The ABC’s of Loss
A.
I’m losing my accent, an animal forgetting
itself in parts; two-thirds arms, three-quarter legs, my body
a memory of three meals and lots of books
I sit in my hardest chair, playing in my inner deportation center
wrestling to see what I’ll have to abandon tonight, testing the
next story against the others, they say
all losses are imagined, but I’ve stepped out of my-
self so many times there’s a grudge in that doorway
a blockade of flies taking away
from the meat of
what we’ve meant
B.
at fifteen, I give up the word gravity and float around for days
I disturb nothing in our rented house, I consider us a museum
in that we always have something to come back to
I’m only the more lonely of its curators, my father bangs me
against the walls like a cheap prostitute, I blacked out after the first time
I failed science
I woke four-fifths gone, one-fifth
wanting my glasses back
C.
at sixteen, I am a piñata for almost everything, the world shakes even
as the grandparents visit us in jersey, an ant colony under a blurry microscope
but they are getting the sense dad doesn’t leave the house
most days he lays in the backyard, a weird dinosaur
on a plastic lounge chair trying to change psychiatry
and the english language, other
days he takes it out on us, he obsesses over my education
until I don’t want to know anything which is good
because another word for this is humility
D.
anyone who has begged too hard for too long is of a slightly different species
I built spaceships to breath in my bedroom, borrowed oxygen from the television
trying to wait out that silver storm, I left
large parts of my heart in the furniture
I signed cards to my dark side, open-ended, to whom it may concern
because I wasn’t sure who was there
we all get caught playing nobody
but some of us stay that way, I’m nobody because of
the silences I’ve accepted
E.
random mortar took over, afternoons of cartoons floated in from the vents
a little less real every day, I lost the word sad in my piggy bank
but I could taste it, mom cooked rice to hide our sins
we ate meals tinged with a violence none of us could explain
I predicted victims like a weatherman, my mother and brother
switched chairs as I chose another bruise
in a blacker purple, this might be the difference
between you and me, I don’t see faces as anything
real or beautiful
F.
at twelve, I write lyrics for my dog, he jumps out of our chevy
and a few days later the bird dies, I stuff my shirt with newspaper
and sleep in the breezeway
years later I’ll pee in jars because I’m too scared to see anyone
my mother lines up twenty white pills because dad fucked the asian baby-
sitter back in new york, she starts melting so
I call 911 and while I wait for the ambulance
turn into a very old man with no body: nobody
I understand the concept of a corpse
J.
variations of sleep, we’ve woke as worse
my brother and I are entirely different pets, he, my father’s, stabs hamsters
and molested our cat missy, while I, my mother’s
want to be alone in an almost supernatural way
my guess is none of my teachers wanted to face the black hole
I play dead in, one birthday
J. drops acid and has a grand mal seizure
spends the next three years at the four winds mental institution
I visit twice, most of him is
missing but he doesn’t ask for anything
I can see how seriously he takes his escape
it’s in me too
M.
my father was a moderately famous psychiatrist once upon a time
he understood the principles of what could break and what could heal a man
and so he became my judge and executioner
passing out white candy for my better performances
and crushing me when I stuttered, he molded me into a camel
and no the ocean in my hump is
in no danger of bursting, there’s an erotic side to every beating
so I know my father well enough to know he understands it will take
years for us to get human again
S.
surrender took us to quiet places when dad started hitting harder
he found us there too, repeatedly, as the room became a submarine
I once put up a white flag
and hit his arm in the car hoping we’d crash and you and mom
could live some soft new life somewhere far from that suburbia
from the invisible graveyard
growing in our basement, I
wanted that life for you two
that badly
Z.
my brother, my mother, my father and me
we took vacations in each other, played our nightmare roles for academy awards
I was the star, my mother the audience, my brother
the supporting cast, my father, the director and producer, screamed action
and we all survived in place, playing dead loudly, pretending in and out of
ourselves like animals
years later I’m obsessed with dictionaries, with verbs and history
with killing seeds, with archetypes, with thresholds, with strength
and purity, with accents
Z.
my mother stood between some shots, side-stepped others
my brother had seven pairs of blue corduroys and seven blue T-shirts
because my father was in charge of school supplies
he joked it was his victim uniform, I dressed beautifully because
part of me was still a woman for dad, rumor has it last halloween
a kid was killed by the police
years later I openly shoplift for the rush of getting caught
the handcuffs, the cell, the call to my parents, I’m flirting with
being someone else’s prisoner
| Peter Schwartz |
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levelheaded: The ABC’s of Loss The magic behind this tale of horror lies in the poetics beneath its shocking facts. First to emerge, the poetics of a haunted self. “I am,” the speaker insists: “an animal forgetting / itself in parts,” “the more lonely of [a museum’s] curators,” and “nobody because of / the silences.” Second, a myriad of descriptions come together to create the speaker’s personality: entrapment (“playing in my inner deportation center”), humiliation (“four-fifths gone, one-fifth / wanting my glasses back”), despair (“I don’t see faces as anything / real or beautiful”), and finally the surviving self (“obsessed with dictionaries, with verbs and history / with killing seeds, with archetypes, with thresholds, with strength / and purity, with accents”). Independent glances at sections A, D, and J show each could have been a separate poem. Each presents enough of the story to stand on its own, ending somewhat abruptly in mid-thought and leaving room for diverse, often contradictory responses. Why the alphabetized stanzas and the “ABC’s” of the title? Well, the alphabet may reflect the speaker’s need to impose a structure upon his story. Yet the story isn’t linear, and the ordered alphabet doesn’t last—maybe because the poet wants to display the cracked foundation of the traumatized self, maybe because the speaker needs to get to Z faster and stay there longer (there are two Z stanzas). In Z, especially the first one, somehow we find hope and closure. But closure seems too easy a way out, and instead we end up as the second Z does—in jail. While a great deal of poetry in the last century seems to rely on the credo of “less is more,” Schwartz’s poem reminds us that sometimes more is more. This poem shows us that the weight of a poetic metaphor can grow when the metaphor is confronted again and again, each time with a slight variation. Rather than punch-lines and sharp minimalism, “The ABC’s of Loss” displays what some readers and writers still fight for: patience and profundity, a slower and deeper search. -The Editors |




