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      January 11, 2016The Orb WeaverThomas Carrigan

      It is still warm enough to leave the kitchen windows
      cracked open, but cold at night so the squash vine
      that sprouted untamed from the compost begins
      to shrivel and the webs where the window hinges
      against the frame appear to sag and if that gray
      crumb is a spider it is profoundly asleep and nothing
      like the ones that Vernon Lee found suspended
      in the head-high weeds wobbling like fleshy yolks
      with ink-splotch markings, balanced on slender
      legs, one side of the body a mirror of the other so
      baroque in its beauty he was moved to refold
      for the hundredth time the page from the nudist
      magazine and return it to his pocket in exchange
      for the kitchen matches and gather brown leaves
      and twigs as improvised torches to plunge into
      the trapeze of silver strands and instantly
      shrink and melt the plumpness of the body
      to dark liquid. Who could have been surprised
      to learn by letter what he had done to himself
      alone in an upstairs room a continent away
      that still felt like just next door and when I
      closed my eyes as they spoke about the linens
      and the walls and how that said just about everything
      I saw a web, quivering like a wind or something
      sudden was rising towards it, and it was strung
      to another one and another one and another.

      from #50 - Winter 2015

      Thomas Carrigan

      “I was working in a college library, and helped an undocumented Chinese student who was reading American novels written in dialect with a dictionary in one hand. It seemed impossibly daunting. He shared some of his favorite Chinese writers, especially Shu Ting, one of the Misty Poets. For a period of weeks we discussed one poem over beers going back and forth with the language and fashioning a translation. Never had the process of writing come to life for me with such urgency.”