At some point you must’ve stood stunned in a room and looked down at your hands. I did that once at Eva Burger’s kitchen table in Ronkonkoma, that windy shoebox house, while my mother passed around a bucket of fried chicken, and once alone in the bathroom afterwards to check. Did you hide fishnets, stash a hat behind a shelf of sheets? Material feels a way when forbidden. Slip it onlike a luscious idea — I can picture the seam beneath your fingers, skin’s echo against mute cloth. How could anyone know you? Carving your privacy out of the days like meat from an opened animal. Choosing the rightknife — the thought that lets you have existed before. Did you make yourself think it over and over? When one person unbuttoned your shirt in a wavery act of belief, were there words for the body you were?The seam spread across everything jealously fast, kept the former flesh close. What’s a borderif not an attachment staked in revulsion? That dirt is my dirt, my skinhas a pinkish color. Under the lightbulb dangling a long cord down from the ceiling, I saw myself like I had never met me before. Reluctant to lifta fist to the display case of my life, with a placard marked common ancestor I stood still behind — did you feel that? Like everyone else was exemplary: the white boy in the apple tree, the girl in patent leather loafers; watch them radiate, cluelessly,grace, trading card saints ablaze on the promise of god? God, I want to burn and not notice, feel the flame breathe in me, float on what I know and know. But I had to reenter that tooth-colored kitchen, the in situ tableau of preparations to continue: potatoes sloshed intoGladWare, thighs sealed skintight with Saran — the prayer, preserve us in immigrant stillness, strung bead-like on the generator’s humwe’re here we’re here we’re here — and not shatter, not disappear, since the boy I’d first glimpsed in my hands in the yellowishlight would die with me unless I could stitch his genesis to your erasure, the syntax the suture
Trans People of the Past
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“Trans People of the Past,” (poem), Saint Consequence by Michael M. Weinstein
Alice James Books, 2025.
Michael M. Weinstein is a poet, scholar, and photographer. His writings have appeared in venues including The Kenyon Review, Boston Review, The Los Angeles Review of Books, and The New Yorker. His first book is Saint Consequence (Alice James Books), 2025. Michael holds a Ph.D. in literature from Harvard and an M.F.A. from the University of Michigan. He teaches at New York University.
Michael M. Weinstein's debut poetry collection, Saint Consequence, meditates on the body as a site of continuous change—both painful and beautiful, elected and imposed—to explore the often tangled journeys of physical and spiritual transformation.
What does it mean to inhabit a body—and for that body to inhabit our shared world, in all its complexity? Saint Consequence attempts to mine the gap between a life seen from the outside and the realities of a life lived. Influenced by time spent living in Siberia, Weinstein draws on experiences spanning gender transition, chronic illness, and disability to explore the tensions between public perception and private truth.
Ever wary of the temptation "to make a career of pain," (Adrienne Rich), these poems instead weave together personal experience and cross-cultural perspectives to invite us to reimagine our place in the world with greater nuance and compassion. Equally a personal reckoning and universal meditation on the complexities of identity, Saint Consequence expands from an examination of one man's singular experience of embodiment into a broader contemplation of the endless particularities of lives other than our own.
“Saint Consequence’s beauty lies in its careful examination and analysis of the world’s and of existence’s precariousness. Each poem is a world that contains other worlds. Most of all, it is courageous, and Weinstein’s poetry offers a speaker brave enough to imagine and then reimagine their place in the world."
—Nicole Yurcaba
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