FOR JOHN, AFTER A PARTY
-After Frank O’Hara
We do not always know what the other is feeling.
Last night, slurring on homemade spirits of ripe summer,
I spoke of nothing other than you
and the people I hate.
Darkening the threshold of tongue
with lambs’ blood, we pass over the splintered frames
of family homes in search of the irony.
Isn’t it wrong?
to return every night in want of the metallic taste
of payment, stooping into valleys so near death
the needle closing round the distant sight
of your cigarette cherry
sour and red.
You tell me what you ate today in order of memorability,
I assume we are speaking chronologically,
and end up scolding you for having tequila and sherbet
before your toast.
Yet still, when my shame spilled,
confessing abominations previously undocumented
you told me about the horses,
smoldering organs,
the hutch collapsing on top of them.
Holding my hand through the holes in our joint stockade
we share these things with ceremonial release
because telling like grieving spreads the ashes,
so thin we cannot see them, peppering the ground
in our condensed past.
Gorilla vr
In the zoo which displays only dead things,
you pass exhibits of snake skins,
insects drowned in amber,
and jellied specimen, of unknown origins,
suspended in sealed glass jars.
Enclosure to enclosure, you gawk
at taxidermied pachyderms,
tire-tracked tortoise shells,
and the blunt ends of elephant tusks,
dyed ombre-pink to bloodstain.
Leafing through old leather books,
you see birds pressed like flowers,
feathers flattened in a peacock fan.
In the gift shop, kids rummage through
a skeleton sandbox, filling cloth sacks
with random fragments of bone.
Behind a metal jungle vine,
the main attraction sits sequestered
the hollow conch of a silver gorilla skull,
and while we ask you not to touch it,
for five extra dollars, you can wear it
as a mask, while posing for pictures.
At the park’s center, a whole building
is dedicated to the history of zoos.
Apparently, there used to be hundreds,
attracting a countless number of visitors.
One placard even claims, a long time ago,
zoos held only living things.
he pours six shots
Buckling under, a blue-black
and dew fog,
steaming moon fog,
nightskirts draped limp
round the curves
of an easy lay.
Downed nose,
snotting glue, rows of teeth
turned eyes.
A dull rutting,
cleaved wrists, and body
parts go flying.
Haze of he said,
he said.
He said: what he needed to.
A lady
ought not, should not,
be seen in rags,
dripping
a pricked finger pads,
worth of don’t say blood.
Don’t say hollow
or gray.
Don’t say stone.
Already, I’ve said
too much. Harbingers
mean nothing now,
muttering on the stoop.
One
yellow-lighted window,
holding silhouettes
of living people,
tossing flour, like confetti
from their balcony.
Snow, coke,
powder, dandruff.
Dear winter, for my sake
cross this threshold slowly.
ABOUT KATHERINE
Katherine Leigh (she/her) is a Senior at Oklahoma State University. She is pursuing dual degrees in English and History, meaning she spends much of her free time writing essays. In the future, she hopes to attend graduate school, write even more essays, and continue pursuing her goal of publishing original poetry. In her work, she explores topics like social issues, grief, and mental illness. She currently lives in Stillwater, Oklahoma with her roomate, who is amazing, and a freeloading cat.