Youna Kwak
Summer 2024 | Poetry
Five Poems
Sometimes Mother
Guess who appeared in the living
room on the night of parent-teacher
meetings wearing underwear, pantyhose,
blouse, but no skirt, crowing Let’s go!
Guess what she did with the fat
envelope of cash from Elder Brother
supposed to go toward fixing
the washing machine. Guess what she was doing
home “sick” on Wednesday afternoon in
the empty house, guess what happened, that time she
was careless, guess how little
she remembers, how the memory
scarcely troubles. What reasons for not
knowing present their sly, upturned faces? Won’t
tell, won’t remember, all lies, wasn’t
asked—guess who’s compelled
to endanger her children to satisfy some
material or psychic need, acting rashly, feeling
sorry, expressing contrition, resentment, regret or
else just punished, anyway still yoked
to the mother-script even if not
feeling sorry at all, some joyful
smear of not-sorry feelings, defying
classification, inadmissible sear
whose sullen opacity jolts, scorched
jab of pleasure each time you gingerly
poke, aching to evade the bars of the mother-
cage that no amount of badness can bend.
Mama Killjoy
God forbid the father even the barest
speck of joy. When he has busied making
meanness last, going back and back as
far as the horizon of the core rotten world
ruled by the mean daddy of her worse daddy plus
the soon-to-be-mean daddy she married,
during all those years when I was trying
to get thin, look pretty, become someone
a boy would want to pet, she was already bones
and arrows at the surface deflecting and in the depths only
death—at best!—the only definite. Death
is the good news, living’s the connivance. In her
hoary heart she loves too hot to let in any happy or love’s
invariably the wrong question. The right one
is mama squelched, given no issue. We’d love
to kill the father too, for keeping
her under thumb and foot, her labor
looped to turn the sad days bad, the bad
days sadder, this too a task of mothering, as
our love was a thick sole’s squash upon
her febrile lights, her love was a smoldering stitch
dousing out our every needy bursting into
flame, her every calm fine to the how-are-yous
a ruse as she laid patiently in wait to intercept
the imminent arrival, the pain of the world a parcel
she intended to deliver us by hand.
Ouroboros Mother
trains me to seek constant approval so I constantly
disapprove of mother and she constantly
disapproves of me so that our mutual
disapproval defangs the specter of disapproval.
To feel weak and damaged, not to feel at home
in the world, to feel out of place, unseen, unsafe
everywhere are defaults that mother considers
proof of superstrength for despite the failure to
belong, you are here. Mother always came last
as if it were her destiny to be forgotten, but even
destiny is rememberingly narrative. If story
giving value to mother’s life is anathema, not
to tell mother’s story is unethical, if story is tidy
melodrama then failure of story may be
corpse. If story of mother is unjust then failure of story
true life, if only as Mother she’s permitted to enter
story, the no-story now provides
resolute shapelessness, before settling into
the familiar likeness of phantom, before it can be
harnessed, corralled and smushed into the story
of the death of the mother, which despite all storms
will hold steady to story with you as
protagonist, a deep cake of color dissolved
in water so that something very like
Mother might emerge, divested of metaphor
or destiny, an entry
into peculiarity where you do not want to be
protagonist, you too want merely to live.
Mothering
Taking over
me, don’t know how to be cool
about it, trying to be
cool isn’t it pitiful I’m not
cool at all I smell
bad so worried all
day want so badly to do it
right instead all day just cry
and cry on the airplane cry when
she’s screaming cry
in the grocery but mothering’s
still my new best skill my only
skill it’s what I do
most now am best at no more
work no more writing only crisis and
the only center that holds having to stay
alive for the sake of she’s
overtaken me maybe will
choke to death maybe
drown if I look away one
minute now she’s four she says
very pink, pink brown, light brown, very brown now
she’s six says mommy what does rape mean now
she’s eight already hips are curving my hands
in my pockets perpetually making
fists now she’s ten getting ready I can
tell by her side look she’s sharpening
the long knives looking in
the mirror preparing to
use them meanwhile
I’m stabbing at another
skill trying to be more
than this even when can think of nothing
else but I also have a brain every day
so fogged with the nothingness of
everythingness every day veers
away can’t be cleared out every day
devastated by some ordinary sadness
of my mother’s so ordinary but
her suffering has to pierce
someone inevitably and that must be
me and my suffering has to pierce someone
someone inevitably and that must be
how we found
each other here dead-
locked into formation as
mothered and
mothering.
The Murderers’ Tale
No mamas. No murderers.
Greta Garbo
Being born means being pushed, pulled, or cut
out of a womb, meaning, mother becomes in the moment
she says Out. Becoming mother foretells the art
of injury, meaning, withholding your care
is no glancing blow, always fatal parry, never
provisional, always definitive, colonial in
forcefulness, even petty harms symptomatic, can’t
do without you, somebody’s feelings can’t
be helped, the intoxicating condition of being
mother, a life in your hands, can you love just
a little and mother, can you be loved a little less
and be mothered, the mothers of mothers
murdered at a distance each time without
story, each time mother dies again a little, watching
one by one the faraway lights extinguish, feeling
future in their presence, their mirage
unattached to obscure survival, all
this time I felt it was shame that gripped
and held me in check but it was only
love, a tiny love, just a little bit of love,
to be a little-loving father only mis-
demeanor it’s only mother whose
little bit of loving’s felonious, little
enough to kill.
Youna Kwak is a poet and translator, born in Seoul, based in Los Angeles, author of the poetry collection sur vie (Fathom Books) and two French-to-English translations, Gardeners by Véronique Bizot, and Daewoo by François Bon (Diálogos Press). Recent work can be found in Po&sie, Modern Language Studies, Chicago Review, L’esprit créateur, Los Angeles Review, Oversound, and The Hopkins Review.