est. 2022
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ISSUE 3: NIMBUS
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ESHA SURY
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BLEEDING WORDS
Esha Sury | Poetry
i apologized because i cut
you off, myself, away from, etc
some things must be severed to be
reconstructed; like a new limb?
we cannot have two.
a cut leaves a scar,
the new soil and flesh of reparation,
from what is gone there is something
new.
kiré, cutting,
a principle of the japanese
aesthetic, suggests ikebana,
the reinvention of flowers which
are arranged beyond the root.
ikebana, “making flowers alive”
first requires the killing of them.
if flowers act alive, they are.
does then the contrapositive apply?
i act dead, am i dead?
death and life
life and death. life isn't
life and death isn't
death. the word is then cut from
the truth, is then cut from the
reality of it all. this is nothing but
an act in an eternal play
and the director simply said
“and... cut the scene.”
"LOVE" IS A SOUR FRUIT
Esha Sury | Poetry
the supplemental taste of me —
weak organic acid bites their tongue.
you don't need to live to make
someone else react,
a product to the consumer.
bitter aftertaste, like small dogs nibbling an ankle
gone with a kick. like soft flirtatious ringing
in eardrums, gone with a voice.
bitter is something to put up with,
when it is gone the papillae dulls.
they melt somewhere into the cotton plane covered
fully. exposed fully to my awakeness. wrap them
in the sheets to make sour candy. i reel
like a lemon sucked dry.
sleep is regurgitation, subjectively.
revival, objectively. i regain acidity through their
resting body. the body forgets my taste. bitter is a
palette cleanser. unaware of transformation.
squeeze and consume, repeat. the litmus of
the night is still red. fluid expelled from the body vessel.
the soju watches in a green glass bottle, with shame,
sullying near a tractate on taoism; acidity contradicts,
a static tv drowns me. the fruit of my being rots.
object stales among objects in objectivity.
subjective perception is dilution. the consumer lies next
to me, dismissing my conscience. objectify, i am acid again.
fingers shuffle through
darkness, cotton sheets. gap. wood table. glass wall
soju swept off nightstand, shattering. eyes meet eyes.
consumer to product. one is used before the verb.
the subject's face dances, angry. i lie still, yellowed.
their faces are particolored. mine
is hoarish. a midnight whore. squeezed once again,
plea of eros, selfish love.
the glory of all fruit is mostly the flesh. pulp
constructs not fruit. an animal desiring fruit.
these animals groan in the metonymic darkness
from between the thighs, never heart. the subject, the peeler.
tear and eat and throw. i feel shame for keeping
my sour blade unsheathed, to be the cause for
their appetite, and loss of it
upon full consumption.
but what happens to my own skin? for i know
the only sourness left in me is the mind
of a fruit, to reflect sitting still in a dump
or counter until rot. to all broken lovers, how we
wish now it was so easy to consume something other
than our own bodies. how can i quickly learn and
rehearse this bite, which i so often allow upon
my own pulp? why is the fruit of my being constructed only to give?
issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii issue iii
Esha Sury is, as Keats' says, a soft embalmer of diction. Extracting, preserving, and reshaping, she writes to unravel herself. She is a freshman at Purdue University and a silver medalist in the Scholastic Art and Writing awards.
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