How to Have Sex in Your Thirties (Or Forties)

Only way is to fuck
like you’re stalling

the body’s departure
from doing

what bodies will do:
end. Call it back

from its route
to extinction.

Tether
it to its own

underbelly, the land
of living. Speak

its basement desire.
If you can do that,

well, then
you’ve done a thing.

Young sex
misunderstands metaphor.

To the young,
the dying

of the light,
is mere abstraction.

Light is not light.
It means anything else.

But bodies
that have beget bodies?

Bodies that have buried
the bodies

that made them?
Bodies that have buried

the bodies
they have beget?

They know what
multiplies and disappears.

They know what light means.
I fuck like a last request.

Like I’m saying:
maybe reconsider your departure?

I make you feel
like we have choice

in all this. Which is
the real romance:

this witnessing. This rally
against your finitude

when you’re too tired
for the front line.

 
Megan Fernandes

Megan Fernandes is a South Asian American writer living in New York City. She was born in Canada and moved to the Philadelphia area when she was seven. Her family are East African Goans. Fernandes has work forthcoming or published or in The New Yorker, the American Poetry Review, Tin House, Ploughshares, Chicago Review, Boston Review, Rattle, Pank, The Common, Guernica, the Academy of American Poets, McSweeney’s Internet Tendency, among others. She is the author of The Kingdom and After (Tightrope Books 2015). Her second book of poetry, Good Boys, was a finalist for the Kundiman Book Prize (2018), the Saturnalia Book Prize (2018), and was published with Tin House Books in February 2020. Fernandes is an Assistant Professor of English and the Writer-in-Residence at Lafayette College where she teaches courses on poetry, creative nonfiction, and critical theory. She holds a PhD in English from the University of California, Santa Barbara and an MFA in poetry from Boston University.

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When You Are Fifteen

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Skin like Garlic