Excerpt 1:

47. I want to make a dark mirror out of writing: one child facing the other, like Dora and little Hans. I want to write, for example, about the violence done to my father’s body as a child. In this re-telling, India is blue, green, black and yellow like the actual, reflective surface of a mercury globe. I pour the mercury into a shallow box to see it: my father’s right leg, linear and hard as the bone it contains, and silver. There are scooped out places where the flesh is missing, shiny, as they would be regardless of race. A scar is memory. Memory is wrong. The wrong face appears in the wrong memory. A face, for example, condenses on the sur- face of the mirror in the bathroom when I stop writing to wash my face. Hands on the basin, I look up, and see it: the distinct image of an owlgirl. Her eyes protrude, her tongue is sticking out, and she has horns, wings and feet. Talons. I look into her eyes and see his. Writing makes a mirror be- tween the two children who perceive each other. In a physical world, the mirror is a slice of dark space. How do you break a space? No. Tell me a story set in a different time, in a different place. Because I’m scared. I’m scared of the child I’m making.

48. They dragged her from a dark room and put her in a sheet. They broke her legs then re-set them. Both children, the wolfgirls, were given a fine yellow powder to clean their kidneys but their bodies, having adapted to animal ways of excreting meat, could not cope with this technology. Red worms came out of their bodies and the younger girl died. Kamala mourned the death of her sister with, as Joseph wrote, “an exception.” There in a dark room deep in the Home. Many rooms are dark in India to kill the sun. In Midnapure, I stood in that room, and blinked. When my vision adjusted, I saw a picture of Jesus above a bed, positioned yet dusty on a faded turquoise wall. Many walls in India are turquoise, which is a color the human soul soaks up in an architecture not even knowing it was thirsty. I was thirsty and a girl of about eight, Joseph’s great-granddaughter, brought me tea. I sat on the edge of the bed and tried to focus upon the memory available to me in the room, but there was no experience. When I opened my eyes, I observed Jesus once again, the blood pouring from his open chest, the heart, and onto, it seemed, the floor, in drips.

Excerpt 2:

8.ii. Your scars lit up then liquefied. Lucidly, holographically, your heart pulsed in the air next to your body; then my eyes clicked the photo into place. Future child, in the time you lived in, your arms always itched and flaked. To write this, the memoir of your body, I slip my arms into the sleeves of your shirt. I slip my arms into yours, to become four-limbed.

10.iii. They strapped her down to the limited table where a knife spun in a jar of blue water. There were marigolds and red thread sewn into the white cotton curtains. Oranges lined up on the sill. Like a spell. Like an angel, the priest fed Kamala from a coil of linen, squeezing water into her open mouth. She spat it out and so the doctor came with his packet of edges. Dipped one into the glutinous foam and began. Her arms first. The thick dorsal hair, ashy. Her legs first and then her skull.
‍

Excerpt 3:

O. Citron-yellow dots collect and scatter. A silver sky collapses in folds upon the canopy. The grid divides then divides again. When the girl crawls out of the broken jungle, she’s soaked in a dark pink fluid that covers her parts. Fused forever with the trees of the perimeter, she can’t. The branches fill her mouth with leaves. I can’t breathe.

54. I place a mirror in a cave, in a garden, on a leaf. It is a tiny, circular mirror of the sort used in the embroidery of chests and hems. In this way, I can train or invert an obsidian frame to hold light, make a face clarify. Today I saw a face dormant in the darkness of the jungle. Coming near and kneeling, I saw it was the open face of a child. Future child, I slip one hand under the curve of your skull and an- other beneath the vine of your neck.

‍