Evolution
Margaret Ross
The corpses weigh nothing, nearly nothing, even your breath
is breeze enough to scatter them

We steamed them in tupperware with a damp sponge
then we tweezed the stiff wings open

The wing colors would brush off if you touched them

3,000 butterflies raised and gassed
and shipped to Evolution, the store in New York
rented by an artist hired to design a restaurant

He wanted to paper the walls with butterflies

Each came folded in its own translucent envelope

We tweezed them open, pinned them into rows
on styrofoam flats we stacked in towers in the narrow
hallway leading to the bathroom

Evolution called itself a natural history store

It sold preserved birds, lizards, scorpions in lucite, bobcats
with the eyes dug out and glass ones fitted, head turned

Also more affordable bits like teeth
and peacock feathers, by the register
a dish of raccoon penis bones

This was in Spring

The sidewalks swarmed with bare-armed people
there to see the city

You could buy your own name in calligraphy
or written on a grain of rice

Souvenir portraits of taxis and the Brooklyn Bridge
lined up on blankets spread over the pavement

The artist we were pinning for had gotten famous
being first to put a dead shark in a gallery

For several million dollars each he sold what he described
as happy pictures which were rainbow dots
assistants painted on white canvases

I remember actually thinking his art confronted death,
that’s how young I was

We were paid per butterfly

The way we sat, I saw the backs
of the other pinners’ heads more than their faces

One’s braids the color of wine, one’s puffy headphones, feather cut
and slim neck rising from a scissored collar, that one
bought a raccoon penis bone on lunch break

Mostly we didn’t speak

Another life glimpsed in a detail mentioned, leaving or arriving

She lived with a carpenter who fixed her lunches

By fall I’d be in college

I smelled the corpses on my fingers
when I took my smoke break, pressed against
a warm brick wall facing the smooth white
headless mannequins in thousand-dollar shift dresses

The deli next door advertised organic toast and raisins on the vine

Mornings, I tried to learn from eyeliner
and shimmer on faces near mine on the train

Warm fogged imprint on a metal pole
where someone’s grip evaporated

Everyone looking down when someone walked through
asking for help

At Evolution, talk radio played all day

A cool voice giving hourly updates
on the bombing of another city which it called
the conflict

The pinner in headphones sometimes hummed
or started a breathy lyric
selfish girl

I watched my tweezers guide the poisonous
exquisite blue of morpho wings

Their legs like jointed eyelashes

False eyes on the grayling wingtips
to protect the true face

The monarch’s wings like fire
pouring through a lattice
from the book SATURDAY / The Song Cave
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Cover for Call This Mutiny by Craig Santos Perez
"Craig Santos Perez by Diana Arterian"

"I have written about 'gastrocolonialism,' food sovereignty, decolonial diets, gardening, GMO agriculture, import cults, Pacific Islander health, and other aspects of the colonial food systems. Spam is the most charismatic food in the American Pacific, so it has become a central, fatty trope in my work for all the reasons you mentioned. Poetry, and the food humanities in general, is able to articulate and express the complicated emotions that we have with food, especially in a colonial context."

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Cover of Jennifer Chang's collection, An Authentic Life
What Sparks Poetry: Jennifer Chang on Drafts

"In truth, I misremembered the statue, I misrepresent it; in my poem, there is more than one enslaved person at Lincoln’s knees. But this is not the only reason I could not get the draft right. I wanted to capture the feeling of two friends wandering in a city, the ebb and flow of their conversation. Most of all, I wanted the poem to do what letters do: bridge a distance in geography and in time: the future, the past, Washington, D.C., Texas, the thaw that makes some late winter days feel like spring."
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