i am young young young and i am sitting in the back of my parent’s car, the nice one, old and smooth and caramel coffee colored, so it’s before we lived in the white house with the dog who chewed the seat belts out. it’s cold out but the windows are down so that my dad can smoke and my mom is driving. my mom is nearly always driving. she says she’s a good driver and i believe it because she tells me so, even if my dad seems to think otherwise. i am sitting with my baby brother and it’s almost dark but not quite and we’re only alone because the road has been empty of hitchhikers. there’s mountain air on my face and my eyelashes and everything smells like cigarettes and incense and baby powder and i will fall asleep in this car. i will wake up in this car, and this feels like my forever.

i am five and i’m sitting on a couch that’s yellowbrownorange. it matches the tiger that came in the baby cookie box that we buy for my brother that sits next to me. there’s a gap in this apartment where my father should be (but when i think about it i know he is somewhere, i can picture it, a dirty white room, laughing or talking in low voices with a skinny dirty man whose smile is sad and sincere and keeps a pet ferret on a leash). my mother’s hair is shaved short and there’s a ring in her nose that my great aunts fret over. she sings along to the cassette tape on the chunky black stereo and she kisses my brother’s face. she’s beautiful and perfect and when i look up again her face is obscured by a video camera. “erika! say hi!”

the backyard of this house is attached to a playground before it disappears off into forest and mountains. in the wintertime i get my lips stuck to the safety bar above the slide and rip the skin off, scream at the blood dripping down my chin because i was too impatient to wait for my dad to return with a warm washcloth and unthaw me. late at night my parents shake me awake and carry me to the window and all three of us watch the bears try to get into the garbage bins that line the fence until i fall asleep again.

in kitimat there are relatives that kiss me and scold my mother for taking the lord’s name in vain and a cousin with a collection of sparkling, shining bath beads. she gives me one and i keep it with me in my pocket, a secret gem i show only my mother.

and here are the gaps: an apartment with off white walls and my mother’s harshly bleached orange hair and telephone conversations that ended in shouting matches but a christmas that sparkled with poverty and love and family. my father is here in flashes only and i can’t remember my mother touching me though my visions of her are happy and bright so she must have done. was this before or after the plane?

we leave the mountains and end up here, where we walk everywhere and there are peonies in rich people’s gardens instead of sunflowers and heather plants lining the road. it’s bright blue and my mother is growing her hair out and my father plays any ball game i want with me up against the garage door, or out in the field around the corner, baseball and hockey and tennis, even, because we found an old racket somewhere. my brother and i share bunkbeds and when the fighting gets particularly bad we lie in the bottom together and i hug him to me and pretend that that means he doesn’t hear the same things i do. later they’ll both tell me details, my dad while we sit on the front step together and watch the cars go by “she tried to strangle me, pook” and my mother when i crawl into bed with her after she’s forgotten to get up again. i take a picture of both of them together on a disposable camera that my nana gives to me when she visits. my mother’s wearing her glasses that i love and my father’s hair is long the way it used to be, their clothes dark even though it’s summer and they have their arms around each other smiling, and this is how i like to remember everything. my dad draws the things out of his comic books with fantastic detail, spiderman and venom, and spawn, who i’m not allowed to read. my mother paints skeleton families and bright yellow flowers.

i’m standing in the hallway and my dad has a backpack hitched over his shoulder, dark green and yellow and red (was it mine?) and the baseball hat he’s started to wear all the time now. he’s telling me something, and then my mom is talking. he leaves and i’m used to it, by now, these gaps in my life where he leaves to work or see someone or live apart from us- they aren’t even gaps, not really. i go out to the backyard and i bring my brother with me, my best friend, and i tell him this because he’s too young to remember the gaps and i’m just old enough. if my mother is going to cry i don’t want him to see.

my dad doesn’t come back. the carpet in his basement apartment is the same yelloworangebrown as the couch in BC and an old man i don’t remember meeting but who i know is my grandfather lives above him. when i come to visit him he sits on the floor with his back against the couch and he holds onto me and he cries. there’s a picture of my mom on a shelf above the television. his friends (all skinny, dirty men with sincere sad smiles) come and go and i know most of them by name.

all of this is true.

about a hurricane girl with autumn colored hair.

about a hurricane girl with autumn colored hair.

there are people who mirror you so closely that you’re never supposed to cross paths with them

somewhere there was a swerve and a duck and we tried to make our parallels work when they didn’t make sense to either of us. fingerprints and private battles that matched across state borders and when she’d tell a story i already knew the ending.

are our punchlines simultaneous and if not, who comes first?

i think i was in love with her a little bit, but only in the way that i’m in love with myself.

“there’s a girl who looks like you standing at the bus stop and i pass her every day on my commute. do you think when her mother sits on the edge of her bed and cries, she pretends to be asleep? are her teeth lined with bullets the way ours are?”

parallel paths are not supposed to cross and mirrors are not supposed to break to share space. i will miss her forever but i won’t want her, don’t want her, never wanted her and i know that she feels the same.

the seasons between us speaking feel like safety.

i can only deal with one of me.

You make me feel like my ribs are made of gold and my skin is lace, a little see through, and pretty and familiar. It’s for you that I’ve got sunflower eyes: to match the sky in your irises and the morning in your hair and the summer that hides behind the top row of your teeth when you smile. The best things don’t always have to sparkle but every now and then I think we really do shine.

we are fire escapes and black coffee,
climbing old buildings
and burning cold mouths
with sharp and bitter kisses

we live in hazy shades of familiar grey:
like speech slurred by sleeping pills
and four am breakdowns and recoveries
and letters smudged with rain written up in the mountains

we’re silent “i miss you”s on hesitant tongues
phonelines pulled tight on cracks of laughter
and we’re the safe smell of cardboard packages
and “you have to know what i mean and not what i say”

well baby baby baby you know i’ll always try, but
even when i don’t
my fingerprints are still yours to keep.

The poems led me to think that your skin would feel like roses and silk; delicate and soft and easily bruised, but there has been marks there since long before I came along. Your fingertips are scabbed and your eyes black and blue and sometimes when you turn over in the night the pillowcase catches on the chips in your mouth and becomes stained with your blood.

You’re my hurricane-baby, born of the dirt and the grit and the back alleys where good girls don’t go. When you grin at me it’s like I’m in a fast car without any brakes, or a pick up truck speeding down a dusty old hill towards the drop off into the lake. I could die die die at any moment, but at least it’s better than being bored.

My heels aren’t as high as yours and my breath tastes like mint, not whiskey. Or like strawberries sometimes, if you had a sentimental moment and brought them home from the farmer’s market because you remembered how I love the color. That’s when you kiss me the most, and laugh and laugh at how my fingers shake against your neck, at the noises I make when you push my wrists above my head.

And then sometimes you don’t come in until I’m already in bed. Your perfume is cheap and heavy and your hair bunches around your freckles in wild dark curls and it’s hard to tell if you’ve been out fucking or fighting or both, but you hum when you slip under the covers next to me, press your bloody lips to the back of my neck, and I slip farther into love with you like I’ve been doing it my whole life. I hope to.

We’re all bits of recycled star carbon
Blown out supernovas
Celestial giants sewn together
And taxidermied in God’s image.

I’m looking for traces of brilliance among the wreckage
Wondering if we can ever live up to our ancestry.

Sometimes Jude has these dreams. He’s on a beach that goes for miles and miles, so far he can’t see the end of it. There’s nothing there at all but sand and water that doesn’t move. That’s how he knows he’s dreaming. There are no waves or ripples or anything, the water just sits there, impossibly still. In his dreams, Tex is running. Running and running and running down the beach so fast that Jude can never get close enough to touch him, and even when Jude tires, collapses into the sand with heaving lungs and asks him to stop, Tex never does. He screams sometimes though. Or he opens his mouth like he’s screaming and nothing comes out. Jude tries to hear it and he never can, just knows that Tex is screaming and screaming and running like he can’t stop.

When Jude wakes up from these dreams, Tex isn’t usually next to him. He gets out of bed, feet heavy against the cold floor, and pulls a sweater over his head because no matter how hard he’d been chasing in the dream, he always wakes up freezing.

Sometimes Tex is just in the living room, or the kitchen, pacing back and forth back and forth and holding onto his hair like he’s trying to keep himself from floating away. Sometimes when Jude looks out the window their car is gone from the driveway and when he checks the drawer in the entry way Tex’s gun isn’t there either and Jude can never decide which scares him more.

Tonight the car is gone and there’s a mess in the front foyer like Tex couldn’t decide which shoes to put on, and the drawer where he keeps the gun is hanging open. Jude just presses the heels of his hands to his eyes and breathes in deep; one two three four five, one two three four five, one two three four five, before walking back to the bedroom to get his cell phone. He calls Tenoch first, but he knows as soon as the other boy answers sounding like he’s just been woken up that Cash is in bed and home safe, that wherever Tex is he’s by himself.

“Sorry,” Jude whispers. “Sorry to wake you, it’s fine, go back to sleep.” He hangs up before Tenoch has a chance to offer to help.

He tries Tex’s phone next, twice without an answer, then sits on the floor next to the refrigerator and waits for his phone to ring back. It will eventually. He knows that it always does, even if his heartbeat is a traitor, skipping along too fast, trying to convince him that this time, this will be it. This will be the time that the call never comes.

Jude reaches above his head to the kitchen drawer, pulling it open and bending his wrist to dig around until his fingers brush against soft leather and a pen. He writes because he doesn’t know what else to do, because he knows that borrowing Cash’s car when he doesn’t even know where to look is pointless, because the words are already there pushing at his throat the way he feels before he’s about to cry.

Even the ocean is still next to you. Sometimes I want to hold us both under til it fills us up and you stop moving, if only so that I can drag you out again and lay you in the sun to dry, watch you open up your pretty green eyes without looking scared of bursting out of your skin. There’s sand under my eyelids and I keep waiting for you to come home. I think when they split us up they got the lines jagged; you were left with too much and I wasn’t left with enough.

The phone buzzes against his leg and Jude lets out a breath he didn’t know he was holding, hits answer without even checking the name. “Texas Ranger,” he says quietly into the reciever.

Tex’s breath is hitched and uneven, and Jude thinks that if he listens hard enough he can hear the whirr of traffic going by. “I woke up and you weren’t here, Tex Ranger.” He can hear Tex swallow, and maybe the shuffle of him moving in an enclosed space. He must be in the car, Jude thinks, and he can picture it now; Tex hunched over with his forehead pressed to the steering wheel and his hands shaking as he tries to come back and figure out what’s going on.

“I had a dream about you,” Jude tells him, closing his eyes and listening, talking so that Tex remembers that he’s there, that he has somewhere to come home to. “I remember when I was in London, you were the only thing I’d ever have dreams about. And somehow you always knew when I hadn’t been sleeping, because you always called right when I needed to hear your voice. Or maybe we just matched up that way.”

Tex takes a shuddery breath on the other end of the line, almost a gasp, pulling oxygen into his lungs hard and fast and Jude is thinking about running again, running without stopping. “Are you there?” he asks, like Jude might not be. Like he might have gotten fed up and hung up the phone.

“I’m here.” Jude says simply. “I’m here.”

“I just want to sleep,” Tex says. “My head hurts.”

Jude stands up, tucking the little leather notebook into the pocket of his sweater and keeping the phone pressed to his ear. “Yeah baby, I know.”

“Will you kiss me when I get home?” Tex asks. There’s the sound of the car starting in the background and Jude lets himself breathe easy.

“As soon as you get in the door. Then we can sleep.”

“Yeah,” says Tex softly. “Okay.

And it isn’t. It’s not okay, but it’s enough, for tonight. It’s enough for Jude to stay on the line and let Tex listen to him breathe and write and move around in this space that they’ve made for themselves, enough to put his hands on Tex’s face when he walks in the door and kiss him even though they’re both still trembling, enough to slide his hands under Tex’s ribs on the bed like his grip is the only thing keeping him there from falling apart. It’s enough when Tex finally sleeps, pressed skin to skin, breathing hot air against Jude’s throat.

It’s enough, for tonight.

ribbons and wolves

ribbons and wolves

Sharpen your teeth on the silver you keep under your tongue, and go out the back door. One two three down the cracked pavement steps and into the woods while the moon glints off your jacket buttons, tangles in your bramble-brown hair. You’re picking through grass that’s sharp with frost, that cracks under your boot steps, while I’m at home under bedcovers dreaming about yellow-green eyes.

Our mothers told stories about wolves to girls in lace dresses and blood red hair ribbons, and when we used to play pretend, it was always me who hid under the bed, waiting with trembling lips to see if you’d find me. You always did. Even years later when we were writing our own stories, and our mothers stopped calling, you always found me. You said you could taste me on the air.

I can’t hear you over the snow outside, but the fire is dying and I know it’s almost time, I can feel it in the way my heart is like a bird caged in my ribs, the way my hands are shaking. My coat is waiting on the hook by the door, red like those ribbons I still keep in the wardrobe.

You’re already there when I step out the door and the first press of your mouth to my skin isn’t gentle, is never gentle; I can taste blood when I turn my lips to kiss you. You pull the door shut behind me and I close my eyes because this is the last time, we know this is the last time, and whereas before there were always bites and bruises and reminders in the shape of your teeth on my skin, in the morning there’ll be nothing left at all.

Maybe I should have listened to the stories, they were warning me about you.

My fingerprints are petals and sunscars set in the shadowbox of your skin; I want to put you on display in a big white room so that the colors stand out, so that they can come and see, and so that everyone will know you’re mine in silver-violet.