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      December 1, 2022AnesthesiaSarah Pemberton Strong

      After the anesthesia, I didn’t know
      it was after. It was not like
      having slept. It was not at all
      like having slept, a state you wake from
      having logged some knowledge
      of time’s passage: twenty minutes
      feels different from two hours, or eight.
      But I woke from anesthesia
      asking when the anesthesia
      would begin. The operation’s
      over, someone said. It can’t be,
      I thought, no time has passed.
      I had to put my hands
      over the bandage to believe it.
      At home I threw up for twelve hours
      what seemed like gallons
      of bile mixed with darkened blood.
      Try giving chips of ice, the doctor said
      when my roommates called at midnight
      because I couldn’t stop. Try peppermint.
      How far I’d gone beyond that.
      Outside my window
      I was dimly aware
      of something happening.
      The usual midnight things
      on Sixteenth and Albion in 1991:
      a bartender smashing empty bottles
      in a dumpster behind the corner bar, people
      shooting up or turning tricks in doorways
      or sleeping, dark shapes to step over later
      when the sweet light of morning
      filtered down through the street’s acacia trees.
      I always left my car unlocked so no one
      would break the windows
      to get in; someone I never saw
      used to climb in the back and sleep there,
      leaving candy wrappers on the seat.
      At last the sun came up and burned
      my room to life again. It was only then
      I began to feel
      something was wrong—the way you’d feel
      a draft of air, and looking for its source,
      discover a window had been broken.
      Somehow a window had been broken
      while time was stopped.
      Or perhaps it was the act of breaking in
      that had stopped time in the first place,
      the way the smashed glass
      of a wristwatch
      arrests the movement of its hands.

      from #49 - Fall 2015

      Sarah Pemberton Strong

      “When I look at these two poems—‘Anesthesia’ and ‘Stalin’—placed side by side, I realize that they are both interested in the relationship between memory, consciousness, and violence. It was Joseph Stalin who said, ‘A single death is a tragedy; a million deaths is a statistic.’ I look to poetry to wake me up from the stupor of statistics; to help me reconnect, through empathy and close attention, with the singularity of each life—and with all life on this imperiled planet.”