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      January 17, 2020DissectionAlexandra Umlas

      Once on the bus ride to school the girl saw a man
      smash another man’s head into the sidewalk.
      The city bus kept moving down Atlantic, past
      the diner where pies were stacked like beacons,
      beyond metal carts bulging with water bottles,
      bond businesses, billboards holding out impossible
      promises, her backpack full of biology, English,
      history, Spanish, math. The bell would ring,
      the teachers, pacing linoleum floors, would mark
      her papers with ink. The day went on like this,
      except for in biology class, where the girl was given
      a wrinkled, formaldehyde mink with pink skin, like
      a baby but with a tail and two sharp teeth.
      Nothing was soft, its insides rubbery, and she
      wanted what was soft: oatmeal with cream
      for breakfast, the cotton threads of a grey sweatshirt
      that matched the morning sky. And they were told
      to cut the yellow fat of its body open, but also
      to respect the mink, its worm esophagus, threaded
      muscles, marble eyes. She took the bus
      home at 2:40 p.m., remembering the man framed
      in the window, the silent switching back and forth
      of skull, sidewalk, skull, the mink wrapped in plastic,
      its mouth hanging open, what tools she had laid out
      on the scratched table: scalpel, scissors,
      hands, what is cut away and what remains. The girl
      closed her eyes, pushed herself against the bus’s
      exo-skeleton, went over, again, the systems:
      respiratory, circulatory, digestive, until she arrived
      home, peeled all that death off her shoulders.
      The girl ate dinner because what was done
      was done. Nothing would bring the mink back,
      and the man was okay or he wasn’t.

      from #65 - Fall 2019

      Alexandra Umlas

      “I am drawn to the way a short piece of writing, like a poem, can capture an experience. It’s as if the poet has broken off a piece of life and made it tangible. Life is vast and unruly—it is comforting, for me, to look at it in pieces. Frost called poetry a ‘momentary stay against confusion.’ I am grateful for those ‘momentary stays’ poetry offers me.”