The Terrible Feast of Love: Etymology of Abel

I. S. Jones

      I.Here’s a truth about the world and the people who live in it:no one wants to touch the dead body, yet everyone waitsto consume its flesh. It’s a story I know now by heart:a girl goes into the forest and returns a woman against her will.Her dress torn. Hands anointed in blood. Soil and tears veil her face.In this house, war solves only one problem: the desire to wage war.Surrendering to the body’s feral instructions, my family carves upmy pet goat, Ife. Ife, Yorùbá, meaning “love.” Imagine that:eating love. My family eating my Love. They sit uprightat the dinner table, clinking silverware, Love filling their mouths.      II.The line between beast and human is a fallacy of conquest.It’s all the same war: animals devouring animals.Maybe I should be grateful it’s not me at the table’s center—on all fours stuffed with sweet peppers, garlic, and sage.My name, noble as the wind, and like the wind, I am invisible.They delight in my labor and not a single “thank you.”Ife and I were the same: creatures no one wants.      III.Adam’s one silver tooth tears into the meat of Love.When he sees I refuse food, we stare at each other.We carry two narratives. In one, he is a good fatherteaching me my place in the world. To beat me into softnessas if to say I’ll teach you to love me. In another, he walkswith the arrogance of a king but no wealth. Give people freedomand they invent better cruelties. Give a girlchild an axeand she comes to understand beheadings can be pleasure too.      IV.I am the axe dreaming my way through Adam’s throat.The blade and neck have a long relationship of lust. Some mornings,I would sit on the bathtub’s lip watching Adam shave his neck,silver trowel over the dark earth. The axe is only a weaponwhen knowledge fully forms. My name meaning “threshold,”“ephemeral,” “vainglory.” I am the space between resistanceand flight. The axe drags its one fang across the sun’s facebefore diving back to earth. One beast becomes two. No one knowsI can’t wound a creature without turning the knife on myself.All my life, I have given flesh to an insatiable audience, but tonightwith my fingers between my legs, no shame escapes in wails.

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I.S. Jones is the author of BLOODMERCY, chosen by Nicole Sealey as the winner of the 2025 APR / Honickman First Book Prize and the chapbook Spells of My Name, selected by Newfound in 2021 for their Emerging Writers Series.  Currently, she is a Senior Editor for Poetry Northwest, where she runs her column, The Legacy Suite, a three-part interview documenting the journey of writers publishing their debut poetry collections. Her works have appeared in Granta, LA Review of Books, Guernica, Prairie Schooner, The Rumpus, and elsewhere. While she has lived in many places across the U.S., she gratefully calls Chicago home.

“Violence is a failure of communication” opens this book as an omen and foregrounds a family exiled from Eden. In I.S. Jones’s stunning and evocative debut collection, Cain and Abel are reimagined as sisters whose care for each other becomes increasingly fraught–the siblings vicious as they vie for the attention of a negligent father. Parallel to this, their bodies budding within and against the still-forming landscape, the girls navigate the shame of Eve’s sin while coming into their own sexuality.

Grounded in the remote natural world, enclosed by firs and redwoods, Bloodmercy follows Cain and Abel through the dense geography of girlhood into young womanhood. Along the way, they discover the limits of power and control, spite and sex, faith and death, and man’s dominion over the earth. Found in the space between the Old Testament and the modern world, the girls gaze heavenward and pose enduring questions to God. Lyrical, lush, and bursting with tender imagination, Bloodmercy marks a debut to watch.

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