TWO POEMS by syan jay
- Apr 17, 2018
- 2 min read
Updated: Jul 12, 2020
A LETTER TO YOUR DYING BIRTHPLACE
Embrace the damp fur of home, with lungs perforated
by decay and oak. Bury your face in its mane, feel the
old teeth brushing your hairline. This is your corrupted
hound: a braying half acre of tobacco leaf and wrought
iron ribcage. He is too large for your arms to curl around.
Ride it like the wild sheep until the bell sounds, releasing
yourself back into the soft dust and your mother’s brave
and public embrace. Forget the nomads who once low-
burned the grass to feed the earth, their homesteads west
past the railway tracks. This is the path your cousins took
on the way home from school, now serving as the linear
graveyard for the eldest with body embedded in a metal
mouth. This is the tributary between the high corn and
a supermarket. You could bury yourself into the lungs of
the old beast, the sad hometown hero of mangy hides.
Forget that this all had a future—it was long buried by the
fathers unable to save their coal and bourbon-kiss. You
will never look as good as when you wore overalls, hair
thick with grease like your hometown hound. Despite
sharing its animal body, you will never see how the night
falls behind its canines, the lockjaw of holding on for dear
life. Do try to remember: even the dying will fight until
it is left with a clipped ear and its right eye sewn-closed.
ALMANAC FOR THE RAVAGED SEEDS
here the world is wildly inescapable
its fun-loving fingers dipped in
sunshine with flowers that blossom like your
mother’s scones in the oven everything here
is pristine even in its violence everything
has a place even if it lacks a home
we learn that place
usually means a graveyard more than a front porch
we know it will be years before we
have a backyard that is ours and ours alone except
for the stray cat who chases the birds
we let him stay he reminds us of impermanence
and the obstinate nature of the killer that
we are still hiding from ourselves
so we plant poppies to
create a garden of bloody
seed and petals that guises our worst intentions
in the sweet smell of crushed
bodies that we murder in the fall
and feel no sense of guilt since nothing
could survive our mercy anyways.

SYAN JAY is an agender, Dzil Łigai Si'an N'dee (White Mountain Apache) poet who lives in Boston. You can find them on Twitter @moira__j, or at www.moiraj.com.

This hit me like a damp wool blanket—those lines about the hound too large to hold, the lockjaw of holding on. I grew up in a town that lost its mill, and reading “A LETTER TO YOUR DYING BIRTHPLACE” I felt that exact perforated lung feeling, the way the supermarket sits where the corn used to be. Then “ALMANAC FOR THE RAVAGED SEEDS” reminded me how we plant poppies to dress up what we’ve destroyed. I’ve spent years trying to 3D-print small versions of my childhood porch just to keep the measurements real, and eventually I found https://www.gambody.com/ while searching for better STL files. Turns out printing a graveyard-accurate model of a broken-down train station helped me mourn more than…
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Moira J.'s "A LETTER TO YOUR DYING BIRTHPLACE" and "ALMANAC FOR THE RAVAGED SEEDS" are incredibly evocative, painting vivid, almost cinematic pictures with their raw imagery. The way "perforated by decay and oak" and the "wrought iron ribcage" bring the dying birthplace to life is truly powerful. The poems really make you feel the weight of history and impermanence. It makes me think how interesting it would be to see such profound poetic narratives translated visually. For anyone looking to explore the visual potential of written work, or even break down complex ideas into digestible scenes, you might find a tool like Video Prompt useful.
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