i saw in louisiana, that which these eyes can't unsee

                                        after Walt Whitman 

humor both authors: let us revisit the infamous tree.
Join the first one, sitting alone and sun starved
cross legged in patches of velvet dark. 

I do not mean, rest                         in the shade, beloved
I don’t invite you to revel                in absence with him,
to admire the beauty                      of neglect.
this was after all, a sweet poem intended and therein lies the struggle 

the ars poetica tempts its reader
into passive attention. So, I divorce it. I mean to arrest
the hand of the man, hoist it with a scrap of frayed rope.
it is that simple— to write in praise
of a thing they used to kill us. Even
as the thing itself lifts this page, consider the violence— 

I did say kill. You stiffen like a corpse, or perhaps a breeze shivering
along the limb of that oak—
I’ve returned to the tree now—
The grandmother of my grandmother's last breath
once its companion, erased by the dear friends of a dead man.
My grandmother’s, grandmother’s own dear friends, owned. Dear friends— 

Sometimes I am obliged
to transcribe a torrent of blood
leaking from the slack mouth of my manlover.
An unbending history in his arms, and you may still give it poetry’s name. 

I know once Whitman saw a live-oak
growing in Louisiana— I’ve heard it from the strange-fruit. 

He splintered a twig that wasn’t what it seemed:
my uncle’s femur now shriveled in his palm. rude.
I promise you no hyperbole,
there were two bodies decaying in the arms
of his muse. Uttering their names into his lap as he wrote, 

& what became of the praise? That's the problem
with poems in the order of the natural:
the romantic will always give himself permission
to shift 

              an auction block, back
        into a patch
of innocent moss. Will allow you to take a portion
of it with you, will twine his mouth to the blood. What, this time a toe or flap
of the scalp? Is that what you want, a token? I’m curious— 

A souvenir? Something to make the solitary tranquil,
to un-utter the wail? Is this what I must
dress our death in? joyous leaves of dark green?
humor   me 

let the    blood be
the simple blood for one more stanza.
How could anyone write of the tree
and only the color green? I should have left you
in Louisiana with it, an empty beauty, but 

I knew very well I could not.

 
Aurielle Marie

Aurielle Marie (they/she) is a Black, Atlanta-born, Queer poet, essayist, and social strategist. She was selected by Fatimah Asghar as the 2019 winner of the Ploughshares Emerging Writer Award. Aurielle has received invitations to fellowships from Lambda Literary, Tin House, The Watering Hole, Pink Door, and many others. Aurielle's essays and poems have been featured in or are forthcoming from The Guardian, TriQuarterly, Adroit Journal, Teen Vogue, BOAAT Magazine, Essence, and many other platforms. Their poetry debut, Gumbo Ya Ya, won the 2020 Cave Canem poetry prize and is forthcoming from University of Pittsburgh Press in the Fall of 2021. 

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