I
It’s possible to lose an island.
Peacock Island went missing
for a century that often goes missing:
the seventeenth. I too have that power—
I disappear by letting the gaze
of a man skitter past me
as I focus entirely on myself.
In a bar. On the Bahn. In the breast
it’s arousal’s nemesis.
When you remember an island
it comes back as blank slate. Boom:
A mistress. A circus. A fancy
garden. I’m no fancy garden,
but when I remember my fleshy flesh
and someone’s gaze confirms it Boom
in the blood—a squelch of interruption.
Anger-cousin. The clock. The boobs.
I’ve been to Breast Island, Blood
Island, Blah Island, and I’ve slurped my anger
on each: I must have one body while islands
have so many. Forget this body,
I say stepping onto the boat that cuts
the river. But ten seconds later
I dock on Peacock Island still skin
swathed, still missing myself as a century
of abandoned land until the peacocks
lurch from me in fear. Boom: They should.
II
An island is a dark glass.
An island is a dark glass.
A title is circle.
A peacock bisects it.
A peacock is a man.
An island becomes him.
A language is weather.
A language is weather.
A river is history.
A bomb sinks into it.
Jennifer Kronovet is the author of two books of poetry, most recently The Wug Test (Ecco, 2016). She is also the co-translator of
two books, including Empty Chairs (Graywolf Press, 2015), the selected poems of Chinese artist Liu Xia. She edits Circumference Books,
a new press for poetry in translation.