Summer 2023 | Poetry
Sarah Taban
Two Poems
suppose everyone believed such a thing, I tell my father. Everyone, he says, can dance naked. Everyone
is not his daughter. I am watching a woodpecker on the budding maple outside my window. I am at the edge
of this bird’s strong beak, drumming at the bark of my mind. Sunlight falls over this day like night-time, when my
lover casts her ochre scarf over the lamp, dances a little. Suppose you didn’t believe some pleasures were incorrect.
Like the woodpecker, I find a task with every tree. Anxiety, dancing naked, that I bed with. Now, I examine
each morning like a decision. Sometimes they arrive like a wagon of fresh-caught fish at my door, thrashing in a
slow, miserable way. Happiness is my reward after an endless boring, a long tongue reaching for its feast.
Suppose I was made like that, just the material it takes to withstand my own obsessions. Baba points to himself.
Is anguish a good name for the surprise of my mind outside itself? My language grows from such
incorrect pleasures. My grandmother hangs an evil eye on my mouth. Twenty years pass until a lover crosses,
knows how to pick a good fish. A good catch. Spring, dancing naked, that I dream with. Hold the doors, as I
sprint, making that train, a well-chosen morning. A whole confection of them. Somehow, I forgot I was my father’s
daughter. Cast an ochre scarf over my lover, an evil eye between every kiss. Suppose anguish, pecking,
until one evening. Suppose I was made like that.
suppose I was made like that. Self-assured. Quick to move into dance, in a seamless
way that flirted with the world, casually. Like that. A woman with that cool-girl air, the kind
who you see, out in the world, and are both affirmed and shamed by. That slightly hard-to-get
walk, always going somewhere she is so wanted. Fashionably flushed arrival, saying cortado
and setting her bag down in one unrehearsed motion. Imagine how I would swoon at that.
Allah wanted a horse, so told the wind condense yourself. Suppose such precision was
employed in this woman’s making. Her sorrow honeysuckle. A thread of saffron goldening
in warm milk, a blush like that. Green thumb, baker’s dozen, has change, not a morning person,
her grouch endearing like a messy bun. Suppose when I wanted something, it also galloped
into being. A muscled obedience. Her hand, the soft palm that I have been in. Suppose
that kind of belonging. No need to unlearn anything, which I must. No need to sieve history
for some soup of language, which I must. Time to brown butter. A woman like that. Time to
feed what makes the bread. Suppose I were that first horse. So elementally wanted it must
come with a catch. A muscled obedience. Suppose sorrow riding my back.
Sarah Taban was born in Delhi and grew up across the Indian subcontinent. She is currently poetry editor at Guernica and a PhD candidate in literature at UMass–Amherst where she works on feminist-queer architextures in contemporary transnational literatures. Her work has appeared or is forthcoming in the minnesota review, Gulf Coast, Plume, The Margins, and Latin American Literature Today amongst other places.
Sarah recommends: Near to the Wild Heart, Clarice Lispector; Why I Write by Bohumil Hrabal; and Beanpole directed by Kantemir Balagov.