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Michael Earl Craig
Did he think of himself that way,
as Hans Holbein the Younger,
standing yawning in the mirror?
He looked a little longer than usual,
then built up his bowl of pearled foam
and began to shave.

He’d ordered a corpse, it was on its way.
Fished from the Rhine
and he’d asked for a ripe one.

There was a horse, a horseman,
a long rope, a corpse
hauled onto the riverbank,
a running bowline tossed casually
around an ankle. The long rope
then tied to the saddle with
a gentle word or two for the horse,
a dirt-caked Friesian named Samuel
who misunderstood and began galloping.

As Hans shaved thoughtfully
beneath each nostril—
the horseman left standing
at the river—
this Samuel ran
as only a confused horse could
up the wet stone road,
into and through town,
dragging the tethered corpse
which leaked water and banged
disturbingly on the corners of buildings.
It went on for a while.

And because we believe
in poetry and uncanny timing,
it was precisely as Hans arrived
downstairs and stepped out
onto the front stoop
that this Samuel showed up
in a dash and braked—
a kind of sideways hockey-stop—
which brought the corpse
around nicely (albeit abruptly)
to the bare and bony feet of
the clean-shaven Holbein.



Hans Holbein the Younger
The Body of the Dead Christ in the Tomb, 1521–22
from the book IGGY HORSE / Wave Books
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Black-and-white photograph of poet Raúl Gómez Jattin
"A Poet’s 'Almost Obscene' Devotion to Beauty"

"The poems of Almost Obscene—by turns agile, charming, intimate, and dark, as precarious and hypnotic as a candle flame—have long been pushed out of sight; now, thanks to translators Katherine Hedeen and Olivia Lott, they are coming back into view. Colombian poet Gómez Jattin (1945–1997), their author, was of Syrian descent; he was also queer, mentally ill, frequently incarcerated, and, since he lived on the streets, literally adjacent to upright urban life."

via HYPERALLERGIC
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Cover image of Don Mee Choi's book, DMZ Colony
What Sparks Poetry:
Jennifer Kronovet on Don Mee Choi's DMZ Colony


"'Cruelty and beauty—how do they coexist?' Don Mee Choi asks this question in the middle of her book DMZ Colony. To say that she answers that question is not quite right. What Choi does is harder: she gives us new ways to think it through—she creates a vocabulary, syntax, multiple codes, maps, and sounds so that we can enter specific devastations, see how they weave, like all colonial disasters, backward and forward in time."
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