"After a fight, men want to have sex, but I don't," my mother said.
She glanced at undergraduate me from the driver's seat as if a membrane

had been breached and asked, "Do you?"

                                                                      I wanted to change the subject.
We were returning from the mall through the stony suburb

where the model lived, the one who said, "Nothing comes between me
and my Calvins," where the fire department floods the common

every winter for skating, creating warty ice ungroomed by Zambonis,
grass snagged in its skin like ingrown hairs. My mother kept looking

at me, her eye a sideways question mark, tricky liquid liner painted
along the lid, pupil unrelenting.

                                                    Everyone in the family except

my mother owned their own lockable room. She had to read her Harlequins
out in the open like a gazelle. We stalked through, asking and asking:

"Where is the," "Why can't I," "Help me." Nightly, her shirtless husband
arrived with a pump-jar of Jergens, demanding she moisturize his back,

scaly from chlorine, but I knew—spy crouching on the stairs,
fingertips brushing wallpaper embossed with creamy trees,

its surface all bubbles and seams—what he was after.

Once, at a modernism conference, a guy chased me around the canapés

while lecturing me on Marianne Moore's asexuality.
I knew my mother didn't like sex, but I never asked

was it generally or just sex with my father. Nothing
gets between me and my shame.

I don't know what Moore wanted,

just that she wrote cryptic poems under her mother's surveillance.

Heterosexual marriage: she, too, disliked it. She was nearly sixty

when her mother died.

                                        Now, I know death's intimacy.

How honesty frightens me. My mother is everywhere:
cells lodged in my body, invisible flakes of skin on sweaters,

a baggie of ashes on the bookshelf.

                                                               Not after a fight.
Until adrenaline burns off, I'm hot the wrong way. Clenched.

I hope she knew what an orgasm feels like. (During my first,
a rainbow tree grew between me and my eyelids, privately.)

She said to us, over her book,  "No, I don't want
to hug you goodnight."
from the journal GETTYSBURG REVIEW
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My mother’s death wrecked me. It also unlocked subjects we struggled to discuss, especially mental health and sexuality. Her reserve was rooted in Englishness, her generation, the introverted temperaments we shared, and in our mutual shame about sex and desire, wherever that comes from. I wish I’d found a better way to answer the question that launched this poem, now that there can be no more answers.

Lesley Wheeler on "Sex Talk"
Close-up headshot in color of Omotara James
"Ten Questions for Omotara James"

"Each time I felt the book was complete, I would write new poems that felt essential to the text as I understood it. The collection was solicited soon after I finished my MFA program. I was in the midst of processing the death of a loved one while completing my thesis. When the book was accepted the following year, in 2020, as a society we were collectively thrown into grief over losing family members and close friends. The collection became my healing site, my safest place."

viaPOETS & WRITERS
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Cover image of Jessica Fisher's book, Daywork
What Sparks Poetry:
Jessica Fisher on Language as Form


"When the voice began, it wasn’t mine, nor did it belong to anyone else in particular—it was instead something like the possibility of speech beginning again, after a period of long silence. Writing often begins for me with this form of potential opening, and the work is to follow the voice as it accrues—or, to follow its underlying rhythm. I love that the I/you relation so central to lyric poetry can accommodate a simultaneous intimacy and anonymity, that there doesn’t have to be any external circumstance to which the poem refers."
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