By the Pound

This poem is so starved it doesn’t know where to begin,
so it opens with my mother’s rubber “fuck cancer” bracelet

too baggy on a narrow wrist tattooed with
her own mother’s name, but my favorite details

are captured in a photo, as if a photo can capture
and hold anything indefinitely. She took up

tap dancing again, reborn with jazz hands,
wearing a hot pink t-shirt. How often has her smile

reached her eyes like that? Anyway, Florida spits
its birds of paradise from the dirt and gators wend

through estuaries bisecting retirement communities.
Carnivorous flowers work in the same way—

attracting prey with turgid purples and nectar that cloys
with decay. I remember how she hissed they’re killing me

before she even knew. Hurricane Irma stripped her house
of its porches, its skirting, its laundry shed, so her husband

had no place to take his spoon and lighter. Her other daughter
reminds me of the way tropical mosquitos steal in small doses

and offer fever in return. Every itchy welt a reminder of theft.
I’m trying to learn the link between weight we take on

and what we lose. I look up cortisol, cancer, stress link.
It was like her blood went bad. Florida Woman

Drained to Death by Her Own Family. When she grew frail
she rejoiced in the exposure of clavicles that broke

when she fell. I remember how her mother—the Rose etched
on her wrist—ate laxatives or hid her body in snap-up

housedresses. Like the value of a life can be tallied by
the plusses and minuses of a bathroom scale dusted

with a thin layer of talcum. I would beg my mother
eat please eat, but her lips would thin into a grim smile.

She’d reply I’ll eat when I’m hungry,
and then she wasted away.


Nautilus

My mother’s two hands,
her manicured nails resting

neatly against the bed,
wrapped around rags rolled

tightly, grasping golden ratios.
If I could only alight on details

I wouldn’t need to see the whole
scene. If I could only unscroll

the two cloths to reveal
the divine at their center,

I might make sense of this
empty shell. Before I can

unravel how she could be
holding a galaxy in each hand,

all my questions answered,
a nurse switches off the vent,

drapes a white sheet, and wheels
my mother from the room.


Stages of Grief

The rain porch is finished after
extensive repairs and new paint—
brocade chaise moved in and the new chair
paired with paisley ottoman plucked
from the neighbor’s trash. We settle in
to witness the changing nature of storms:
slanting rain with low rumble, no heavy
drops but thunder like a shotgun blast.
Thunder that travels the sky like bass
slipping from speaker to speaker. Trees
shuddering or raving or leaves still
like they’re just listening. A slate sheet
of monsoon pocked white with hail
and then a long gentle pour after
the histrionics. Experts say to expect
a cool, wet summer.


Sonia Greenfield (she/they) is the author of All Possible Histories (Riot in Your Throat); Helen of Troy is High AF (Harbor Editions); Letdown (White Pine Press); and Boy with a Halo at the Farmer’s Market (Codhill Press). Her work has appeared in the 2018 and 2010 Best American Poetry, Southern Review, diode and elsewhere. A 2024 McKnight Writing Fellow, Sonia lives with her family in Minneapolis where she teaches at Normandale College, edits the Rise Up Review, and advocates for both neurodiversity and the decentering of the cis/het white hegemony.

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