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Arts Academy Boarding High School >> Arts Areas >> Creative Writing >> Student Work >> Interlochen Review >> Poetry
Poetry ::

Piercing Parlor

You look me straight in the eye—

climb up onto the table,
lie flat. I notice
the table’s blackness, each pore of your body
swimming against it. Funny how
it outlines every clean patch of skin,
even the framing space between the clamp and needle.
The guy says to start whistling
and it’ll all be over
before we can say
“Bellybutton.”
 
I have never seen such holes before,
holes that aren’t empty but rather made to be filled.
 
It seems everything breaks, empties,
that we spend our lives putting gold
in cuts, scratches, cracks—
holes, to aggrandize
fractured limbs—
 
something that began
back when we were playing
in your backyard, kicking nicked up
knees, scratching our names on the trunks
of dead trees—trying to put some tangibility
into what our mothers couldn’t kiss away
or soothe with steadiness.
 
I remember how
in second grade, we got in a fight
with hockey sticks because you lied
about your grandmother dying,
not wanting to admit you didn’t know
what loss felt like.
You cut my back and I cracked your arm.
 
Later, dozens of us doodled on your cast with purple
markers, counting on our fingers
the reasons why
it was prettier than a real arm.
 
Bandages and golden navel rings will
give you songs to decorate
those hurts that run so deep,
that will never heal, that take them
down to a new place within you, where sunsets are more
beautiful than sunrises.
 
And how could you go on,
walking the earth just to find a way to lie
about the damage done; letting
the wounds take hold, without
a golden trinket to recognize
the hero in you.
 
And for a minute there, watching you,
I lose myself, want to
apologize to the white scar
on the small of my back
for considering the possibility of disguise—
 
I forgot you only have to pick
at the hours before the hole starts to stretch,
until it gapes so wide
the jewel lets loose the secret
of empty space;
forgot I knew the difference
between glamour and
cracks, casts
and arms,
a hole and
an earring.
 
Lucy Nepstad, Madison, WI

 

Playing Cards with the Confessional Poets 

Bridge night. We all sit on Kayo’s back deck:
Sylvia opposite Maxine, I, my partner—Anne.
Tonight we four women relax our roles as high
queens of the movement. In the bid, I short-suit
and come up bad. But Anne saves it, declares and leads
when the contract’s up, into the opening trick.
 
She and I both just finished up on a three month trick
at McLean. Tired of the craft, we learned to play a deck
of cards like men, I to follow her godly lead
in any circumstance. Once, an orderly caught Anne
and me bidding with the suicide ward. It was only that it suited
them so well, that the auction made them almost high,
 
we said. But no use. Privileges revoked. We high-
rollers always pay for living, for God, that trick!
she told me. Now, she lays down a deuce trump suit
for her fifth straight win. She aims to take the deck,
I think. And she may. Times like these, I believe that Anne
really means to foil God. As if every lead
 
were the start of some life, perhaps, the same way the leading
words had been a thousand years before, in the high
noon of her work, when turning a life for Anne
was the same as perfecting a verse. And that was the only trick.
The day we left McLean, Anne told me that now I could deck
my life like a Christmas tree. I said, You can suit
 
some men in jeans and they’ll still be wearing a suit.
She smiled and said I was learning. That night, a can of lead
paint in some acquaintance’s boat spilled onto the deck
while Anne and I were celebrating release. Drunk and high,
she asked me if I supposed it would do the trick
if she lapped it up like a dog. This was unchanged Anne, 
who I pretended not to remember the next day, the Anne
 
who still dreamed of death. Maxine pulls a king trump suit
from nowhere, and of course we lose the trick.
Once she and Sylvia have gotten hold of the lead,
Anne and I just lose it. She can’t pull out the high
card even once, and it looks like they might take the rest of the deck.
 
As if Anne was some Christ, passing on the lead
to her best-suited disciple before capture, she high-
lows me before the last trick, as if I had the power to save any deck.
 
Annie Reece, Raleigh, NC
  
 
Ghazal V
 
I wore a crown of blossoms and my hair looked as if it had turned
into spring. Face against my head, you breathed dreams.
 
The china doll, after it fell, sleeps now where it landed,
face half gone, emptiness pouring in, pouring out.
 
Mother, I see the incision on your stomach where they brought me out
is now a long pale worm wriggling over your skin.
 
I don’t know what he’s saying, I don’t know if he is angry or only
loving me. Questions like falling stones, answers:
          I don’t know I don’t know.
 
Burn my poems when I die. Let the words ignite and crumble into silence.
Toss the ashes against the wind so they return to embrace you. Inhale.
 
 —Rebecca Chou, Solon, OH
 

 
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2006 National Medal of Arts Recipient
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