Last Visit
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Last Visit - Chad Abushanab
Negatives under Microscope
I’m focused on the space inside your eyes—
first pupil, then iris, now cellular disruption—
in search of some clear catalyst, some reason
for these scars, for this crooked helix on my chest.
I want the DNA for empty bottles.
I need to know what made your cruelties grow
unwieldy, like cancers let loose upon a body.
I’ve scoured the entire frame, pushed past
the edge of every family negative
believing the secret’s hidden, like a code
between the plastic and the acetate.
I stare for hours at a single portrait,
deducing from a smile the hell behind your face.
At times I think I smell the whisky sweet
perfume of you, as though each image captured
something of how you lived, how you breathed.
But then each clue turns out a part of me:
a hair, a thumbprint left while leafing through
the pile of specimens, a flake of skin,
a barely visible scratch I made in haste—
more me than you, more you than science,
naked and pinned down beneath the lens,
as though our cause is finally in the frame,
begging for exposure, for the light.
The Factory
Hulks in shadows just outside of town:
a rusted mess, a postindustrial tomb.
Poorwills roost in smokestacks falling down
and cry out something awful in the gloom.
Elsewhere, men with bloody lungs keep
coughing up clots like overripe berries.
Their wives beside them pretend to be asleep,
imagine different endings to their stories.
Plastic Men
After each fight, Mom took us both
to Wilson’s Five & Dime to pick
some cheap toys. Our father’s slurred voice
became a ghost of breath beneath
the long tin ventilation shafts.
Mom waited by the counter,
spoke to the clerk about discontinued
spools of thread, buttons she’d meant
to sew on weeks ago. She wore
green bruises below her eyes.
Her split lip kept her dabbing blood
with Kleenex—a poppy flowered rag.
Digging through crates of army men,
we looked for figures of tragedy:
missing arms, hands broken at the wrist,
the grenadier who’d gripped the bomb
too long. Back home, we’d line up the