Joan Of Arc’s Area Code

this poem is made from rainwater collected outside my dead uncle’s house

my dead uncle’s house gleams like a sore bone

a neighbor’s dog could have brought in, slicked with saliva and dedication.

the more-chip-than-paint walls stand skinned by the storm

that sawed through this county no more than two half-hours ago.

my dead uncle adjusts his death into the still-dying/ still-living cells

that hum on inside him without understanding. parts of him glimmer,

still bright, his hair growing like something shocking

that doesn’t know its shock— the silent video of those years-ago fireworks

pasted to the limp tongue of an elderly VHS tape, its fire

broken, vivid but mute, the cheers I know are there stuck in the air—

like the dark sticks to the night— I can’t see either. all those blank

shouts careening through the screen without their bodies or mine. my dead uncle’s hair

grows down to his knees, no one whispers the secret of his new reality to his follicles

so they all just go on spinning straw-colored beer-calories

into gold. I am outside the house and its long sore silence

which bends the water off its arthritic boards like an old victory I never fought for.

he was not a good uncle. it is july or it was about an hour ago. here is my uncle’s house

I am outside of it, trying to think up something new to call the place that doesn’t belong

to anyone anymore except maybe to those blond locks buttered across the floor like light.

I stand under the gutter and hit it with a stick. old rain,

which sat still long enough to lose its name, hits me cold.

I say hello, think about the hurt of throats in the old video from the picnic on the 4th,

how happy everything must be from behind the camera lens. my uncle doesn’t know he’s dead

like the cold in the gutter doesn’t know its name isn’t thunder any longer.    

                        - c. essington

~I have a flash fiction piece published in Newfound Journal~

it’s here: http://newfoundjournal.org/current-issue/flash-claire-oleson/

some of them have hands that are on knife-hilts all the time, walking Macbeths who keep repeating marriage vows to excuse the stainless steel between their fingers; they cannot tell their wedding bands from the bands of light glinting off blades used forty one times on bread-crust and one time on something else.

                    - C. Essington 

I love your writings. You are truly a talented poet and I love seeing your work on my dashboard. Congratulations on the publication in werkloos xx (take care)

Hey thank you, this is so sweet and lovely, just like you. 

The Desk Lamp as an MRI

waking up mid-self, she saw the window snarl with a girl in its teeth, skin and hair and eye-contact caked between the panes. it was her size, though grey and smeared, but not her girl.

afraid the light would hear, she kept her mouth half-closed in the shape of a cut, the depth of slick and coming rain. behind the window’s molars, the winter woods, white and black and curdled with the night: undrinkable.

beyond her body, in the shape of her chest, birches rose and fell like breathing. they kept tempo with her lungs but took in more air than she could ever court behind her throat.

the tree transposed behind her left eye hefts a knotted burl into her head, a whorl of bark, a way of stopping, a tumor in the brain, exactly her type of cold.

she diagnoses in the dark, in her mind of snowbank and its thoughts, unmigrated birds, that she wings over her dimmed out cells, those fallen branches, ribbed as though with veins.

she traces lengths of skin. the glass has a purl of flesh dressed up like the early morning and the storm that never came. waking up mid-self, she saw the window snarl it was her size, though grey and smeared, but not her girl.

                                                 - C. Essington

are you for real about the writing game? If so I'm carrying; A small browning pocket knife A compass + whistle Allergy medicine Water bottle Extra battery charge for my phone

I am for real. Thank you for your contribution and interest. 

Inventory: 1. A small browning pocket knife 2. A compass + whistle 3. Allergy medicine 4. Water bottle 5.Extra battery charge for my phone

Cleo had been painting when the first bout of thunder came up her shoulders. The tip of her brush, which was dappled with a carefully mixed hazle, spasmed across the canvas with her seizure. The cornea of her subject’s eye blurred out of his head and spilled down his coat. When the clouds stopped ricocheting through her, Cleo had gotten up and walked away from what she’d done to the acrylics. 

She stayed far away from precision after she learned that the storms had taken up a residence in her brain. Moving towards broader strokes of being, Cleo made abstractions where her seizures looked just the same as something she might have done on purpose. She carried abstractions with her and started walking through the birch woods as another form of smearing. She brought a compass but left intentions of reading it at home where the cat slept. She brought a knife to convince herself that, in a case of emergency, and even mid-seizure, the blade could convulse a mess into any sort of aggressor.

Cleo would walk and fall and shake to stillness on the forest floor, shivering like a dropped cornea. She’d call her mother after, but only after. She would get up once she was alone and unmarried from the movement, drink water, and make call on her cell phone, which she kept well-charged for accident. Sometimes, as the oceans of it leaked out of her and left their salts behind on her nerves, she’d take a dose of allergy medicine to keep the cottonwood from bothering her. 

               - C. Essington

Thank you for the opportunity, I hope it’s alright. 

If you want to play this writing game, send me a theoretical inventory of five items and I’ll try to write a person for it. 

DISINHERITANCE by John Sibley Williams reviewed by Claire Oleson • Cleaver Magazine

Language is almost intuitively understood as a tool for possession—a form of communication which allow us to hold and deliver ideas between minds. However, John Sibley Williams’s latest poetry collection, Disinheritance, demonstrates how language itself is anything but concrete or possessable.

A poetry book review I wrote published by Cleaver Magazine. 

Creon Tells Antigone To Keep Her Arms At Her Sides When She Runs

Before the rope stippled with green pages of lichen is tied by hands, by mind, on purpose — Before the unburied brother with his chest surrendered to the wind, heart as still as a stone sunk to river-bottom — Before the girl tore off her name, swallowed it like a sword, and cursed her sister to live a lovely life, Creon sat with the blade-eater  in the clutch of a marble chamber and talked to her in the dim slip of evening, backstage.

The chorus ran their tongues over a grooved government, lapping at stone for honey, while Antigone, with her pitch-dark hands, smoothed her  skirt into an eddy. 

Creon tells her it’s a nice knot, that she knows how to tie, she says she’s a sailor, her eyes fixed forward toward the barred wall, moonlight coming in like piano keys, she plays at the strands of string in the rope.

She says she’s a sailor, that she can always feel the water, that she feels it now, how it curves  around her brother’s aorta as a courtesy, but will soon lend it to coral polyps shaped like loveliness, as the water always does.

His hand slides over the cold bench towards her crossed legs. In her head she covers his thumb with six-feet of soil. She holds the rope tighter, tracing the strands, feels her father’s tongue somewhere between wires, then bites it between two fingernails. The hand moves back.

When you run, he says, his eyes on the music of the iron bars, When you run, after you puppet yourself on this ceiling and leave two fingers of air between your neck and the world,  do not let your elbows leak up passed your waist — it would only make your shoulders look tight, like your dad’s.

He had tight shoulders? she asks, her voice slipping under a loud question from the chorus, yes, Creon agrees with himself, tight shoulders and a mole on his clavicle, tight shoulders, among other things.

                                                    - C. Essington

The Splinters Float

the pine-needle tea that she made before you  woke up and remembered the world flexes with green lines on its way to your lips.

the fire is low, orange, and smoking like your uncle used to.

you have brought candied orange slices cut so thin that they look like warped photographs of fruit rather than actual sugar.

you toss a rind into the fire the orange crinkles the orange and makes it go brown.

The citrus collapses in like an airless chest or a star that’s done being a star.

you take your tea up again, the tea that existed before you started the morning or believed in the sun for the seven-thousand-four-hundred-and-second time. that tea.

you woke up the same way you always have: mid-person, with human humming over your every bone, and a name that slips past your freckles and sinks, like an unskippable stone, into your rivered grey matter.

and then you had tea. and then you had tea.

                         - C. Essington 

some of them have hands that are on knife-hilts all the time, walking Macbeths who keep repeating marriage vows to excuse the stainless steel between their fingers; they cannot tell their wedding bands from the bands of light glinting off blades used forty one times on bread-crust and one time on something else.

                    - C. Essington