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Ajax Kallistrate

produce lady

laugh if you want to
call me produce lady
call me man
call me virgin
call me Ripley
call me lesbo
go ahead
feel good
feel superior
laugh that self-satisfied laugh
at my expense
cause i can afford it now
cause your words don't matter anymore
to me
cause i don't got to compromise anymore
cause i don't got to sacrifice myself anymore
when i walk out that door at 6am
when i talk to myself to keep myself on track
when i have a bad day
when i got to recite my recitation on the bus
to keep myself to myself
i can still walk with my head held high
burdened only by my warm coat
and my lunch bag and my groceries
and not anymore by self-hate
and shame
i'm not ashamed of who i am
i'm not ashamed of how i live
i don't need anything from you
you stranger
you unknown
don't speak to me
don't look at me
don't stand near me
i don't owe you anything
i don't need your permission
your understanding
your good graces
your charity
your blessing
and you don't need
my fake smile
my fake laugh
my retail face
cause that's all i got for you
cause i don't need to forgive
cause i can't forget
it's somewhere in my bones
down below the shower drain
and the sticky carpet fibers
and the warm plastic linoleum
i couldn't find it if i wanted to
and i don't
i just want to keep on walking until
i can't walk anymore and when i can't
well
somewhere inside i know the deal
i know her name
i'll take it with me
i've got five minutes
here i am
this is all i'll ever be
this is more than i've ever been
i got what i need
i fade
it's leaf fall
it's rain you feel
you can't hear it's winter
silence it's time o'clock it's all alone

good morning

October 8, 2021

meat

remember, you're meat.

you're adipose tissue.
you're organs.
you're glands.

you can be
replaced

by a machine
by a plastic mouth
by a whore
by a neighbor
by a child
by an animal
by a
warm
wet hole
penned in
light draws
the eyes to
your tits
your ass
your crotch
draws the
bull's
eye
to
you,

meat.
dick plow.
human toilet.
emptied into. dripping.
brains or inhuman smear.
fertile abandonment.
subject.
abject.
nothing you do matters.
nothing you think matters.
nothing matters over meat.
not your goals, not your ambitions.
not your thoughts. not your art.
not your future. you are
lobotomized. you are

nothing but meat.

remember.

you aren't a person.
you aren't an individual.
you aren't autonomous.
you aren't free.
you aren't powerful.

you are meat.
remember.

with every word,
with every look,
with every motion.

you are nothing.
you are meat.
you are prey.
you are subject,
object. internalized

meat.

remember.
there is no beauty.
there is no love.

whatever you were thinking,
whatever you were doing,
whatever you were feeling,

this is your reminder,
meat.

none of it matters.
you don't matter.

you are nothing.

you are meat.

October 8, 2021

Jeanette

"You look tired."

Are you saying I can't do my job?
Are you saying I shouldn't be here?
Are you saying I'm old, ugly, worn out?

Useless?

("I can't," she said.)

Why do you persist? Insist? I hold up
my head by way of meat and bone.

Isn't that enough?

What else am I supposed to do? To be?

("I can't do this.")

You whose name I know
only from the plastic
rectangle pinned to
your uniform like
mine: "At your
service
since"
it's
not a
prison, a
school, I'm not
here for an interview,
an audition, a loan, a raise,
do I have to smile to assuage
your false concern? ("I can't do
this anymore,") you nobody to
a nobody who just wants to
get through one more
shift, one more bus
ride, one more
alarm, one
more
look
at
a
face
I only
recognize through
long acquaintance
with plum eyes
and bird beak
and slash
mouth
and

(she said, I was told,
she walked away,
no two weeks,
no notice)

I wonder sometimes do I look
different, to them, to their
animal gazes skipping
over me like ruminant
tongues I don't
need "You
look,"

do
you?

("I can't,"
she said,
and

she walked away.

"I can't do this anymore."

Two decades my senior, we bonded
over suicidal ideation and cats and
men we shouldn't have let do what
they did and a mutual revulsion
for our own sex. "I can't do this,"
she said. "I can't do this
anymore."
and

she

gave me a gift, a definition of love.

"It makes me happy,"
she said, "to see you happy."

she

gave me a number, to the suicide
hotline she'd dialed the year be-
fore, torn from a magazine,
with a pretty picture on
the other side, a sea-
shell among bright
berries, so I wove
it into a collage,
and so poetry
is collage,
and so
I was
inspired

by
her,

by
my
first
work
friend,
before I
understood
the difference,
before I understood
the difference, I loved her.

she

didn't
waste words
on bitterness or
despair, she got out
of bed every day to show
up, to lift up, without complaint,
to let dark humor and sacrifice
roll us through concrete mornings.

That's why I didn't waste words,
that's why I got out of bed,
every day, to show up,
to lift up, my wonder-
ful young people,
to meet them
where
they
were,
and
so

I
was
loved
in return.

She will never
know how much she
meant to me, to my future.

I met my friends, my son, I met
the only life I ever want, head
on, straight through, be-
cause of her,
because
I met
her.)

I am so grateful.

I have a home.
I have a job.
I have a family.

("I can't" she said.

I miss her.

"I can't do this anymore.")

and

she walked away,
to where, and how,

I will never
know.

September 17, 2021

do you know

how
do you
know when

it's raining?

do you see
do you feel
the drops
the contrast
the atmosphere

hear
the
impact

pat pat pat

does your tongue
taste the trans-
formation of
water 
hot
earth
concrete
damp grass
prickle

underfoot
or

is it
the
quiet-

ing of bird
song sizzle of
rubber sheer-
ing arc of
water

does
your knee
ache do you
draw the curtains
or do you open
the door turn
off the
fan

close

your
eyes does
it matter
to you
or

are
you deep

in artificial
light and cool
commercial
cave

how
do you
know when

it's raining?

September 1, 2021

Garbage

kitties think they belong
everywhere doing
everything with
everyone and
they're
not
wrong

August 28, 2021

last

last
strains of
freedom from a
car stereo at the stop
light, Spanish auto-tune
Springsteen, a collaborative
anthem to the last fifteen minutes
before the parking lot and the time
clock and the last shuddering
sigh
through tired limbs on the darkening
street as i stand at attention for an
approaching bus, drained and dull
as the wheels roll by and leave
me behind with the last
fading thump of free-
dom rising up from
the asphalt into
worn out
rubber
soles

August 28, 2021

Excuse me, sir

I wrote She Might Know as a personal challenge after hearing myself say “I can’t imagine a man finding me attractive.” It was fun and I can’t say can’t anymore. But the story is a fraud. Like many feminists, I believed I could have it both ways. I could attract a male without risk. I could move through the world as an ugly, sexless, mannish woman, incognito, invisible to men, and yet still be seen, as if via a magical inner light, by one man only, by the right man, by the only man who could survive the circular reasoning — he sees because he’s the right man, he’s the right man because he sees.

I’m seen when I wear a dress. I walked half a block to the park, sat at a picnic table. I wasn’t looking up. I rarely look up. I started reading a friend’s blog post. I wasn’t at the table for more than a minute when a man on a bicycle pulled up. He said something that may have had the word “mercy” in it.* He sat down. He played an R&B song on his phone. It was comical. I got up and walked away.

Why would I not want male attention?

Ambivalence is built into the female psyche. We’re ambivalent about sex, reproduction, motherhood. Contrary to what I learned as a young feminist, women and men are not fundamentally the same. We are in fact vastly different. We’re different because our investment in offspring is dramatically unequal, and thus our reproductive strategies are dramatically different.

Male strategies are simple: find ’em, fuck ’em, and forget ’em. Straightforward, uncomplicated, easy to understand. They spread their seed like junk mail: even if only one percent provides a return, it’s a jackpot with zero effort.

Female strategies are complex. Devious, conniving, manipulative. Those who survived the rigors of the ancient world were those who made calculated decisions about how much to invest in which offspring, how best to monopolize the resources of males, and how and when to provide access to their fertility.

When it comes to reproduction, males value quantity and paternity. Females value quality and security.

Thirty years ago I was studying for finals in a college library. A young man walked up and told me I’d be prettier if I smiled. I was confused at first, processing the interruption. Ironically, I may have smiled, that primate signal of appeasement and submission. The young man walked away. I went back to my books. But my concentration had been broken. I was annoyed. What right did a stranger have to interrupt me? Because I was female I should have no expectation of being left in peace, to negotiate courtship on my own terms? This young man’s need to make his presence known — to “shoot his shot” as my best friend would put it three decades later — took precedence over my pursuit of academic excellence and a degree, what I saw then as my future security?

Or is that the issue? Males provide resources to females in exchange for reproductive opportunity. Females play along with the game, securing resources both on their own and through manipulation of males. We are primates after all, always looking to fuck or eat.

Feminism told me I could opt-out of that system, an idea that appealed to my ambivalent female brain. But feminism was wrong. It was like trying to opt out of a wasp hovering around my face. I never could escape it. The system just kept on moving around me. I was playing the game whether I recognized it or not, whether I wanted to play or not, whether I knew how to play or not.

And I didn’t.

I was raised by a timid woman who never learned how to play the game, though she excelled at being devious, conniving, and manipulative. Feminism was the only alternative. I embraced it. I thought living life on my own terms meant picking and choosing the rules that suited me and ignoring the rest. But that wasn’t living. That was suspended animation. 

“Excuse me, sir.”

I hear it every day, working retail in a men’s shirt with a buzz-cut and a baseball cap. I move through the world largely invisible as a woman. The disguise allows me to focus on what I need to do to survive instead of being a target, instead of being prey. It fools the unconscious brains of the animals around me. They misinterpret what they see, the signals my body gives away about my fertility — my sex, my age, my physical condition. Maybe that’s why I’ve always wanted gray hair. Maybe that’s why I’ve never spoken much. Body shape, limbs, motion, eye contact, nuances of facial expression, breath, scent, a voice that drops when I’m confident and rises when I feel vulnerable. I can’t stop it. I can’t control it.

It scares the hell out of me.

We’re social primates. We’ll negotiate, compromise, sacrifice, manipulate, say or do almost anything to avoid being alone, outside the group, unsheltered by familial bonds, especially children, especially females. It’s never been safe. We don’t have ancestors whose skulls were pierced by the teeth of megafauna. When we grow up alone, insecure, without guidance, some of us withdraw, hide, sell out the present day for a possible future. It’s human nature. It’s the nature of woman.

She Might Know was a daydream. I held onto it like I held onto so many other fantasies, something to get me through the day until the day came when nothing could get me through. I negotiated those compromises moment by moment.

I still do.

But I don’t lie to myself anymore. I don’t pretend we’re anything other than upright walking animals. Even our cynical post-utopian cyber-culture is rooted in natural selection, in whatever gave our flea-bitten ancestors a reproductive advantage over their flea-bitten neighbors.  I can’t say can’t anymore. But, as with so many other great mythologies of feminism, I’ve moved on.

I’ve let it go.

Further reading: Mother Nature: A History of Mothers, Infants, and Natural Selection by Sarah Blaffer Hrdy (1999)

* I’m unattractive but men will say anything to get pussy.

grotesque

withering unwooded widowed man hidden
hood disrupted by contact poison peeled
back banana like Joanna Russ in reverse

a male woman

in heels and swayed hips and strong
cheekbones turned coyly aside stubble
waxed laser depilation in the mirror

eyes shadowed by ancestral rituals of
suffering like bulls pierced through
muscle before heart to bleed out

onto trampled sand to the roar of a
crowd slinging vicarious phalluses
eclipsed by phantom womb pain

a grotesque parody of
the first origin

a circus fixed by
a knife dangling

vocal cords disposing of
wombs as medical waste

i grew in there!

is it toxic? 

words spilling acid creased electric
knees bending into nylons until
Susan Faludi backs the lash

and hairy knuckles pepper
plums fresh across spans
of winter white

is that what half the population wants?

disembodied castrated undermined manhood
pivots violated disempowered cow corralled
womanhood 

repulsive human race!

all of us animals licking
spoiled wounds for the taste

July 13, 2021

rusty nails

rusty nails in the dirt i pluck them
out one by one to push rough heels
into soft soil and pat them dry
 
there there

upright lipstick peeps through snow
crust flat against the wind until
frost bursts open a path for

roots among the rocks and tall stems
escape unbending leathery tongues
in arcs to count brown under

the weight of the sun as earth
turns over to yield up whole palm
heavy knobs one by one in yellow

dust

in winding braid
in warm kitchen
in steel pot
in ceramic bowl
in curled fingers

i split rusty nails to push smooth
hooves into soft soil

July 9, 2021

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