When I was a child, my eye was older than an oak.From the highest chair, I saw string beans move from mybrother’s plate into my mother’s mouth when my father lookedaway. I watched my sister spit her peas behind the sink. A dogmoved from the woods toward the kitchen door. The houseunfolding like a book.I read my father’s secret history of anger, my mother’s dissertationon subterfuge, their parlor of doubt, the kitchen of theirdiscontent.This was my host country and I its virus.I witnessed a world that couldn’t be explained. Rhymed andunrhymed, its alien talk floated above a blanket of verse.In time, I would adopt its pattern language. I would deliver itsmessages like a page. I would spy with my little eye. I would openand close like a camera.In the stories of that planet, I would find no character resemblingmyself, so I would place myself outside them, in a poem.When I was a child, I hated lace; I buried all the dolls.I hid in the snow and thought about what it would mean: todisappear. A little ghost whispering help!, testing its alarms.But when I was grown, I opened the box of broken dolls, andwhen it was dark, I held the tree by its branches and all thechildish words rustled back into the woods, into the purple snow.I knew there was a story larger than anything.At the back of the lens, the end was already on fire.
Letter to the Corinthians
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- January 7, 2025
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“Letter to the Corinthians,” by Elizabeth Willis, from LIONTAMING IN AMERICA, copyright © 2024 by Elizabeth Willis. Reprinted by permission of New Directions Publishing Corp.
Elizabeth Willis is the author of seven books of poetry, most recently Liontaming in America, longlisted for the 2024 National Book Award in poetry. This decades-long, investigative and historical work traces the patterns by which national identity is re-imagined, undone, and remade in theatre, film, and everyday life. Her collection Alive: New and Selected Poems was a finalist for the 2016 Pulitzer Prize. She teaches at the Iowa Writers’ Workshop. Read more at: elizabeth-willis.com
“To disrupt the relationship of predator and prey, to reshape one’s relation to power, is to renovate the lived and living world,” Elizabeth Willis writes in this visionary work that delves deep into the ancient enchantments of the circus and its timeless disciplinary displays. Liontaming in America investigates the utopian aspirations fleetingly enacted in the polyamorous life of a nineteenth-century religious community, interweaving archival and personal threads with the histories of domestic labor, extraction economies, and the performance of family in theater, film, and everyday life. Lines reverberate between worldliness and devotion, between Peter Pan and Close Encounters, between Paul Robeson and Maude Adams, between leaps of faith and passionate alliances, between everyday tragedy and imaginative social possibility. As Willis writes in her afterword to the book, “The repeated unmaking and remaking of America, as a concept and as an ongoing textual project, is not impossible. It is happening all the time.”
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