CHRIS TONELLI









One True Conclusion Gleaned

 

We know there are gaps in the resistance. Synapses

between ganglia. A canyon between us

and the other side of an ancient river. A whole gulf.

Lie to them. Say, “tell the truth,”

and not expect it. It will be an embarrassed moment

when they try to reach us (they’ll make

symbols for this guilt). Imagine what would happen

if every time “I love you,” was said

an orgasm was had—this is essentially what they are 

hoping for. It is always possible to go

some distance. Far enough. A glimpse. I think I’d need

another one, or a whole group that I can

treat as one. A flock of glimpses on a primitive route

or a herd of gnus on their trodden way.

Whatever interrupts it is resistance; they try to remind

us of this everyday. What will we make

in the face of it?  They, on the other hand, seem acutely

aware of doubt’s hostile purpose in this

standstill, as they hastily cover up the obvious weak spots,

persistent as animals about the fact that

this is the shortest road to recovery. How is it that they

have held up in the arbitrary drift, knowing

that something which may have happened last year will

be treated as complete certainty?

The disguise doesn’t seem as important to them as

the desire to restore all that’s been lost.

“Deceive ourselves,” they say, “until it breaks off, until

the ground is cut out from under us,

or at least until we forget.” And what is our excuse? If we

wanted the world, we’d go outside? What

they are doing out there, we’ll never know. But it looks fun.  









Oceanic States

 

Oceanic feelings are the feelings of bliss and agony that accompany the idea that one has created the world by viewing it.

 

He couldn’t make enough things to complete the world. 

Or he couldn’t see enough things in the world (we tried telling him

 

this was the goal) to feel as if he’d created it: atrocious outer

object. Inner object. He split himself, wanting the world out of him.

 

Wanting out of it. He became fixed by it, and it ceased to be itself.

He tried to get the good of it to flow into him. But this was

 

also wrong—this object’s very success was its badness.

He tried putting the bad bits back into the world. But all he could do

 

was fill it with worse things. He dreaded his aggression towards it—

its retaliation, its temporariness. He dreaded himself, we were sure.

 

So he let in the bad, modified it, and let it back out, knowing

he’d never be able to retrieve it. Finds that a bit of the external world

 

is malleable, safe to treat it as a bit of himself. He realized that he didn’t

want it back. That it was startlingly repellent. Feels it is

 

lovely (horrible) stuff he has created or exists in its own right. “Certainly

there is very much here I do not understand,” he said, apparently

 

finding the unfamiliar in the familiar. Certainly there is very much here

we do. Recurrent partial return to the feeling of being one is possible.













Chris Tonelli
lives in Cambridge, MA. His poems, essays, reviews, and interviews have recently appeared or are forthcoming in Inch, The Bedside Guide to No Tell Motel, Outside Voices' 2008 Anthology of Younger Poets, Good Foot, Kulture Vulture, Half Drunk Muse, Typo, Word For/Word, Verse, Drunken Boat, RealPoetik, New York Quarterly, Sonora Review, Asheville Poetry Review, GutCult, LIT, and Redivider. His chapbook, WIDE TREE: Short Poems, is available from Kitchen Press.




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