Today,
I shared a post
on Facebook.
It explained that
manipulating someone into
having *** with you
is a form of ****.

To the ex-classmate of mine
who thought it was okay
to post a meme with the tagline,
"Regretting consensual *** isn't ****,"
in response
to my own post:

Not only are
you are a perpetrator
of **** culture,
you act as though
**** is some sort of
joke.

You think
victims "cry" ****
like the boy who cried wolf,
that their traumas are fabricated,
cheap shots
to seek revenge against
impotent lovers
and unfortunate one night stands.

Being manipulated into
engaging in any sort
of ****** activity
does not equate consent;
because
to manipulate is to
unjustly coerce someone
to submit to another.

Consent is not the enigma
society makes it out to be;
really, it's quite simple.  

Did they say yes?

I'm not asking
if they said no--
that's irrelevant.

Did they say yes?

The fact that
one individual
feels the need to
manipulate someone else
into having *** with them
implies that someone else
didn't want to have ***
in the first place.

Guess what?

If someone doesn't want
to engage sexually
with another person,
then that is not consent,
and just as ****
can be imposed physically,
it can also be imposed
mentally and emotionally.

So there you have it,
ex-classmate of mine--
you've said your piece,
and I have every right
to follow suit.

you are remarkably disgusting.

And I'll be ******* ******
if I sit around
twiddling my thumbs,
scrolling through
Facebook mindlessly,
while you belittle
victims of ****
for the purpose of
your own amusement.

Thanks for coming to
my Ted Talk,
*** hat.

I had my first kiss at the cinema, the contour of our silhouettes illuminated by the glow of the rolling credits. He tasted like Altoids and cigarettes, an ambivalent concoction of ice and fire. At one point, I'd bitten him by accident. Whether this was a manifestation of inexperience or (seductively, with heat in her eyes) hunger,  I'm not sure. But, sitting there in the thrill of My Something New, I was certain of one thing: this was a red carpet moment, the stuff of silver screens and glimmering Hollywood starlets and rows of type writer ribbon waiting to be transposed into something theatrical.

After the film, we sat outside a cafe a block over, the fever of summer adhering to the back of our necks like (giggling) misplaced hickeys. Smoke corkscrewing from the end of his parliament, he told me how John F. Kennedy was addicted to opioids. I couldn't help but think back to earlier that afternoon when he first admitted to being a smoker. How he'd asked me, "Is this going to be a problem for you?" hesitation rising up his throat like bile.

I smiled because 'Everyone's got their poison," I replied.  

And poison? Well, there's something so strikingly poetic about it, don't you agree?

(beat.)

JFK must have been Marilyn Monroe's poison, I think.

"So," I offered, "What do you really think happened to Marilyn Monroe?"

"How do you mean?" he said between drags of his cigarette.

"I mean was it really an overdose or--"

"Was it an assassination?" he interjected.

"Mhmmm."

Another drag of his cigarette.

"As they say, the simplest answer is often the correct one."

"Maybe. (beat.) But what makes for the better story?"

After two weeks of courtship, he took his leave. My mother's obvious, unwarranted disapproval was, perhaps, a source of anxiety for him. Me being freshly eighteen, he was also concerned about that (sarcastically) whoppin' three year age gap. (beat.) Not fully buying it, are ya?

Well, neither did I.

Here's my theory: his feelings (or lack thereof) were the reason he called it quits. And instead of being a man--instead of being honest, instead of owning up to the true nature of his intentions--he spun some relatively believable excuse. A coward's way of removing himself from a situation he doesn't want to be in. Surprisingly enough, I wasn't as disappointed as I would have anticipated, had I foreseen the end of our fleeting romance.

I was (beat.) fine.

It does make for a great story, after all. (wryly) But you knew that already.

Because for every Norma Jean, there's always a Marilyn Monroe.

Tell me then--who are you?

(beat.)

Girl curtsies, transitioning into a tableau of Marilyn Monroe's iconic pose wherein she attempts to hold down her dress as the air from a nearby subway grate threatens to expose her undergarments.

Lights fade out.

{Fin}

Tears percolate from
round, fishbowl eyes,
cheeks a sting
with salt
and loneliness.

I barter with the deluge,
hold my breath
for as long as my lungs
will permit
until a motley of colour
bruises over my vision.

And I can't help but think:
perhaps fainting is
the next best thing to dying,
especially when you are too afraid
to commit to the permanence
of killing yourself.

My only dilemma?

What am I to do with myself--
with the tears--
once I regain consciousness?

I swallowed
the sound of your name
like it was a star--
five points,  
the type they
teach you to draw
in kindergarten.

It hurt
on its way down,
stalagmites of constellation
catching on my uvula,
hanging on with
astronomical strength.

But this is no cliffhanger.

Do you know what happens next?

I stopped breathing.

You've never deserved
your name,
you know.
"Light giving,"
it means.

Oh,
and how I gave into
the sublime
fallacy
of it.

Because
all you ever did was steal
the moons from my irises.

You treated me like
I was the dirt beneath
your fingernails
(you forsake
the dust on your windowsill--
but don't you know
all dust comes from
the wondrous galaxy that
dwells before us?)

I reached out to you
only to get
c u t
          o f f
at the hands

Still,
I couldn't let you
go,
didn't know how to.
Even when my flame
was reduced
to these weeping cinders,
even when the idealization
I held between my palms
found itself exiled
to this mausoleum
of severed trust,
hatred blossoming
in rosettes against
crumbling tombstones.

The epitaph reads,
"At a loss for words."

Tell me this:
what sort of
"light giver"
doesn't believe in
in the possibility of magic--
in the pinnacle of light itself?

You always thought me
a foolish girl
for dreaming--
naive girl,
silly girl,
wrists blooming
in paper cuts,
always one fairytale
away from insanity.

Until
one day,
I stopped believing
altogether.

And all it took
was a single glance
from those eyes--
glacial sapphires,
your grandest seduction.

Hell itself would have
hardened itself to tundra
at the sight of them.

You always had a way
of contaminating
the things I loved
with a frostbite so lethal,
I would have
gladly dismembered
every hypothermic part
of myself
(every fragment of soul
you ever touched).

Like a shooting star,
I fell for you--
hopelessly.

Catastrophically.

And then the heavens went
dark.

⚠Trigger Warning; the following poem contains subject matter pertaining to suicide and self-harm ⚠
----------------------
May 30th, 2018

These wayward breaths
lead me to
the Dead Sea.

"This is where you belong;"
whisper the spirits
of The Deep--
"this is where all
broken things
come to die."

The Dead Sea
is my bathtub-
ramshackle tiles,
contorted shower rod
bowing under the weight
of the fraying curtain.

The water sprints
in a scalding race
from the tap,
its gurgling clamour
veiling the sound
of Billie Eilish
playing on the speaker
(isn't it lovely all alone?)

I stare at the Exacto Knife
clutched between my
water-pruned fingertips.

And
the moment you pick
up a knife instead of a
shoddy razor blade
from a dollar store
pencil sharpener,
you know you've
hit rock bottom
(did you know
the Dead Sea is
the lowest
point on earth?;
have you ever experienced
the remarkable plummet
of that kind of low?)

I trace the patterns
of invisible
constellations
on the terrain of
my flesh;
at first,
I am too afraid  
to press down
but when I do--
my god,
when I do--
I draw blood
with the same artistry
borne from a
painter's hand,
each laceration
a brush stroke closer
to someplace beyond this
sadness.

I pin the anemic bodies
of poems
to the bed of palm
like they are cadavers
waiting to be
d  i  s  s  e  c  t  e  d.

This is the
only
way
I know to
make sense of things,
each enjambed line
a heartbeat closer
to understanding this
sadness
(or letting
go
         of
it).

I gawk at the contents
of the shelves
that live amongst the
curdling strips of wallpaper.
Yellowing mason jars,
each containing some
tragic specimen swimming in  
formaldehyde tears--
Plath's last breaths;
Sexton's paper cut fingertips;
Van Gogh's severed flesh.

The sight of this
ghastly collection
sends the scars on my wrists
into a spiralling ache.

I once made the mistake
of assuming poetry
would instantaneously
exorcize the aching--
it only brought me closer.

But I must remember
that bleeding is the last stop
on the route to mending;
it's gotta hurt
before it can heal.

So I write,
bear the sting
of these words
as they stitch together
the tattered patchwork
of my heart;
until the scars meet
at the pinnacle
of my anatomy,
crisscross,
bright constellations
flowering from the darkness,
starlit tulips
that shake the
sorrowed dew drops
from their rain-torn petals,
celestial hieroglyphs
waiting to be read--
This is your history;
not your future.

No matter how
you sugarcoat it,
there is never
a nice way
of calling someone
fat.

I.E.

“You would have been beautiful
in the Renaissance era
[because in the Renaissance era
they painted portraits
of chubby girls like you—
back then,
fat was artistry.]


I still don’t know what
I was more upset about:
The backhanded compliment--
"would have"
being synonymous for
"no longer"--
or the fact that
I was conditioned
to believe the
Mona Lisa
was anything short of  
sublime.