the dirt god kept in his mouth while waiting for his mother to fall asleep. the bone your sister broke with her stomach. ghost as angel’s nostalgia. angel as the past of the stickman’s dog. the hole. the tunnel. the arm thrown overboard by a weightless orphan.
to know god
is to know god
as your abuser’s
healer. sorrow ends
but ends
as a class
taught
by a mouse.
Tanya Olson’s Stay, from YesYes Books, is available for pre-order, here:
https://www.yesyesbooks.com/product-page/stay-by-tanya-olson
had some words for it, here:
https://isacoustic.com/2019/03/20/stay-poems-tanya-olson/
because in an insect, terror has no room to grow. because I can count on a handprint the number of times you thought me from nothing. because my daughter does a somersault and thinks she’s pregnant. because god worships the storm for its light touch. because I can’t sing. because when I do, my mother knows where I am. because on all-fours I call my blood to bathe me in its blue past. because loss eats its plate. because I brush my teeth over a circle my son will make in dirt. because his ghost mans a ferris wheel he refers to as piggyback. because my father can forgive a shape and I cannot a poem.
to lie about god is a kind of prayer. what you hide matters. the eggs, the cigarettes. the third wish from grief.
mom says she ain’t had a dream since trying to bring jesus there to hear her poem about the fetus and the bookmark as found in her collection (a warning describes home to a crow
recent reflections at {isacoustic*}:
~
on Tanya Olson’s Stay:
http://isacoustic.com/2019/03/20/stay-poems-tanya-olson/
~
on Molly McCully Brown’s The Virginia State Colony for Epileptics and Feebleminded:
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on Emily Paige Wilson’s I’ll Build Us a Home:
http://isacoustic.com/2019/03/02/ill-build-us-a-home-poems-emily-paige-wilson/
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on Susannah Nevison’s Lethal Theater:
http://isacoustic.com/2019/02/13/lethal-theater-poems-susannah-nevison/
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Stay
poems, Tanya Olson
YesYes Books, 2019
~
I have been a few weeks now with Tanya Olson’s Stay and what can I say in the radiance of how deeply it disappears but reader, read, and reader, remain. Here the boat, here the plane. Here the footprint in a bird. Here the paper doll as called to its scissored absence. Here a land to which awe is an only child, both parental and curious, not abandoned nor safe. It is here that all the letters, beyond the ones you see, go silent. Olson uses rhythm as punctuation, and capitalization as a bread crumb for the unstarred wayward. How earthen, how other, how locally sublime.
This storytelling arrives as a void burdened by abyss, and this verse adopts circle as the balefire of ghost. To move is lonely, and to move a crowd is lonelier. Dear audience, says this work, some…
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