great auk in the afterlife

Erin L. McCoy

the first thing the auk notices about heavenis just how thin it is: one aglow tentacleof a jellyfish stretched between the high cirrus& plankton-dusted space. the amenities arethat it feels like flying & that there’s no shade.the auk is not impressed. she never needed air to fly& she’d like to sleep without the sun’s insistence.oh well. she bides her time laying eggs on the backsof passing birds. she dives for plankton but the starsare farther than they look. space is barren, shornonly rarely by mute mirror-sided whales. she floatsfor some immeasurable period on the tufts of a greatconversion: the sailors of st. kilda, christian at long last.then they forget what they’ve done or they die or the windchanges. the auk, who has subsisted on clouds,snags a piece of the tastiest & drags it down with heras she descends. it is then—in how the fogs wreathe her,in some gone-grey twist of the light—that shetransforms / witch-auk lands in the north atlantic.she is an invention: the fantasy & its rejection—a monstrosity—slippage—not-human &not-not. the sea is a sheet of glass that breaksto pieces, breaks to pieces—wounds that suturethemselves. working as fast as they can.

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Headshot of Erin L. McCoy

Erin’s work has appeared in Best New Poets twice. She was a finalist in the Missouri Review’s Miller Audio Prize and won second place in the 2019–2020 Rougarou Poetry Contest, judged by CAConrad. Her poetry and fiction have appeared in American Poetry Review, Conjunctions, and other publications.

Born and raised in Louisville, Kentucky, Erin has lived in Malaysia, Spain, Russia, and Seattle. Her writing is deeply rooted in place and often engages with themes around environmental justice.

Wrecks is a collection of poems inspired by the great auk, a flightless seabird driven to extinction in the mid-1800s. The last two known members of the species were killed on Eldey Island, Iceland, in 1844.

"Wrecks is an important new collection about the messes that European domination of land, animals, and indigenous peoples has made of this world. It is even more impressive as a debut, replete with all the things I love in poetry collections: history, research, strange imagination. The Great Auk, an extinct species, is transformed into the mythology of witch-auk, a figure that McCoy invents as a companion and sometimes victim of the speaker. Where the perspective of McCoy’s speaker reaches its limits, the lived experience and visual renderings of Shanawdithit—the last known living member of the Beothuk people—emerges. This book is an example of what poetry can teach us that empirical knowledge cannot."
—Joy Priest

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