Youna Kwak

Summer 2024 | Poetry

Five Poems

Sometimes Mother

 

Guess who appeared in the living

room on the night of parent-teacher

meetings wearing underwear, pantyhose,

blouse, but no skirt, crowing Let’s go!

 

Guess what she did with the fat

envelope of cash from Elder Brother

supposed to go toward fixing

the washing machine. Guess what she was doing

 

home “sick” on Wednesday afternoon in

the empty house, guess what happened, that time she

was careless, guess how little

she remembers, how the memory

 

scarcely troubles. What reasons for not

knowing present their sly, upturned faces? Won’t

tell, won’t remember, all lies, wasn’t

asked—guess who’s compelled

 

to endanger her children to satisfy some

material or psychic need, acting rashly, feeling

sorry, expressing contrition, resentment, regret or

else just punished, anyway still yoked

 

to the mother-script even if not

feeling sorry at all, some joyful

smear of not-sorry feelings, defying

classification, inadmissible sear

 

whose sullen opacity jolts, scorched

jab of pleasure each time you gingerly

poke, aching to evade the bars of the mother-

cage that no amount of badness can bend.


 

Mama Killjoy

 

God forbid the father even the barest

speck of joy. When he has busied making

 

meanness last, going back and back as

far as the horizon of the core rotten world

 

ruled by the mean daddy of her worse daddy plus

the soon-to-be-mean daddy she married,

 

during all those years when I was trying

to get thin, look pretty, become someone

 

a boy would want to pet, she was already bones

and arrows at the surface deflecting and in the depths only

 

death—at best!—the only definite. Death

is the good news, living’s the connivance. In her

 

hoary heart she loves too hot to let in any happy or love’s

invariably the wrong question. The right one

 

is mama squelched, given no issue. We’d love

to kill the father too, for keeping

 

her under thumb and foot, her labor

looped to turn the sad days bad, the bad

 

days sadder, this too a task of mothering, as

our love was a thick sole’s squash upon

 

her febrile lights, her love was a smoldering stitch

dousing out our every needy bursting into

 

flame, her every calm fine to the how-are-yous

a ruse as she laid patiently in wait to intercept

 

the imminent arrival, the pain of the world a parcel

she intended to deliver us by hand.


 

Ouroboros Mother

 

trains me to seek constant approval so I constantly

disapprove of mother and she constantly

disapproves of me so that our mutual

disapproval defangs the specter of disapproval.

 

To feel weak and damaged, not to feel at home

in the world, to feel out of place, unseen, unsafe

everywhere are defaults that mother considers

proof of superstrength for despite the failure to

 

belong, you are here. Mother always came last

as if it were her destiny to be forgotten, but even

destiny is rememberingly narrative. If story

giving value to mother’s life is anathema, not

 

to tell mother’s story is unethical, if story is tidy

melodrama then failure of story may be

corpse. If story of mother is unjust then failure of story

true life, if only as Mother she’s permitted to enter

 

story, the no-story now provides

resolute shapelessness, before settling into

the familiar likeness of phantom, before it can be

harnessed, corralled and smushed into the story

 

of the death of the mother, which despite all storms

will hold steady to story with you as

protagonist, a deep cake of color dissolved

in water so that something very like

 

Mother might emerge, divested of metaphor

or destiny, an entry

into peculiarity where you do not want to be

protagonist, you too want merely to live.


 

Mothering

 

Taking over

 

me, don’t know how to be cool

 

about it, trying to be

 

cool isn’t it pitiful I’m not

 

cool at all I smell

 

bad so worried all

 

day want so badly to do it

 

right instead all day just cry

 

and cry on the airplane cry when

 

she’s screaming cry

 

in the grocery but mothering’s

 

still my new best skill my only

 

skill it’s what I do

 

most now am best at no more

 

work no more writing only crisis and

 

the only center that holds having to stay

 

alive for the sake of she’s

 

overtaken me maybe will

 

choke to death maybe

 

drown if I look away one

 

minute now she’s four she says

 

very pink, pink brown, light brown, very brown now

 

she’s six says mommy what does rape mean now

 

she’s eight already hips are curving my hands

 

in my pockets perpetually making

 

fists now she’s ten getting ready I can

 

tell by her side look she’s sharpening

 

the long knives looking in

 

the mirror preparing to

 

use them meanwhile

 

I’m stabbing at another

 

skill trying to be more

 

than this even when can think of nothing

 

else but I also have a brain every day

 

so fogged with the nothingness of

 

everythingness every day veers

 

away can’t be cleared out every day

 

devastated by some ordinary sadness

 

of my mother’s so ordinary but

 

her suffering has to pierce

 

someone inevitably and that must be

 

me and my suffering has to pierce someone

 

someone inevitably and that must be

 

how we found

 

each other here dead-

 

locked into formation as

 

mothered and

 

mothering.


 

The Murderers’ Tale

  

No mamas. No murderers.

Greta Garbo

 

Being born means being pushed, pulled, or cut

out of a womb, meaning, mother becomes in the moment

 

she says Out. Becoming mother foretells the art

of injury, meaning, withholding your care

 

is no glancing blow, always fatal parry, never

provisional, always definitive, colonial in

 

forcefulness, even petty harms symptomatic, can’t

do without you, somebody’s feelings can’t

 

be helped, the intoxicating condition of being

mother, a life in your hands, can you love just

 

a little and mother, can you be loved a little less

and be mothered, the mothers of mothers

 

murdered at a distance each time without

story, each time mother dies again a little, watching

 

one by one the faraway lights extinguish, feeling

future in their presence, their mirage

 

unattached to obscure survival, all

this time I felt it was shame that gripped

 

and held me in check but it was only

love, a tiny love, just a little bit of love,

 

to be a little-loving father only mis-

demeanor it’s only mother whose

 

little bit of loving’s felonious, little

enough to kill.

 

Youna Kwak is a poet and translator, born in Seoul, based in Los Angeles, author of the poetry collection sur vie (Fathom Books) and two French-to-English translations, Gardeners by Véronique Bizot, and Daewoo by François Bon (Diálogos Press). Recent work can be found in Po&sieModern Language StudiesChicago ReviewL’esprit créateurLos Angeles Review, Oversound, and The Hopkins Review.

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