[the zen garden is nice on the weekends but the door will lock behind you]
Saretta Morgan
the zen garden is nice on the weekends but the door will lock
behind you

Here we are all thinking and not thinking about being dead,

We fight the dogs from our shoelaces and from each other by holding
their well-decorated vests,

This place is full of bitches though you can't say that, though you're a
person rightfully pissed off,

We don't all want to be heroes,

We don't all want to not die,

Except for this country, we don't want to die for that,

Leaving curved impressions, germinal, with no expectation in return,

Leaving room to acknowledge capitalist patriarchy's broad and coercive
applications,

However meager or capacious the desire, our statistics are inevitably
abused,

Asked again whether I've considered hurting myself or others ever or in
the past two weeks, I make a joke about the future,

Whose companion story dreams itself in the obstacles budding across
every new path to love,

It's that no path to forgiveness would look like this,

I say I'm sorry, yes, I know this isn't funny,

But is also a testimony to the enormous "thing" we do to the extent we
are able,

Forgiveness from who, came a voice from across the room,

How long does it take, if nothing was cut or crushed,

But the day hangs from jangling hooks above your sorry yellowing head,

Three weeks into the prescription I woke thinking THIS . . . is what it
feels like to be white,

No one disagreed,

It didn't make any sense; anyway it didn't last,

The official formulas for suffering are mostly subjective; I've accepted
that I am one who will never suffer enough,

A position both intentionally obscuring and clear,

                            The United States was "conceived in slavery" and
                            christened by genocide. These early practices established
                            high expectations of state aggression against enemies
                            of the national purpose—such as revolutionary slaves
                            and indigenous peoples—and served as the crucible for
                            development of a military culture that valorized armed
                            men in uniform as the nation's true sacrificial subjects.                                        

                                              —Ruth Wilson Gilmore, Abolition Geography,

None of the signs say thank you for your left arm, or hearing, or
lymphatic health, or land,

I want to thank you for being alive,

And thank you, unfortunately, when it isn't what you want to be,

Thanks down to the lines creasing your deeply infatuated head,

I wanted to volunteer for the Vets against War Crisis Hotline,

Then I didn't write back, or attend any medical appointments that year,

I'm disappointed by the cadence of paltry confessions I make in order to
keep living,

Later, in the rooms where we can speak, we want to know why do we
feel so emotional.
from the book ALT-NATURE / Coffee House Press
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The Phoenix Indian School closed its doors in 1990 after nearly a century of facilitating the theft, abuse and forced assimilation of Native children. Today the majority of the existing grounds consist of a recreational park, a Native community center, and a Veteran’s medical complex, where I received treatment for mental illness and autoimmune disorders over several years. I wrote this poem while reflecting on the fundamental unlikelihood of achieving wellness in physical and ideological spaces established and maintained through settler colonial violence.

Saretta Morgan on [the zen garden is nice on the weekends but the door will lock behind you]
Headshot of Hala Alya in color
"A Conversation with Hala Alya"

"Thinking about the relationship between exile and erasure, usually, very few people are exiled without there also being concerted efforts to erase the histories and the places that they came from. Part of exile, part of dispossession, part of the very conscious policy and effort behind that is to dispossess people from their lands, their homes, their villages. You see this with Palestine. You see it in other communities as well. Then they also erase and try to erase the lineage or any relationship or any possibility of return." 

via THE RUMPUS
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Color cover image from the journal Ghost Proposal, issue 14
What Sparks Poetry:
Lloyd Wallace on Language as Form


"As the poet attempts to bring their past into the present, into the poetic medium, attempting to make it a keepable artifact, we can see it being buried by the world, by outer artifice, just as the past is buried by the present. The key pathos—the beauty—of this poem is that as we see the poet speaking, we also see them disappear. So, to amend a previous statement: yes, the poem is full of evidence that the poet has lived. But it’s also evidence that she is disappearing, too."
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