In Paris, the moon was a pad of butterand the sky was a room of girls. Oh turnme over and over again like the sun.I’m so in love, she told me that morningas we pulled off the freewayand took off our shirts. Sorry, what? Cow parsley/bright ragwort. Pete’s greengagesand grapes on the dash. Yeah, there’s a droughtand the crops won’t grow. Can we pop into Tesco? Wait—go. Down the footpath that leadsto the back of the old graveyard, the Wyeglistens like a coldblack bull. Press my cheekagainst the chapel floor and the stonewhispers back, St. Michaelmouthing to us through the glass. What do you mean!said the devil when I ran. Cut me, baby, greasethe blade. I used to be ableto stomach the dare—red light/white mare. Watching the storm thrash like a prayerfrom the road by the vineyardand the window upstairs. I remember a sheepfoldwith you in it. The godlikeserpent in the hills. I’ll tell you the problem—I left. Bad debt. It’s trueI wanted Joel to grabmy blueish neck. Remember that New Year’s I kissed your girlfriendand the whole house spun like an idol. That breakbeatquickening the rafters. The night I guess Iproposed to you among the clay-dark trees. I’ll tell youthe problem—all this is going tobreak my heart. Beneath the great arch bridgesthat blink at me slowly, the sirens are singing for someone elseas a houseboat oracle spreads Anju’s cardsand valerian bursts from the walls. In Notting Hill,we move in together and shoot lots of gearand he says I swear. What was all that for? asks G. at the divewhere we met, and is answered. I’ve seenthe things boys write about me. At the beginningof the line, when I thoughtyou would be the one to save me, my faith was a barren tunneland the moon rising over the crag. When I followed you—yes, followed—to the edge of the knife-green sea, sweet pieceturning like Jesus inside me. My heart is a muscleturning like Jesus inside me. I know you know, butGod, my friend, we’reshot. The clubs are closing.The girls I loved have children now.
Bad Debt
I was mad, but now I am sane.—Cervantes
Feature Date
- January 22, 2025
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Copyright © 2024 by Talin Tahajian
All rights reserved.
Reproduced by Poetry Daily with permission.

Talin Tahajian is from Massachusetts. Her poems have appeared in The Kenyon Review, Best New Poets, The Rumpus, Copper Nickel, Narrative Magazine, Poetry Magazine, TriQuarterly, Pleiades, West Branch, Poetry Daily, The Missouri Review, The Drift, Mizna, The Georgia Review, Peripheries, and elsewhere. She’s a Ph.D. candidate at Yale and an assistant editor of The Yale Review.

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Sheffield
England
University of Sheffield
Editors
Alex Houen
Adam Piette
Blackbox Manifold is an online forum with a slant towards innovative poetry that has prose, narrative, or sequences in its sights. That said, we don’t hold allegiance to any one poetry school or group, and we’re happy to receive submissions from established and emerging poets alike. Our aim is to present new juxtapositions of voice while using the Web’s fluid solidity to cast around for as wide and varied a readership as possible. The journal is continuingly archived by the British Library in its Web Archive.
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