Allison Adair

Magnetic Resonance Imaging

Night: scratching or gnawing rises from the juncture

of wall and floor. This building’s old, keeps me up

with its resident hungers. By morning who knows

what to blame? The numbness blooms in two

directions, up and down my spine, nape to tail.

Women are tuning forks, a friend says, so I guess

we can assume something’s coming. A parade, maybe,

slide trombones with their foghorn throb, their brass

centrifuge—or end of days, waterspout kicked up in a pond

once so chopped with walleye you could hardly swim.

Back then I thought slipping fishhooks out gently could

get me somewhere with fate—somewhere unharmed.

Soft pressure of thumb at jaw joint, and just like a coin purse

the world would pop open for me, would jangle with

reciprocal silver. Even if gut-hooked: needlenose pliers

in through a gill, counterintuitive twist. A kind of love.

For Grandmother’s essential tremor, the doctor urged

vodka gimlets, a therapy I found both tender and lazy.

Unambitious. I can’t help picturing him on a sunfish,

tanning beside his elongated life partner. But so slim,

really, the chances any of us make it past the bull sharks

and what would it mean if we did? My daughter

returns from jumping rope with cheeks pink as

minced watermelon. She finds me sobbing, the wall

that holds me sprouting pale horsehair. Another friend

burying another child. 19. Motorcycle. What purpose, I

ask, does it serve the whale to breach, to slap the sickly

gray glass surfaces of any ocean, to fragment the finite

sugar of its 400-lb. heart? Darwin distracts us: fit, fit,

fittest, his thrust as incessant as teeth crumbling a wall

into a hole. We should want that whale to make it all the way

to magnetic north. All the way. I might have begun this

poem by complaining, but truly, I side with the mouse.        

Allison Adair’s poems have appeared recently or are forthcoming in Georgia Review, Copper Nickel, Threepenny Review, Best American Poetry, Kenyon Review, North American Review, Subtropics, and ZYZZYVA, among other journals; and have received the Pushcart Prize, the Florida Review Editors’ Award, the Orlando Prize, and first place in the Fineline Competition from Mid-American Review. Her first collection, The Clearing, was chosen by Henri Cole as the winner of Milkweed's Max Ritvo Poetry Prize. Originally from central Pennsylvania, She now lives and work in Boston.