Every time I pick up a glass, I am afraidbecause addiction runs in my family,because I could not save dad from it,and because while I am as stubbornas a fat, little dog, I worry that one dayI’ll slip into a shape I can’t shake off.My relationship to reality is already fraught.The hours I give to volcano podcastsand vampire T.V. shows prove that I am susceptibleto disconnection. I’ve inherited other things:dad’s glossy hair, his rash-prone skin,his nasal cavity’s dramatic reactionto cats. I remember lying sideby side on his bed, the dark blueand cream floral comforter that felt coldto the touch. He was teaching mehow to meditate, or more precisely, how to builda place in my mind I could retreat to.“Imagine a pond,” he said, “smooth the ripples out,”and he counted until I slowed my breath,my heartbeat. “This is how you can pretend to be dead,”he said, “if you ever need to.”
Mise en Abîme
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“Mise en Abîme” from ROOMS FOR THE DEAD AND THE NOT YET: by Rhoni Blankenhorn.
Published by Trio House Press on July 1, 2025.
Copyright © 2025 by Rhoni Blankenhorn.
All rights reserved.
Reproduced by Poetry Daily with permission.
Rhoni Blankenhorn’s poems have appeared in The Los Angeles Review of Books, The Slowdown, Asian American Writers’ Workshop’s The Margins, and elsewhere. Her work has received support from Bread Loaf, Saltonstall, Sewanee, and Storyknife. Rhoni’s debut, Rooms for Dead and the Not Yet, won the Trio Award, and was published by Trio House Press last summer.
Minneapolis, Minnesota
Winner of the 2024 Trio Award, Rooms for the Dead and the Not Yet explores landscapes of grief, desire, and identity. How does memory collapse time? In what ways do mourning and longing echo each other? What violence persists beneath narrative and aesthetic surfaces, upholding systems of belief and power? This debut poetry collection revolves around imagination as an act of resilience and rebellion. Blankenhorn’s speaker communes with dead beloveds while buttering toast, petting dogs, kissing lovers, making art, holding hands with friends, and traversing cities and deserts. The beauty and comedy of daily life becomes a provocation into nonlinearity, sexuality, family history, and multiracial selfhood. Slipping between exterior and interior with an unflinching gaze, Rooms for the Dead and the Not Yet invites us to embrace the impossible complexity of human experience.
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