Ropes in the Pinkest Room
Michaelsun Knapp
Heavy coil
of nautical manila
rope
through high pine truss
and shrunken
between my mother’s raspish teeth—
rewind from this hoisted woman
in the pinkest room back
to cranes, mist, fish, and papyrus.
She clenches her jaw so.
Her breached infant,
toes pointed down,
shod now
in pine coos
a lullaby that is always
here, filling with water. Her open palms
pale, her tongue bitten out.
Garnet deltas
and grease
ants wind
around her
like a list of names
ground to braided
fibers.
Degas, Edgar. Miss La La at the Cirque Fernando. 1879
Pratt, Richard Henry (Capt.). Foundation of Carlisle Indian Industrial School. 1879
Being Coming, a Brutalist Recollection of Six Burned Pieces
Michaelsun Knapp
iii.
Two sailors’ hemal inheritance sieve / through
my belly in ebb and charge / of aircraft, cardiac tick
carriers count in the fractions of a camouflaged series
​
Of maritime recipes sundered, / sundered
a hundred times / to anchor back
​
A thin blue house—the seawater / and splinters
on the shoreline of a familiar crescent sun / distant and cankerous
Between my lip and gum—this wet
dermal pain can get fucked / epoxying me / to apricots
and emery board, for drying me out / between the next
​
Pages of a book, a purple sycamore leaf /
and porcelain clover—think of me
as full: moonlit pride / of Eisenhower’s bicycle
Models’ filed 1040, a rowing team / misdiagnosed
as wolverines, smug, and green / carpet filling the cup
​
Of my palm where misery pools / pale
on the stone railing overlooking
The Seine / and into canoes, into the furrows of ankle
bones snapping / in the sharp air between bridge and cut-flowers /
in cellophane and promise—I slip a teaspoon / in the vase-water
—Sugar gathering / on earthquaked pavement—
they’ll live just / a little longer, if only I could dig this ache
from my ear / the piped instrument dawn breaks
Over / thunderheads and jumper cables
sung into a render / mustered by a mother-
Board running / to close chasms: hazel
diamonds / erupting from the caldera of my molar—a heart beat by da /
Vinci, Modigliani, Haudenosaunee, Montgomery hazmat teams / pouring
turkey feather ashes into Manilla envelopes / to: Sid Hill—who alive can
refit carbon laminae, curled / like an infant’s dozing fist?
iii.
Alive by olive oxygen tank and smoke aligning
by the horizon, a tennis ball / in a mastiff ’s jowl:
binoculars and absence / of hemoglobin—six rivets in a ship
For a husband / bound for recollection, reclamation,
exclamation—Lake Michigan / for a sidearm
Hold my hand like a goddamn man, elbows flat—/on the table
where the letters she’s ashamed to have / written, which I am
Decoding for the first time, in blue /misspelled cursive slowly
unravel unkind ribbons—still / I don’t know what to do
with someone who doesn’t like me/ who loves me—by pain’s
Greased shoulder joint, / custody of a folded quilt
in a dust mantle on a zipped-up duffel / which chips my mouth
open for water / like a brick path to the beach
Where robins / are relentlessly skinned from my arms—from deer /
born in the summer heat of knee blood—born in the grout / between epochs
Of ice: the singing mouth / beneath a palm,
the hot throat’s rising stone / of bile and fries and I—leave my hand
On the cabinet door / until I stain it with human oil,
memory / of The Name of the Wind and a heart’s
murmuring ululations bypass / seizures by one four-pronged
Lamp post / in a park afterhours, to another—a steering
wheel’s destroyed speech / centers and I cannot stop
rubbing my eye / against what tree that made this
Paper which changed their names / into evening—wear
the newspaper printed on your wings / and the omitted obituaries
Of my relatives / piled behind museum ropes, posed
with babies and spears / of light—
old on my face at the borders
Of fresh / cartographers tattooing my skin
with skin / how I imagine skin should feel.
After Liz Howard
Picasso, Pablo. The Pigeons and the Peas. 1911.
Unknown. Fire Destroys 2/3 of a New York Museum’s Iroquois Collection. This event
later used to rebut the justification Museums had long used to not return
the stolen indigenous items and bodies in their collections, that museums
could in fact not protect these things than the indigenous tribes themselves,
then leading to the return of many such items and bodies to their tribal
owners from museums and colleges which received Federal funding.