Tonight the boys swaying in the northbound train car
wear old-logo Bulls hats and France IV
stitched into their puffy jackets—
Underground, you expected a loamy smell. Instead you inhale a dry, metallic breeze. The English-speaking Polish guide tells your tour group that the mine’s temperature holds at 57ºF despite the 80º May day above in Krakow. You zip up your jacket before you descend the stairs cut out of salt.
The last eel of the Rio Grande grows up lonely, brown and serpentine, a river with gills and a pulse swimming inside itself, spooning the river’s oxbows eager for siblings. What the eel doesn’t know could fill a book: that hydroelectric dams keep its kind from traveling upstream to spawn; that eels live elsewhere churning by the hundreds in slicktight knots; the taste of its own firm flesh smothered in soy sauce. The last eel stays ignorant, growing fat on cigarette butts and dreams of parents, growing heavy and slow feeding on the heavy metal hodgepodge downstream of the power plants, a bully coiled up in dark water only coming out to scare smaller fish into submission. And then one day it happens: the flossy flick of a line, the hook and tug before the drag. The eel fights, but its broad, tubed muscles are lazy from afternoon sleeps. It hasn’t run swiftly through a spring flood in years. Hands pull it easily from the water, helped along by the river saying ‘take it, I don’t want this anymore.’
The night my colleagues and I sat around the bistro table and stockpiled our grief—I couldn’t get out of bed, said one; I cried to strangers, replied another—the night we compared the protests we’d attended and petitions we’d signed and officials we’d called; the night we declared we were going broke from our impulsive, panicked donations; the night we marveled at how many specials our waiter had memorized—scores of sauces and sides; the night we failed to retain a single one; the night I showed pictures of my son scrawling “Love Wins” on pink paper; the night we traded stats like playing cards—how many women, how many stayed home—even though stats were the thing that sparked our grief in the first place; the night we realized, with fright, that we didn’t know what or whom to trust: this, my friend, is the night you learned I’d betrayed you.
By KELLI ALLEN
Some road trips are propelled by an arrow of indifference. We look for the keys on their ring, nestled often in a bag of felid mice. If my open sweater signifies carry, tail and tuft and brass also mean rest.
When we drove past the circus hand’s kitchen, open in way of Southern Indiana late summers, we smelled peaches burning on the rough iron stove. I remembered when you told me that every day is a sliding between an expectation and an opening. It was easy to hand-over every coin in my purse and burn both our tongues with pit fruits and cheap bourbon.
MELODY NIXON interviews CATHY LINH CHE
Cathy Linh Che is the author of Split, winner of the 2012 Kundiman Poetry Prize, the 2015 Norma Farber First Book Award from the Poetry Society of America, and the 2016 Best Poetry Book Award from the Association of Asian American Studies. Che is a Vietnamese American poet and teacher, originally from Los Angeles and Long Beach, California. She received her MFA in poetry from New York University and has been awarded fellowships and residencies from Poets & Writers, The Fine Arts Work Center at Provincetown, Kundiman, Poets House, and The Asian American Literary Review, among many others. Her poems have been published in Hyperallergic, Hyphen, poets.org, and AAWW’s The Margins. Her work delicately probes the liminal spaces between cultures, identities, nationalities, and bodies.
NEW POETS for the NEW YEAR
Please welcome Holly Burdorff, John Davis Jr., Nicholas Friedman, and Matt Salyer—four poets who are new to our pages, and welcome back TC contributor Tina Cane, the new Poet Laureate of Rhode Island.
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