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Giuseppina Brandi - kintsugi II.png

Esmé Kaplan-Kinsey – Two Poems

radiation

my roommate drinks white wine

                                                       from a uranium glass,

tells us the radiation settles

                                                       in his bones.

under the back porch, a patchwork

                                                       cat looks for a safe place

to give birth. the space rasps open

                                                       between a basement door

and its frame, a wedge

                                                       driven into the airless dark.

but then—the rain while the sun

                                                       is still blurring in hot,

white. in this light, I feel

                                                       resuscitation under my skin—

spine uncurling like a fern,

                                                       arteries a river after snowmelt.

all uranium glasses, my roommate

                                                       tells me, were made before

American uranium was confiscated

                                                       for the Manhattan Project.

you find them now, still,

                                                       in thrift stores and antique shops—

artifacts, scarification, the shards

                                                       still embedded in the flesh.

the glass itself is harmless,

                                                       less radioactive, says my roommate,

than a human body. but still,

                                                       he is drinking from the green blossom

and telling us with delight of the few

                                                       lucky particles now lodging

in the mineral of his skeleton,

                                                       the very foundation of him.

and I think—and I am in the sinking

                                                       evening sunlight now,

with the early spring leaves

                                                       bubbling sweet yellow—

that there is something to be said

                                                       for toasting the ways in which

the world leaves its mark on the body.

                                                       there is something to be said for raising

a poisonous glass to the light,

                                                       casting your eyes across the kitchen

for the place where its reflection settles.

body modification

as it turns out, complex consciousness is bad

for the skin. bad for other things too, no doubt:


surrealism & satisfaction & a full night’s sleep,

but the scars, the metal threaded through flesh,


the whispering ink of the tattoo–how

the living marks the body, leaves the body


desiring the marks of the moment lived.

& I am not yet disillusioned. I am off


to a decent start. the goal, I think, is to meet

as many people as possible in my twenties


while I am still lively & good-looking.

in a nearly forgotten forest, four or five years back,


a friend I no longer speak to hooks a silver crescent

through the cartilage of my right ear. then i am ten


again, arm broken, unstitching the surgical thread

for a glimpse of my ill-lit insides. I have always


wanted so badly to be shiny. to darken

my surroundings in comparison. is that


disillusionment, to admit this? I have painted

my skin & I have knotted my voice & I have


straightened my hair. I want to be normal

& revered. Isn’t that normal of me?


two years later the surgeon pulls the metal plate

glistening from my bones, & I keep it


in a plastic jar in my bedroom until I move

to college. before that irreparable


upset, I ink the horizon-line of my childhood

onto my ankle, living curves & oak-tree


teeth fraying the hem of the sky. on that

ridge, where my father used to walk the dog,


I found a ring one summer, set with a ruby

tiny as an insect’s faceted eye. that silver still


gleaming from my hand. shoulders sun-

reddened. forearms blackberry-scarred.


I adorn myself with hometown relics.

I am the child of the gold in the California


hills. what I want, or have always wanted,

without intention–my consciousness stumbling


its own path towards warmth–is to be beautiful

like the world. no, not that–


to contain as much of the world’s beauty

as I can stomach, & then a little more,


beauty pouring out always from me, leaving

beauty trailing behind so that another,


eyes cast down in search of brightness, might

harvest it, glowing, from the earth’s sun-baked


skin.

Best viewed on desktop, please also find a PDF file available to download here.

Esmé Kaplan-Kinsey is a California transplant studying creative writing in Portland, Oregon. Their work appears or is forthcoming in publications such as Beaver Magazine, JMWW, and Gone Lawn. They are a prose reader for VERDANT, a mediocre guitarist, an awe-inspiring procrastinator, and a truly terrible swimmer. They can be found on X/Instagram @esmepromise

Artwork: kintsugi II by Giuseppina Brandi

Giuseppina Brandi lives in Naples, Italy, with her five-year-old son. She has a Master's Degree in Comparative Literatures, with a Dissertation on Poetry in Europe during WWI. She is currently taking a Professional Course in Literary Translation. Autodidact, she has always loved drawing and painting, and she takes inspiration from natural world and human emotions. With a great passion for poetry too, she believes in the power that art and poetry have of healing and connecting. Her artwork has been published in Black Bough Poetry edition Sound and Vision, Acropolis Journal: Issue Seven, Blue Motel Rooms Poetry and Art inspired by Joni Mitchell, The Poetica Sisterhood of Sylvia & Anne, Fever of the Mind Poetry, Art&Music: Issue 8, Cover art of the Spellbinder literary Magazine: Autumn issue 2023, Acropolis Journal: Issue Eight, Moss Puppy Magazine.

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