My son’s rifle is filled with rotten flowers. He wants to live. I picture his pill jar full of bee husks. I picture the nurses dressed in beige with beetles running up their beautiful necks. Why do all the rancid birds shriek inside their cages? Why do guns protect our innocence? My son has to gather up my tears in his little bowl but the cup runs over and there’s a stampede of horses in my room, in my cage, in my rotten flower heart. My son tries to protect me but he can’t. He has a bowl, not a gun and it’s not a bowl meant for collecting tears but for collecting my mother. My son has dumped her honeycomb ashes in the woods behind the condo and he comes back with beetles on his arms and neck. I have to shoo them off his skin. I have to picture innocence as a mansion in which my father has many mansions and my wife practices Chinese with a revolver in one hand and a bowl of tears in the other. It’s running over so I’m waiting for another riot to tear through the house. The rioters are in more debt than we are but their children aren’t smashing windows inside the hospital of innocence. So they don’t need to cry. I’m writing a book for my son – a children’s book for children without childhoods, mothers without children, fathers without fathers, and hospitals without guns. Nobody will buy the book, so I will shoot it full of holes and give it to the rioters as a bribe to make sure they destroy everything except my son. When they do it feels like we are winning, but that’s before they carry Jesus’ mysterious body through the hospital all vaseline and roses to pay for all our sins. To pay our debts. To convince the rioters that they are horses in a black and white movie about revolution. Once upon a meadow I thought I was so knowledgeable about the mysteries of the human body that I could pay off every saint every counterfeiter of saints every money lender in the hospital but now as I carry my son through the fire left behind by the rioters I understand nothing about trash. Nothing about the beautiful words I’ve learned to pronounce with my mouth full of gasoline.
(From Johannes’s forthcoming book: The Adorations)
Johannes Göransson is the author of ten books of poetry and criticism – including The New Quarantine (2023) and Summer (2022) – and is the translator of several books of poetry, including works by Aase Berg, Eva Kristina Olsson, Ann Jäderlund, Helena Boberg and Kim Yideum. His poems, translations and critical writings have appeared in a wide array of journals in the US and broad, including, Fence, Lana Turner, Poetry Magazine, Spoon River Review, Modern Poetry in Translation (UK), Kritiker (Denmark) and Lyrikvännen (Sweden). His is a professor in the English Department at the University of Notre Dame and – together with Joyelle McSweeney, Paul Cunningham and Katherine Hedeen – edits Action Books.