Kazim Ali

     A man with the body of my twenty-five-years-ago boyfriend comments on one of my pics with a flirty emoji: a smiley face blowing a kiss

     It's enough to make me a little weak by memory if not actuality—we've never met
   
     Though I imagine my mouth closed on his stomach, my arms around his hips, the kiss already finished and me just lingering there, breathing, he laughs and complains I'm tickling him, I grab him tighter

     The clocks stopped in Hiroshima at 8:15 and time itself was destroyed, the physicist explains, so is that why I too am caught in  three/four/five times at once

     Across the street my neighbor is using a leaf blower to push—what? dirt? dust? there are not a whole lot of fallen leaves in California, not really, even in the autumn—debris of some kind out of his graveled yard and onto the driveway

     Am I still hovering in time between this day and one twenty-five years ago, governed by his stomach on mine for the last time, he enters me the way a virus might and hides deep in protein chains

     First my neighbor blows the debris from the beds, then he sweeps it into neat piles to collect and dispose

     From the east smoke from the wildfires is supposedly blowing in but I can't smell anything

     In the early days of the governor's shelter-in-place order I wrote to the old boyfriend just to say I hoped he was all right but he never answered and then he blocked me from being able to write again

     A pomegranate hanging on the fecund bush in the curb lawn, split open on the branch, means ethically it is fair game for picking

     And if I pick it and pluck six seeds and eat them does that mean I can enter the underworld again of a body of flesh upon another body of flesh, oh like the masseur who at the end of a divine hour of work in which my body opened in every way under his hands muttered to himself in the perfumed dark, "fuck it" and dumped the rest of the oil onto my skin and then climbed up onto the table and slid himself over me

     The wind after a heatwave carries me across time and miles to other places—August in the Mediterranean highlands, December on the Arabian Sea, January on a beach east of Montevideo

     Even my words slip between Arabic, Castellano, Urdu, Malayalam and whatever else claims my brain

     Is it all still inside

     Is he still inside me

     I he you still inside me

     And the man in the picture, slim on the beach, recognizable to me

     Oiled bodies move against one another the way on the shore of the Arabian I was translating poetry from one language into another

     Atalanta had never known another human and so she didn't know in the wrestling match where her body ended and the man's began

     I always plagiarize my own essays and poems, stealing images and whole lines not for some theoretical comment on originality or ownership but because I have no sense of time or boundary between bodies    

     The Kazim then might be stealing from the Kazim now, so often do I write not knowing what a line even means and only many years later having lived do I half-know

     When my mother passed away—suddenly, unexpectedly, she hadn't been ill—I wrote again to the old lover, since he knew her, I wanted him to know but nothing came back, a silence deeper than silence

     Sent back in time by a little feint back in time to a lover known then and not now or known and not then

     At a distance of twenty-five years, standing on a beach when the ocean, what's endless, meets shore

     A text or body moving from one language in my mouth to another, each just what's clawed from land to sand or what's brought up out of the blue well into air

     I held the six seeds in my hand thinking if I eat them would I be fastened or would I be thrown

     After all the Kazim that existed before his mother left the world is dead now too, and this person living in my body now is someone new, someone who doesn't know who he is

     Hands on my body what I forgot and what I could never forget or remember because it is all my life at once

     The sounds of the leaf blower and in days of fire and distance the old lover the new one the two Kazims does not one at once know many lives

from the journal SENECA REVIEW
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I was reading Barad's "Meeting the Universe Halfway" one afternoon during the pandemic. We were all shut in yet trying to live as full lives as possible, partially through social media. But bodies live and breathe in the world. Agential realism became real to me, knowing each moment was producing infinite others and making others recede, though they too still existed. Poetry became my way of thinking--and living--through.

Kazim Ali on "Reading Karen Barad on a Saturday Afternoon"
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"The Poet's Nightstand with Jesse Nathan"

"Sze, in his clearwater and efficient translations, in his supple introductions and notes, is a brilliant guide to one of the world's greatest poetry traditions. A tradition of clarity and nuance and moonlight. And what's special about the updated version of this book is that it leans further into continuities where many translators and scholars highlight the chasm between ancient and new. 'I pull out the Chinese drawers, one by one,' writes Yan Li in Sze's version, 'take a look at the years that I lived through.' The line gives me shivers."

via POETRY SOCIETY OF AMERICA
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M. W. Jaeggle on "Wrack Line"


"To make an abstraction like ecological interdependence feel like lived experience—this is a power unique to poetry. Because it entails the realization that paying attention to wilderness is the same as paying attention to the self (and vice versa), this power is foundational. Like a branch from which an owl perches, poetry supports us as we survey our options, bide time, and go about securing the means for continued life."
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