I don’t call it sleep anymore.
I’ll risk losing something new instead—
like you lost your rosen moon, shook it loose.
But sometimes when I get my horns in a thing—
a wonder, a grief or a line of her—it is a sticky and ruined
fruit to unfasten from,
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Haven’t they moved like rivers—
like Glory, like light—
over the seven days of your body?
And wasn’t that good?
Them at your hips—
isn’t this what God felt when he pressed together
the first Beloved: Everything.
Fever. Vapor. Atman. Pulsus. Finally,
a sin worth hurting for. Finally, a sweet, a
You are mine.
It is hard not to have faith in this:
from the blue-brown clay of night
these two potters crushed and smoothed you
into being—grind, then curve—built your form up—
atlas of bone, fields of muscle,
one breast a fig tree, the other a nightingale,
both Morning and Evening.
O, the beautiful making they do—
of trigger and carve, suffering and stars—
Aren’t they, too, the dark carpenters
of your small church? Have they not burned
on the altar of your belly, eaten the bread
of your thighs, broke you to wine, to ichor,
to nectareous feast?
Haven’t they riveted your wrists, haven’t they
had you at your knees?
And when these hands touched your throat,
showed you how to take the apple and the rib,
how to slip a thumb into your mouth and taste it all,
didn’t you sing out their ninety-nine names—
Zahir, Aleph, Hands-time-seven,
Sphinx, Leonids, locomotura,
Rubidium, August, and September—
And when you cried out, O, Prometheans,
didn’t they bring fire?
These hands, if not gods, then why
when you have come to me, and I have returned you
to that from which you came—bright mud, mineral-salt—
why then do you whisper O, my Hecatonchire. My Centimani.
My hundred-handed one?
Natalie Diaz was born in the Fort Mojave Indian Village in Needles, California. She is the author of When My Brother Was an Aztec (Copper Canyon Press). In 2018, she was named a MacArthur Foundation Fellow.