In the middle of a fight, I fall to my knees and straighten
the wild seams of my mother’s saree—in genuflection,
my argument whimpering into a compromise. How blindly
one knee follows the other, how staunchly they pierce
the ground, how quietly my toes curl up in memory. Yes,
I have knelt and divulged my chest to the sky with supplication
in front of a Lord, before the doubting and suspicion, and then
naturally for a boy, before the world clarified his secrets,
and for every animal, that has run to me ignorant of my sin.
I have made obeisance to the dying plant, my thirst lodged
in the back of my throat, and I have curtsied to hate, my body
cinched into a bite, vulnerable and open. No stock has been paid
to the jabs from the earth, to the soil and its fear, its rubble
crushing under the impact of my performance. Snow, gravel,
weed, and cement has been dented from my falling. Little
flowers have met with precocious deaths under my weight, and
life went on like nothing spectacular ever happened. Lately,
however, all acts feel futile. I do not know if there is love that can
weaken my knees anymore. The Gods too have hung their heads
in shame, and their devotees have conjured a schema more irreproachable
than ordinary. This world, its entrapment, the scorn that sits
criss-cross-apple-sauce in the hearts of most men has stiffened
my knee caps. Watching my mother kneel to pray has become
an exercise of embarrassment; her gangly hands cushioning
her knees a show of how far we’ve arrived in beseechment.
I have seen what kneeling has done to men and women,
and recently I have observed that no one is able
to become one with earth without a solid cry. Maybe,
the older I grow the more I’m aware of how close I am
to the ground, my shadow on earth an ominous premonition.
Yesterday, I watched a cat crawl into the mud and emerge soon after,
and wept the song of jealousy. No such luck waits for me
and the rest of mine. When I go down on my knees now, I hang
on to the seams of my mother’s saree — try to remain a daughter
still, in the eyes of whatever fate is keen to befall us.
Header photograph © Denise Nichole Andrews.
Meher Manda is a poet, short story writer, journalist, and educator originally from Mumbai, India, currently based in New York City. She earned her MFA in fiction from the College of New Rochelle where she was the founding editor-in-chief of The Canopy Review. She is the author of the chapbook Busted Models (No, Dear / Small Anchor, 2019), and her work has been published or is forthcoming in Peach Mag, Catapult, Epiphany, Hobart, Sporklet, Cosmonauts Avenue, and elsewhere. She was a fellow of the Rad(ical) Poetry Consortium at DreamYard and has been nominated for Best New Poets 2020 and Best of the Net Anthology 2020.
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