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      March 6, 2020Gurney SeasonAnna Newman

      until all the red is absolutely out
      my mother won’t eat meat
      so I cook it till it flecks
      char meanwhile the dog chews
      his plastic bone
      splinters drive into his gums
      I get them out with eyebrow tweezers
      on the front porch a pumpkin’s limp
      and liquid the squirrels eat the insides
      and induce a glazed-eye stupor three
      stitches on my dog’s large intestine
      fix the rodent-bone perforation
      the shrimp smells wet she bins it
      the pheasant’s leaking something
      I say it’s the body’s natural fat she
      bins it a season of unread newspapers
      sedimentary like a natural formation
      on the dinner table each gurney season
      I wish I had a firmer grasp on tarot
      readings I keep only pulling swords
      I’m trying to scry the something red
      and possibly contagious in the center
      of me that keeps pulling in things
      seemingly to break them my dog’s grave
      marked by a trellis so we don’t dig him
      up after gurney season is done and we’re
      planting nasturtiums when she’s
      in the hospital I’m like that girl
      in any B horror movie who reaches out
      and touches the dark of an empty house
      like she’s expecting something
      if I can explain both of us away
      into something not quite done I can do a trick
      where I pretend the dark is solid
      where I pretend it could be someone
      reaching out and touching back

      from #66 - Winter 2019

      Anna Newman

      “In the best horror movies, you don’t know what will happen when a character chases down a strange sound (Was it the wind? A ghost? A cat knocking something over?) or enters a dark and empty room. The poetry I love has this same quality—I feel like I’m reaching forward, waiting to encounter what’s inside the poem’s room, never sure what I will find.”