Poetic Responses: Fay Ray's "I Am The House" @ Shulamit Nazarian In Los Angeles

text by Claressinka Anderson
 

I

Hanging a cross around my neck,
I press my naked body against the X 
of a window frame, place between my legs 
the harvested corn from your garden,
remember the women before me,
this kitchen, their feet 
stoic on unstable ground.

Their eyes sliced open—

 an eye for an eye 

 for an egg­­.

  

II

Chain and hook my body,
tether it to the walls,
to the bed where I sleep & 

dream of tiny hands,
of a body that doesn’t know birth,
a mouth that eats pearls for breakfast—
tiny iridescent moons 
that deliver calcium for a skeleton.

I lick the surface of a shell,
place my tongue at the edge of its
salt      smooth      pink

And in that shell I do not hear the sea,
but the quiet desert, full of sand and stars. 

 

III

Tonight for dinner there is corn,
kernels of metallic memories,
they float into a wonder of sky 
where light itself is a wormhole 
gobbling confessions— 

secrets in an attic full of mercy,
concealed by a pull down staircase. 
I place my foot on its tender rungs,
scale each ligament one by one,
all the way up
to drink with the moon—

I am, I whisper,

I am

I am

I am.

Poetic Responses: Friedrich Kunath @ Blum & Poe

text by Claressinka Anderson

 

I

You write my thoughts on the sea,
through a door filled with black rainbows—

I chase them across the waves,
grasping for their curved, 
downy arms. 

Arms that cup my face and
pull me down on a bed 
of memories, weaving
their tales of longing with
painted fingers—

they place their hands
in melancholy pockets.

What is the smell of regret?
A little like salt and aniseed,
a little like Heathcliff sailing 
on a Turner sea—

He follows regret 
to the cliffs of Big Sur, 
where Casper’s Wanderer waits 
above the Sea of Fog,
an amethyst Buddha at his feet.

Together, they sit and cry on a shrine 
of forgotten sentences—
in their tears the shape of a
country, no longer theirs.

They watch the clouds pass through time—
a white head of curls 
glowing through a dazzling sky. 

Somewhere, on the shores of Venice, California,
Hamlet still longs for Ophelia.

II

Searching for a history that doesn't exist, 
I play the piano to my shadow
until we both disappear.

Slipping into sheets of paint, 
I look for my past and hold it close,
entwine my legs with its awkward shape.
In a large bed, loneliness can be so seductive.

Dressed up for the masquerade, 
dashing in your velvet suit,
everyone wants to dance only with you—

I give you my hand 
but you are already goodbye. 
There is always something to leave behind,
and tonight, you leave a sock for me. 

Sunshine doesn’t belong in a jar of secrets,
in your world, everyone cries and laughs 
at their own absurdity—
we are forced to love our fate,
sugar cones & sun rays, doorways & letters, 
words hiding in a cloud.

When I left, you asked if you could come too.

And in that blackness there is only feeling,
in that blackness, only dust.

Poetic Responses: Analia Saban @ Sprüth Magers

text by Claressinka Anderson

 

She is trickster,
moving towards a 
beguiling destruction,
steady with restraint— 

a dancer poised for collapse,
each perfect limb folding 
in on itself.

She wears a corset of cement,
her pointed toe balanced 
on a stone spider web,
inching delicately across the tightrope.

She ascends the stairs to shower 
in a velvet bathroom, hair woven 
to luminous skin—

 a pulsing body wrapped in burnt paper,
glowing on black waves.  

Outside her window there is only night. 

You cannot enter 
(come in) touch her, 
you’ll find she’s smooth—
run your finger along her origami moon,
caress her absent cheek.

A folded sphere—
is there such a thing?
You might find it here,
setting over a draped horizon.

Minimalism—
such beauty breaks the heart a little.