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a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society

Claudia F. Saleeby Savage


my daughter almost fell off the monkey bars because of a spider

I fear the shower
the slick tub
the silky bubbles
the muscles’ release after a tough day
 
all the reasons you love it
scare me
 
I could die in there
 
crack my head
and be more f’ed up
than I already am
 
I should have gotten the bar
when N. offered it
but my job doesn’t really
pay for remodeling
when there are 3 mouths
to feed
and clothe
 
I mean 3 bodies
 
distinct
needy
bodies
 
it rains so much here
 
leaves fall moldy
unbeautiful
 
enough rain that tourists
clear out
what I’m saying is
my roof has to work
way before I get my bar
 
can’t stop talking about money
because
when your body doesn’t work
nothing else gets fixed either
 
then you are disabled
and more sad, let’s say sadder
much sadder
 
bars used to be places
I checked my lipstick
and stuck out my tits
 
now, I need one to hold
on to so I don’t
don’t more
 
dent more,
that’s it
 
dent, I choose you
 
please don’t choose me
 
all of you who enjoy
your bath time
I’m so happy for you (nahh,
you know I don’t mean it)
 
I’m jealous of your ease
I’m the light in the bubbles
circling round the shiny drain
 
I’m the refracted light
 
watch it and think of
something bent, determined
to be beautiful


thirst

October, and I am sick. I walk the mile west of my house slowly

to the neighborhood sequoia. I named her koya for my daughter

because naming claims. And I am covetous.

 

When I approach koya, I reach out to remember craving

the rough skin of another. But I am sick.

I can hardly type this my hands are so numb.

 

My daughter bristles when I say the word vulnerable

about my body. So I say bruised. Koya. Me.

Spongy hollows of want.

 

20 years ago? 40? The two of us remember musk and bounce.

The story of how to heal. This morning the sun

vibrates psychedelic. A shroud of smoke over acres lost.

 

5,000 in Eastern Oregon (August)

20,000 in British Columbia (September)

15,000 outside Portland (today).

 

My daughter can’t ride her bike to school. Particulate levels

are worse than in Bangladesh. (How do children

ride to school in Bangladesh?)

 

Let us pray for cool water.

 

Being monoecious, being all, koya is stronger

than I’ll ever be. I thirst for their strength.

The rain that won’t come for me.

 

October again and I have no regret for what this body has been—

lover, mother, able. On good days I logic: who isn’t dying?

Who isn’t trying to live?

 

My brother died of ALS at 53.

It was fast and terrible, despite my father pushing

supplements; my nephews pushing hope. There was nothing to be done.

 

But remember we can give our sorrow to the trees

and they give us back breath. I want to do something.

My doctor said I must box breathe three times a day. My nervous

 

system craves a slow heart. Multiple Sclerosis means

the smallest speck of stress sparks the nerves in my hands,

in my legs, in my brain till I can’t __________ again.

 

Koya’s rings tell the history of the earth, much as

my spine tells mine. I am scarred—

white planets smoldering in the dark of my back.

 

I am scared. I don’t need an MRI to tell me my truth, just as

I don’t need someone to say koya is in danger. Black trees on every

Oregon hillside on the way to anywhere—

 

Fire so hot the soil dies. (How can we watch as soil dies?)

We teach our children to place tiny seeds in the ground. To wonder

at beginnings. Love vulnerability. My daughter says, pick another word.

 

But I want to be soft. My neurologist says, you’re one tough mother,

as if it were a compliment to ignore pain, signs that I have been sick

for years but dismissed my body, tired and aflame.

 

October again. I sink down. Rest on koya. I don’t want to be strong.

I think interdependent. But it is truer to say needy. We must bend

and breathe. Think, forgive. Then listen.


treat-ment

you deploy an army into my veins. the solution holds light. let it pass.
 
through is not a word I can use here. in the dimness. where I am always two steps
from catastrophe. from being thrown back to some wounded beginning. the place
of unknowing. I love the prefix un-
 
undoing
unsure
unofficial
unnecessary
 
unill
 
doesn’t exist. so I am completely. necessarily. here. with shooting pain
in my arm from needle incompetency or tender skin. this writing. this naming
as necessary as the pain to stop this progression. more nerves destroyed. I am
waiting
 
for the medicine army to put up their shields. shield my body. from my body. free me
from me. my soldiers protect me from my own future. but they also destroy what
is usual. drones taking out the target. but also the fruit vendor. always selling plums
or apples in fall.
 
I fall
 
waiting
 
for treatment. my muscles spasm a tune I didn’t write. or maybe
it is the song that doesn’t make the album. lost. but palimpsest in my left cheek.
 
did you break your butt? my daughter asked after she stopped howling
 
and hugging me. she might have said ass actually. but that makes it seem funny and
it wasn’t. except when I retell it now. I need more days not tired. not sick.
for her. even my hand is sick. numb. number more. I dislike that suffix. it accelerates.
adds momentum. makes me dizzy
 
-er than usual.
 
progresses me

 

from falling 2 to 3 times a year. to wheelchair. mother failure is a real thing. you feel it

even if you don’t do it. unlike my hands. which the doctor says are strong. but feel nothing.

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Claudia F. Saleeby Savage is an Arab American poet, essayist, and mama with MS whose writing and performance explores displacement and the landscape of the body. She is the author of first you must destroy the world (First Matter Press, fall 2025), metal used for beauty alone (for print + voice), Bruising Continents (Spuyten Duyvil), and The Last One Eaten, with recent print work in Poetry Northwest, Nimrod, About Place, and River Teeth. A Pushcart, Best of the Net, and Best Poets nominee, Saleeby Savage has received support from RACC, Ucross, Jentel, The Black Earth Institute (emeritus fellow), MARS, and the Atlantic Center for the Arts. She creates alone and with her music-text duo Thick In The Throat Honey. She lives with her experimental musician husband, daughter, and vocal cat in the Pacific Northwest.

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