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ISSUE 3: NIMBUS

[we highly recommend reading on desktop for optimal experience]

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ESHA SURY

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BLEEDING WORDS

Esha Sury | Poetry

i apologized because i cut

you off, myself, away from, etc

some things must be severed to be

reconstructed; like a new limb?

we cannot have two.

a cut leaves a scar,

the new soil and flesh of reparation,

from what is gone there is something

new.

kiré, cutting,

a principle of the japanese

aesthetic, suggests ikebana,

the reinvention of flowers which

are arranged beyond the root.

ikebana, “making flowers alive”

first requires the killing of them.

if flowers act alive, they are.

does then the contrapositive apply?

i act dead, am i dead?

death and life

life and death. life isn't

life and death isn't

death. the word is then cut from

the truth, is then cut from the

reality of it all. this is nothing but

an act in an eternal play

and the director simply said

“and... cut the scene.”

"LOVE" IS A SOUR FRUIT

Esha Sury | Poetry

the supplemental taste of me —

weak organic acid bites their tongue.

you don't need to live to make 

someone else react, 

a product to the consumer.

bitter aftertaste, like small dogs nibbling an ankle

gone with a kick. like soft flirtatious ringing

in eardrums, gone with a voice.

bitter is something to put up with,

when it is gone the papillae dulls.

they melt somewhere into the cotton plane covered

fully. exposed fully to my awakeness. wrap them 

in the sheets to make sour candy. i reel

like a lemon sucked dry.

 

sleep is regurgitation, subjectively.

revival, objectively. i regain acidity through their 

resting body. the body forgets my taste. bitter is a

palette cleanser. unaware of transformation.

squeeze and consume, repeat. the litmus of 

the night is still red. fluid expelled from the body vessel.

the soju watches in a green glass bottle, with shame,

sullying near a tractate on taoism; acidity contradicts, 

a static tv drowns me. the fruit of my being rots.

object stales among objects in objectivity.

subjective perception is dilution. the consumer lies next

to me, dismissing my conscience. objectify, i am acid again.
 

fingers shuffle through

darkness, cotton sheets. gap. wood table. glass wall

soju swept off nightstand, shattering. eyes meet eyes.

consumer to product. one is used before the verb.

the subject's face dances, angry. i lie still, yellowed.

their faces are particolored. mine

is hoarish. a midnight whore. squeezed once again, 

plea of eros, selfish love.

 

the glory of all fruit is mostly the flesh. pulp

constructs not fruit. an animal desiring fruit.

these animals groan in the metonymic darkness

from between the thighs, never heart. the subject, the peeler.

tear and eat and throw. i feel shame for keeping

my sour blade unsheathed, to be the cause for

their appetite, and loss of it

upon full consumption.

 

but what happens to my own skin? for i know

the only sourness left in me is the mind 

of a fruit, to reflect sitting still in a dump 

or counter until rot. to all broken lovers, how we

wish now it was so easy to consume something other

than our own bodies. how can i quickly learn and

rehearse this bite, which i so often allow upon

my own pulp? why is the fruit of my being constructed only to give?

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Esha Sury is, as Keats' says, a soft embalmer of diction. Extracting, preserving, and reshaping, she writes to unravel herself. She is a freshman at Purdue University and a silver medalist in the Scholastic Art and Writing awards.

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