It was the third day of Albert Drach’s fast. He had been eating null, inputting nought, defecating null, outputting nought. He was awaiting fever dreams to descend on him. He was awaiting descensions of the kind no one had known before, the way the sun’s sunset sets on the Polish Poppy Proletariat, intoxicated from hours with the black seed, who on their way home would imagine their wives had all slept with a purple fabric seller from Kiralyhida and poisoned their dinners. Albert Drach was awaiting such descensions.
And they did come unto him. (In parts.)
He threw his head back walking out of an ocean; his hair coalesced in one single strand splattering its salt water into a white sky and plopping on his back like a whip. He was groping pebbles in blue, black, and gray, crawling ahead in fast devolution from human form; this here rectangular rock larger than his palm and this here short shard of slippery volcanic vomit. He gasped for air as if his pastel pink lungs were fit for a muddy, pre-Cambrian ocean. Standing on a shore of pure stone, he looked ahead, and without a gaze could feel his nakedness, in waves emanating from his hips, not from shame or negation, but a viscous cold filling in his creaks.
Two and a half girls waited, leaning on layers of white rock squashed into each other for centuries. The half girl had one hand, only hand, in a gap in the wall – but no, it was more of a cliff looked from below, but no, it sharpened as it rose and stood alone, but no – and had her body asymmetrically made. Two feet and two calves and three quarters of a lower body and half a torso and one arm and one hand. It was an artist’s job, this, no sinew or stain in sight, everything perhaps unsuitable to the eye tucked inside a half-wet periwinkle dress. Albert Drach remembered not the name of the poet or the sculptor or the gynecologist, but remembered another immortal work of him, the god Elohim.
The other two sat in an awkward gang. Left girl had her legs crossed, again in periwinkle paper, ruffles rolling over boulders and bishop sleeves. Right girl held a Rodin pose, and a belt of red crepe paper encircled somewhere not her waist. Their faces pale and puffed, eyes small and round, hands fit for a life of craftsmanship at first sight, and after a thought, hands like those after a life of craftsmanship. Left spoke: “We were waiting for someone else.”
Karin is a sophomore studying Physics, from Turkey, and now living in California. She was long-listed for the 2022 Erbacce Poetry Prize, and this is her first published work.
Pingback: The Chamber Magazine