“Everyone knows the statues are haunted… Don’t you believe that here on our
island these Gods never died; they just became spirits.”
The history of land surfaces as the history of statuary — what is the sea here
begets navy and must have a marching band. A bird eventually a fast weapon.
In order to mark the body, remember how we raised a country. The lake an
inversion of mountain and hides something different. A woman here turned
her sons into oxen to stake claim to her own place—
Black pram with cardboard arched inside the shade, a baby + pictures
of sky, a red house, finch shaped from lay lines of the hill behind us. The
history of land had been cartographic: I had rather see the replica of the body
than see the body itself.
Laressa Dickey is the author of four chapbooks (MIEL Books), including “A Piece of Information About His Invisibility.” Her work has appeared in such journals as Cerise Press, inter|rupture, and Quarterly West. A chapbook “[apparatus for manufacturing sunset]” is forthcoming (dancing girl press) and a poetry collection entitled “Bottomland” is forthcoming in 2014 (Shearsman).