaps my ghosts too are my own creations. 

 

I find ash in the hollow of my cheek. 

 

Ash in the water. Ash in the air.  

Syd Westley (they/them) is a poet and artist from the Bay Area. An MFA candidate in poetry at Washington University in St. Louis, their work has been supported and/or published by Lambda Literary, Frontier Poetry, Rejected Lit, and others. They also write music reviews at https://sydboyxxxmusic.blogspot.com

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