four-thirty a.m.
We found in his suitcase T-shirts, his siddur, gifts he bought for his grandchildren…
In my universe, my arm carries a heart and flowers, my back a misguided quote
I am still waiting for the lion
Live the rest of your life from one worst case to another.
I have an axe with hearts gashed
It is the 70s. 1970s? 2570s? Who knows? Audre and I have a penthouse in New York.
the strands of your hair on the bathroom tiles aren’t sketching defeat. that’s you spitting disease in the face with another day you’ve woken up to.
Part of being a good sad person is always painting the shadows in the right direction and knowing what sorrow to art with.
I don’t know why I’m in the garden kneeling on dirt
I tap at the alphabet while a single deer taps at the dirt beyond the brush on the far side of the tree line.
Yes I am guilty, I’m guilty. A sin was desirable then. Bring the dancer back to the stalks.
If my life was the size of my arm, I would stretch it out for you.
Any still figure at mid-late evening, when the long shadows make even crumbs appear arranged like furniture.
The storm passes without snow. The car waits loyally in the back lot.
You’ve spent a lifetime training for this.
People have always coped with flooding, and they learned to cope with death.
Dylan Krieger’s poetry is unflinching, grotesque, and beautiful. Her work tackles trauma, wrestles authority, and is a decadent sonic feast.
I count my homes— those of my scattered youth the sanctuary of our young family the intermittent rest stops of apartments and vacations.
my friends’ fathers are dropping I mean dying like flies