Wednesday, 6 July 2022

Three Poems by Aliyah Warwick

 


The Darker Half

 

Tonight, loose souls

float into scantily

clad tree branches

in hallowed shadows.

The Otherworld door creaks,

cold light illuminates

the ghost-mother,

a jack-in-the-box ready

to spring forth.

 

I try to salvage this date,

stitch up its hymen,

gorge on sugar orbs,

sketch fire’s feeble warmth

with orange Crayola,

but nothing can dilute

the briny depths. Dusk

dons a garish clown mask.

I stab a pumpkin’s skin

and it becomes a squat child.

 

All these years

after we shuffled

from house to house,

dressed as pioneer girls

and butterflies, filling

bags and small stomachs,

all these years later

I am the costume

she puts on to face

drab everydayness,

shop at the supermarket,

hide behind desks

and pay bills.

I protect her better

than her own small

bones ever could.

 

Tonight, my darker half

drops her disguise, shakes

her curls and her hips, trips

into view so faintly

she might be smoke

or vapor at first.

 

The problem is she will not die.

 

She dances in the liminal

kitchen in too-tall heels,

disfigured by candles and red

wine, stewed in the mind’s cauldron.

I would sever the umbilical cord

but I can’t undo

the spell that binds us,

a trick of the light

and the dark.

 

The truth is I took her

from you. She took this day

from me. When I wrestle

it away, she wins--always, always

she takes it back.


 

Skeleton Woman

 

Reach back, twist

through tango figure

eights, miles of hotel

ballroom floor, retrace

                   her footing.

 

She was the darkest

story on the shelf

for so long, I forgot

she didn’t just die,

                   she danced.

 

Her last steps echo in

the campus courtyard,

the nude brick building

where she was dragged away,

                   feet bound.

 

She glides past shadow

bridges in Venice, Jewish ghetto

littered with lanterns,

buoyant ghosts who

                   refuse to sink.

 

Rhythm parachutes into

the wasteland of repeated

November nights, spins

breath into her closed

                   coffin ribs.

 

Her hands clench, claw

out of an underwater grave. Shaking free, she spirals

                        hips in rattling circles,

                   faster, faster.

             Samba,

bachata,

ecstatic stomps—I drum

                   back her pulse,

half-moon flickers,

                   dancing the flesh

                                    back onto her bones.


 

Light a Lamp

 

At night in the darkness there is a reckoning

between mind and heart,

a conversation that cannot be muted,

a torrent that will break all floodgates.

 

 

Not everyone knows why Psyche did it.

Why after night upon night of passion

with a faceless stranger, she chose

to light a lamp and behold his face.

Some say her sin was believing

doubts planted by meddling sisters.

Some say it was curiosity.

The oracle foresaw her fated

marriage to a winged serpent

and she sought to verify the claim.

Better the devil you know,

and all monsters appear harmless

when they sleep.

 

Imagine Psyche, her beautiful used body,

sleepless beside the sleeping husband

she knows and does not know.

She lights a lamp not to see him

but to see her path out of the room,

to leave the gold prison and seek a love

who will walk hand in hand with her

through crowded streets in late afternoons.

 

Think about the moment before

she lit the lamp, the split second

when she might have hesitated.

Imagine how her hands must have

trembled as all hands do when

grasping life firmly for the first time.

How many nights did she lie awake

claustrophobic but caged,

clutching the tools of her liberation,

unable to move a muscle?

If suddenly her husband sighed

she lost her nerve, curled

her limbs in defeat like pages of a letter

never sent, forgotten in a desk drawer.

 

That night when she lit the lamp,

she finally rose from the ashes,

then crucially she turned back

to face the faceless.

She turned around as we all turn,

like Orpheus watching Eurydice

slip back into the mouth of hell.

Our eyes dilate with dual desires

to see and not see.

 

Nobody knows how long Psyche

gazed upon Eros as he slept.

Some say it was lamp oil splattering

his chest that woke him,

others say it was her tears.

Perhaps she cried seeing that he

was part God, part monster,

just like any other husband.

Maybe she mourned the girl-

self who died then, burned in

the furious fire of truth. 

 

His first thought upon waking

was how she had never looked

so lovely, her eyes ablaze with knowing.

Then in the time it takes to strike

a match he inhaled sharply,

his first honest breath.

Naked and guilty in his boy-God

awkwardness, Eros scrambled

for sheets or shadows to hide in.

Psyche loomed over him decades older

now, defiant, dressed in her coat

and ready to walk out the door.

 

She remained still, unblinking,

even as the ground began

to shake in frightening spasms,

as their castle collapsed piece by glittering piece.

The lamp was knocked to the floor,

flaming fingers stroked the silk bed curtains.

Through the dust and smoke

he reached out to her, his eyes

pleaded and the roar of carnage

drowned out any words.

 

She would not save him, refused

to look away until the walls fell.

She could see meadows

and green hills again.

She remembered what the sun

was and wept, sinking to her

knees, bruising her bare legs in

the rubble, pressing her hands

together in thanks for the raising

of one light, the illumination of one

face in the dark.




Aliyah Warwick (she/her) is an MFA student in Creative Writing at Maharishi International University in Iowa. She enjoys dabbling in dance, poetry, Dungeons & Dragons, and studying languages like Italian and Swedish. You can find an essay she wrote about her experience learning Italian in Zenith iterary Magazine, volume 2.  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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