Carla Sofia Ferreira
—para Tia Madalena, Tio Marcelino, Rita e Tiago.

As a child I lived two stories above a funeral home
and I spent my summers on the other side of the Atlantic
Ocean, and I need you to know that none of this is a metaphor.

I need you to know that when I tell you my Tia Madalena
had a voice that sounded like a hundred church bells and
that she washed my hair one July morning with fresh olive oil,

that the olive oil was real and so were her hands in my hair. I need you
to know that this was another language for love— pouring azeite over
a child's head and helping the strands gleam into the summer sunlight.

Words are only air folded into sound and I do not know how real
they are anyway. I am not writing to you in the language my parents
spoke as children. Our goodbyes are even half English, half Portuguese,

a whole other language. What I am trying to say is what I cannot imagine.
I cannot imagine my aunt, her voice a hundred church bells, with lungs
drowning in water that would not save her, a treatment that we knew would

hurt but did not think would kill. I am unable to imagine her breath like that.
I can only hear her voice calling my name Carlinha and I think, every year
I am losing someone who calls me by that name, whose tenderness was warm

olive oil in my hair and not merely empty words in air. I am an ocean away
when she dies and my parents go to the house that is empty without her ringing
voice. Tio Marcelino serves pão de ló, a cake of five ingredients mostly air—

the hands that make it need to firmly whip the egg whites and then gently fold
them so the dough contains enough breath to rise. It is careful work. My father asks,
The cake is good, where is it from? and then regrets asking. Tia made it the night

before she died and I wish this were all some kind of metaphor because then it could
be a bad poem and not a terrible truth. For a child who grew up only a few stories
above so many funerals, I am an adult who is so childish about death: I keep making

this story, that I will go back one day to the home of those summer weekends in Labruge,
that I will ring the bell only to hear her voice filling the air. Instead, we keep these echoes
of her hands, working firm and gentle into a kindness that still cares for us,
                                                                                                                    that still calls our names.
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I wrote this poem immediately after returning home from a friend who could not hold space for my grief that day. The poem became this container for the grief, the loss, the anger, and then it broke through to something else— gratitude for the beautiful and kind woman I had lost to cancer, my Tia Madalena. And the poem became a way to keep her love close against the loss.

Carla Sofia Ferreira on "Elegy with Azeite e Pão de Ló"
Review of I Feel Fine by Olivia Muenz

"Within these poems, the reader begins to look at the world from the outside-in, contained within the staccato lyricism of Muenz’s lyricism. Muenz’s poems play with both blunt affirmations of presence while in the following breath questioning if that presence is real, mirroring the way that disability and neurodivergence can lead to experiences of challenged identity, and societal dismissal."

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What Sparks Poetry:
Orchid Tierney on "a field guide to future flora"


"however distributed vegetal cognition is, plants are nonetheless remarkable sensing and sensate beings, who invite speculation as to who we—the weirdos of this world—are if we are not already communal thinkers. so: to look upon a plant with an appreciation that its own mind is radically different is a terse exercise in the acceptance of its unknowability."
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