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      July 9, 2018PhallogocentricLaura Read

      At the spring quarter composition meeting,
      my male colleague runs up to the board
      and writes the word, Phallogocentric
      and then explains that the essay
      in the Western tradition is phallic
      with its thesis sticking up right there
      at the bottom of the introduction.
      He says we should tell our students this
      so they know the tradition they’re writing in.
      I raise my hand and wait for a long time
      to be called on and when I am,
      the Director of Composition apologizes,
      and I say, It’s no problem, I’ve just been
      waiting patiently like a woman,
      which I thought would draw a laugh,
      but apparently, there are some things
      about which we should be honest,
      and others we shouldn’t.
      I say I am not going to tell my students that
      and then ask them to follow the rules
      we just questioned. Why not say
      the main idea can be arrived at?
      Or maybe there is no main idea?
      Maybe there are so many little ideas
      sticking out like curls that won’t be
      brushed down. I know you can’t brush curls—
      doesn’t everyone who has them?
      You have to use leave-in conditioner
      and product and scrunch them
      and then try not to touch them
      or they will break and turn to frizz
      and then where will you be?
      All week now, I’ve been thinking of this word,
      Phallogocentric, which my friend said
      Derrida invented and Wikipedia says
      is a portmanteau, which I guess
      is a blending of two words
      but which I thought was a suitcase.
      I love suitcases. I love the satiny lining
      and the clasps and how they make me think
      of trains and steam and hoop skirts
      and top hats. How did I get here?
      Does it matter? Will I arrive?
      I don’t know but out the window
      voila! the whole French countryside
      that Derrida once flew past while he thought
      about masculinity and language.
      Sometimes I think about dying
      and what I see is the white sheet
      my boyfriend and I washed
      and draped over our balcony in Nice.
      We left it there to dry and walked
      through the city and ate chocolate,
      and climbed up the hill and looked out over
      the Mediterranean, which is so many shades
      of blue and green you can’t imagine,
      and he smoked a pipe, which I think
      made him feel more like a man,
      something I couldn’t say then
      but I could now if I could find him.
      Would he laugh? Would he remember
      how when we got back, the sheet was dry
      and perfectly white and looked like
      nothing had happened?

      from #59 - Spring 2018

      Laura Read

      “This poem was inspired by a real experience I had at a department meeting at the college where I work. I do want to note that the male colleague to whom I refer in the poem is very kind. He is not the villain of the poem. The villain is, in this case and almost always, the patriarchy, but the poem would like me to ask, ‘Does there have to be a villain?’”