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Katie Berta

It is like a long tunnel, the strange, shallow light of the hospital hallway shining against all the stainless steel they always put around those kinds of places. The steel shines a dark, tunnelish light. A feeling of objectivity they want to impart to you. Like, your baby has died. Objectively. I read once that they change a person from a person to a patient by asking them to fill out all that intake paperwork. On the paperwork, you can't write, under Symptoms, bone-splitting sorrow. Crying that won't stop. And anyway, I didn't fill out any paperwork when I came in because I was screaming my face off. So when was I converted to a person whose baby was dead. Is what I've been wondering. We all came to the hospital and briefly scandalized the nurse, who told me, You have a large group of visitors—what should I tell them? She leaned down and whispered, You don't have to see anyone you don't want to, honey. Her breasts pressing onto my shoulder. The starched uniform and the smell of detergent near my face. I did see my mother though. Alone and small looking. Straight mouth trying to control my perception of her shock. Trying to control her inevitable I-told-you-so. A psychiatrist told her we should set up my apartment again. Not healthy for me to stay at her house. Long stretches in which we say nothing to each other. She writes. Something to do with her hands, besides wringing them. I could stay here for the rest of my life, I'm so tired. And really, there's no one out there worth seeing. No one to come close to, or—no one who can get close enough.

from the journal PLOUGHSHARES
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This poem is drawn from the end of the verse-novel I’m working on, which I’ve been tentatively calling "collective." In many ways, the collection is about the push/pull of connection—both over-identification and under-identification with others are perilous. Here, the narrator isn’t connected to what’s happening to her—and the medical system is only able to relate to her as a patient and not as a human being.

Katie Berta on [It is like a long tunnel]
Color photograph of Anthony Anaxagorou performing at a microphone
"Anthony Anaxagorou Wins Ondaatje Prize"

"The chair of judges, journalist Samira Ahmed, said Anaxagorou’s poetry 'is beautiful, but does not sugarcoat. The arsenic of historical imperial arrogance permeates the Britain he explores in his writing. And the joy of this collection comes from his strength, knowledge, maturity, but also from deeply felt love.'" The prize recognizes Anaxagorou's third book, Heritage Aesthetics.

via THE GUARDIAN
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Cover of A Literary Field Guide to Southern Appalachia, in which "Lake Sturgeon" first appeared
What Sparks Poetry:
Sean Hill on "Lake Sturgeon"


"The skin my fingers lightly brush is brown, is rough, is wet; I’m touching a lake sturgeon. I’m leaning against the edge of a touch pool at the Great Lakes Aquarium in Duluth, Minnesota with my hand immersed in water well above my wrist. This was in the late aughts when I lived in Bemidji, a small town in north central Minnesota, and my parents were visiting from Georgia, and we’d decided as close as they were, they should see Lake Superior."
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