The yellow powder blankets my car as thick as the snow that never falls here. For the first time in thirty years, I am allergic. Everyone smokes for comfort and so grows the communal cough.

On the ice floe they pretended they were on a white sand beach / The trail guide had really screwed up / Earlier he had pinched a thistle and paid the consequences

in a place where one grass blade makes / the next grass blade’s shade / that grass blade made / the next grass blade’s root

And the cloud that took over the family’s house that Tuesday wasn’t made of your run-of-the-mill water vapor. It was so humid and heavy you could reach out and shake hands with it, and it would grab your hand and shake back.

How easy it was, once, to imagine our future children. The blueprints were right in front of us, waiting to be brought to life. We envisioned them, tiny replicas of ourselves, as all couples surely do when they are “trying.”

This review of zürich moves! 2019, an annual festival for contemporary arts practice in performing arts, was a runner-up in the 2019 Toni Beauchamp Prize for Critical Art Writing, judged by Jessica Lynne.

But in another language, in my father’s mouth, there is a tenderness to the tone he takes, so that the word beat overlaps with other words, some of them meaning I miss you. He says beat as if the word shares a border with laughter. As if it is just a lost synonym for love.

The more I looked at her the more she seemed angry. This was probably because I was breaking into John’s computer again.

When she got a paper cut, that speck seemed newly foreboding—she’d lick it off, heart accelerating, as if to let it pool for even a moment would invite some deviously patient menace.

The retreating autumn deepens in the city. Water turns from silver to maroon. A fisherman smokes on the bank, looking at the rising tide. The dark tones in the landscape are often overlooked. The bank, grey in the fog.

Vexed light on dune evening primrose. The mineral lands denuded, / this still hurts.

Frayed hymn, but faded. Unsown / threads turned toothy-tough — a gift / of wild roadside seedheads gone / gunmetal with dirt-freckled rain.

She says, Maybe I am not, in fact, ill. The ends of all her sentences curve upward into questions. We reduce her medication with a warning: Bipolar I is a lifetime diagnosis, though we concede that perhaps Patient could do with a smaller dosage.

Still, she liked what she had become. She slept in a den of sticks of her own making. Language and its judgment escaped her. Was being animal closer to God than innocence? Her voice was her breath. She was still alive.

The arcade I lived in was the cryptograph, more or less. / The dog named Mila demanded evidence of the crowd. / You rented a room in the hotel by the sea.

From the bleachers I watched them / watch you (multiplying, it seemed) / running sprints in heat / across the grass, / standing in for X's and O's.

In Iraq I said that word so much, heard it so often. I came home and found myself still saying it. Shrapnel's shell was first used against the Dutch at Surinam (now Guyana). The Dutch were so taken aback by the weapon that they surrendered after only the second time it was fired.

My sons are already / crawling, crawling / over the rug where / we used to lie / talking, talking / about our days / and day in the ab- / stract—

Shelly is fifteen years old, and she is alive today. Shelly is only sometimes alive. Sometimes she is dead.

Call it oxymoron, where to shed is to gain worship, / polish escaping into the hidden temples of my teeth.

Do we all migrare: pass into a new condition? / Are we all natives—nativus: born in bondage— / walking toward no-border?