Evidence (Excerpt from The Intimacy Trials)

Evidence…

The remains of coelophysis were found in groups. Some say
they were flocking. Others postulated that the dinosaurs gathered
together at ghost ranch to feed and drink and were struck
by a natural disaster, a flash flood, pernicious drought.

 

We feel some sense of kinship with the theropod that thrived
in the latter part of the triassic period. We imagine that its remains
dust the land on which we gather, the place we wait for the next
disaster, the place in which disaster has found us.

 

You make a costume of sticks and leaves and initiate
the hunt. Your simulated dinosaur stalking another
reminds us of our own evolution and extinction.

 

Long periods of starvation have changed
our physiology. We are almost hollow
boned.

 

 

 

He filled the space
between violence,
what came after.

In absence, in presence,
a sensation of breaking
loose, of crumbling earth,
of nothing.

Trying to find
the umbilicus,
of loneliness,
of this relentless
striving for.

In the suspension
of sky and limbs.
A whole world
caught
in-between.

 

 

 

It is harder to discern the seasons, but the earth still tilts off its orbital plane. We know winter as the time Aki’s scars are less visible. To buttress the cold, we wrap ourselves in the skins of dinosaurs.

 

Every death is an offering. Our own decomposing bodies could produce organically rich soil, increase the population of nematode worms, engender new plant forms. Our extinction, you say, may be Aki’s only hope.

 

For now, we practice an ancient art: we share. There are so few of us. Despite the catastrophes, there is more than enough.

 

 

 

Lumbering through another
trial, the heat and alcohol,
stuporous dusk.

She lay down
and he bent to
unlace her calves,
thighs, the warmth
between.

The light was gauzy,
a film covering
every orifice.

She licked his palm,
the arch of his
foot, his animal.

The moon loomed,
pregnant,
in exile.

Every trial,
its intimacy.

 

 

 

We no longer hear the earth groan with each facture, every bit of the drill.

 

But there, deep in the marrow of our bones, we can still feel the schism, the sick break of things.

 

A generous host, the earth has split and bled. Empty, almost barren, Aki never says a word.

 

 

 

In the winter, protests
made the violence
more visible. Blood
splattered across
the bright ignorance
of snow. Then
violence made
the protests
more visible.
The blood
was the same hue.

 

 

 

Catastrophe is janus, the two-faced god. Some days it brings kinship, the parting of the tent flap, an embodied experiment. Sometimes it has us gathering in the field in two lines across from each other shouting expletives.

 

Someone proposes a new way of resolving conflict. It has taken awhile to adopt it. But after a firestorm that takes three members of our camp, we gather together in the same field and begin to remove our clothes. One by one, we walk naked toward another until our flesh touches. Pressed against each other’s skin, we wait until the heat spreads through our loins. Whatever gender, we mate like this, standing up, our genitalia entangled, the wet slippage of.

 

 

 

Over time, one
story stacked
on top of
the other. One
person buttressing
the next.

She pouted her lips,
gestured in the dark.
He gave himself over
more easily.

They developed
a language, guttural,
echoing hundreds
of years.

How else to sound
such wounded
coupling.

 

 

 

Some would say we live post life as if a ghosting of. But we still taste blood
on our lips, still feel the crippling longing for.

 

We are as real as any manifestation of the perpetual present tense. Our dreams are sensorial. Cloaked in darkness we rummage through our bodies until something settles into place. An elbow or breast. The declension of a belly unfed.

 

Some nights we stuff our ears so we can’t hear the calls. Switch, you say. You have warned us not to monogamate. But we are soothed by these attachments. The habit, its echo, rests deep in our bones.

 

 

 

At night his feet froze.
 Her hands clenched
the book, freezing language
what had been recorded
of past and future.

Without children,
they had nothing
to beget but their own
awakening. In the shadow
of daylight, meaning
night. They had learned
not to say the word.

My uvula is a weather
vane, she said. But her voice
was muted, her uterus
barren.

The tribulations kept
them watchful, acute
witnesses. There,
he said, pointing
to the shadows,
the furred humps
of buffalo,
a horizon.

 

 

 

There is a new language forming in the recesses of our imagination, a language in which there are no words for atmosphere, for myelin sheaths. You worry about the loss of regenerative narratives but we are shedding more quickly than anything can be replaced. Touch me here, you say. Our fingers slip into the milky substance between your legs. No longer in estrus, you are mimicking a planetary implosion, the vortex through which we obliterate ourselves. But that is the old language. Touch me, you say, opening your legs. Against the backdrop of your dusky skin bursts forth a kaleidoscope of stars

 

 

 

The trials enlarged
the circumference of
ownership, spreading
smallpox across
the horizon of continent,
sores puck-
ering the fore-
skin.

Some said they started
innocuously enough. A few
subjects. Some articles. The mediums
of exchange. But the prepositions
marked territories,
defined the spaces
in between.

It distressed her,
all those mine and not
yours. The forgiveness
required for those
with the longest
reach.

Aja Couchois Duncan is a social justice coach and capacity builder of Ojibwe, French, and Scottish descent who lives on the ancestral and stolen land of the Coastal Miwok people. Her debut collection, Restless Continent (Litmus Press, 2016) was selected by Entropy magazine as one of the best poetry collections of 2016 and awarded the California Book Award for poetry in 2017. Her lyric novel, Vestigial, is forthcoming from Litmus Press in the spring of 2021.