say, a thorn in the side of the letter r, or the lumbering
way an unpracticed language sounds as it stumbles
past fat clumsy lips. there is an element of reckless
unfocus in the way new words move: a blank
dumbness, like the white noise on the radio from a
station that faded miles ago but
remains unchanged. to the moose on the edge of a road
somewhere: might I have antlers too? if I did I would
spear a thorn or þrjú. every eth would roll easy off my
tongue. it would not taste thick with spit and old
smoke and waking up. somebody says not this lisp of
dream again. not an ash-cloud of sky not a blurry
patch of painted plaster
to peel from the walls, from the bone—but what’s it
mean to strike a beast with a car, to see the metal and
flesh collide into some new-age hybrid monster,
what’s it mean when for a moment you wish it would
absorb the impact seek revenge and break down the
walls of the house up the road where your parents
lived or live or sit watching the clock and waiting for
you, and what might you do if it did? if it unstuck all
these thorns from your chipped teeth and took the
words you can’t shape and tore them into pieces, little
strips of confetti
and unkempt hate? the work of language is how it lies
in translation. what this lacks is þyðir, or perhaps a
sense of purpose. the sad truth is the moose lived and
you lived and you made it to the house and nobody
cared, and nothing changed. and nothing ended. but all
poems are about death, somebody said. the struck
moose with the graveled fur, maybe, or the flies that
flocked to the swash of skin and matted hair left
smeared across the asphalt—
Katie Prince received her MFA from the University of North Carolina Wilmington. She was a finalist in the 2016 Gigantic Sequins and Terrain.org annual poetry contests, and in the spring of 2017 she will be serving as artist-in-residence at Klaustrid, in Fljótsdalsvegur, Iceland. Her poems have been published in The Boiler, Smoking Glue Gun, the Portland Review, and Fugue, among others.