Copy yourself,
make something other
a binary you,
in a world
of starships and code
and the fact that death
doesn’t really mean anything here.

Right here,
we don’t need
oxygen or food,
in this world
of falsity and fantasy
and the sweetness of hallucination
that aches behind your body.
Stand still,
headset firmly on
and breaths calm,
a new world awaits your better self
where you forget the depersonalisation
of still always being human.

Copy that,
you’re the captain
of false starships,
hurtling through uncertainty
with virtual reality comforting
you when you realise that
you’ll never be like this.

Another you,
version fifty-three
in a chain,
never changing yourself
or becoming something better
only sticking in mistakes
and pretending like it’s improvement.

Copy yourself,
make another other
for another self,
forget your body
and transmit human signals
to other fake-people
who tell themselves aching stories

of a reality
that we daren’t change.

Clenching my lies within my fists
I stand prominent,
forcing the pressure of weightlessness
onto them until they crack;
opening up like wounds,
drenching the tips of my fingers
in venom and lava.

Their acid burn
seeps into the cuts in my skin
from times I have fought this before;
an unyielding inevitability
soaks the marrow of my bones
as I stand – defender and defenceless,
my fists still closed, un-bloomed.

Primed to punch, my stance is unyielding,
as if my body and throat are at war
between the truth and the other;
head lolling in despair
at who I have become
and what I am holding.

The way out is the way in
and I’m looping,
rolling down a hill in a memorial summer,
catching myself at the bottom
and finding it to be the ash-sky;
continually Catherine-wheeling
through remnants of other iterations
of this inevitability.
We always end up here.
We always end up
here.

Soft skin, marred,
jagged cheekbones
cutting into blank white;
suffocating plastic sweats
against the mouth of the thing.

A moth-swarm of faces,
of sickly hospital white
plastic; mouths gasping
for air and everyone drinking spirits
like the world is about to end.

The façade of a masquerade,
pearl whites with jagged oysters
creaking underneath, all botox
and sloppily revisited youth;
death is passed as a disease.

One within, too prideful
for a mask, yet pale faced
enough to spend the night
in the quagmire and relive
the quicksand underfoot forever.

Hard, wrinkled women
ruining themselves,
asphyxiating slowly in the crushing
pressure of plastic on sweat on skin
right down to the bone.

Still, the white-wind, bare, ghost
lingers in the after-party,
picking up the discarded masks
with smooth, youthful fingers;
resignedly exhaling down into sinking earth.

Take off your hands
like a shop window mannequin
and give them to me;
let me imagine that it’s you
sleeping on the other side of the bed.

Your hands
and mine.

Let me let you
feel the bridge of my nose
and run your hands over
the scar on my elbow,
the mole on my chin
to make it yours
even when I’m holding you holding me.

Tell me it’ll always be this easy;
this gentle;
this much led by the me
that’s leading you.
Let me use your hands
to call you
so I can use your *******
to tell you that I hate it
when you don’t answer.

Make your hands puppet master
and let me hold them;
as they contort me
into however I think they think
they want me to be.

And then let them
fall into bed with me
as I sleep,
holding your cold hand
in a double bed;
painfully aware
of the blistering, dry
burn of always being
alone.

i can live without my feet. i can live
without anything that makes me carry on;
carry this pretty sweat of life on my hunched back.
every day i wake up and there's a new ache,
a new heartbreak to write about in the diary i burned when i was 17;

when i was sweeter and lighter and thought that drowning would be a nice way to die.

i listen to music to fall asleep,
until i get to the point between waking and the good stuff
when i slam my laptop shut and my brain says
right, now it's time to imagine you're dying, and everyone cares,
everyone is at your funeral wishing they were nicer to you when you cried over chicken breast and were in a whirlwind relationship with iced coffee.

sometimes i guess it's easier to pour the leftover ice from last night's gin and tonics into coffee. sometimes it's best to leave poems unfinished.

i don't think i'm getting better
but i'm drinking oat milk again.
it's the stuff my parents buy,
rich and creamy, and it doesn't
have the aftertaste of thick curdle.
and, i mean, i'm still listening to mitski,
but it's strawberry blond, not nobody,
which is equally sad when you read into it –
except i'm trying not to read into things any more.

i got a degree in reading into things
from the same university wherein i walked
the unfamiliar city streets at three in the morning,
looking for a suitable canal to drown myself in.
it was all dropping rocks to test the depth,
hands stuffed in my bright yellow raincoat pockets,
van gogh quotes and 11am seminars
and "i don't really want to die thirsty, maybe i should just

go home, you know?"

but i did that. three years of it, and i went home
to a not-quite home. that's what my parents say.
"what time are you home?" and "aren't you glad to be home?"
except for me, home isn't a four bedroom in warrington.
it's not even a seven bedroom (or, as we had it, six-bedroom-and-one-unusued-gym-room) in lancaster. it's...

well, that's the thing, isn't it?
what is home?
it's certainly not a dairy substitute.
although, i suppose, i'd rather drown in swirls of oat
than swirls of lactose. my parents say i've always been quirky like that.

me. quirky little girl from warrington.

i go through the hollow days
until the first drop of alcohol hits my tongue;
and then, the choice. the concerned mother,
the train-track rumbling stomach, the
"you can't drink any more unless you eat something."

i want to say it's my life. i want to say
that drinking on an empty stomach is far
more cost effective and that i'm here to go
the distance. it's enough for the first
few hours to laugh it off, until the house is closed
up and the oven is on, on, on.

really, it's not my fault. my dad's a chef. i'm human
and i know i'll die if i chastity-lock my lips forever, it's just...
well, there's something in it. there's something
perfect about "no thanks, i'm not hungry,"
like the smiling hollow is earthquake-rumbling:
"yes, yes, yes, one day you will die small."