History of Orconectes

I

In ethanol, the chitin of a crayfish fades,

a carapace of rubber and silk.

Its joints articulate, tail spreads under pressure, uropods from telson

under a microscope, the jaggedness of its mouthparts, a question.

 

The lab is silent as I inspect ten-legged aliens, door open for fumes.

Is preservation respect for the dead?

 

II

November, I am split, cephelothorax cracked and my innards exposed;

the crayfish lab is open, wide enough to scurry in.

My professor wears pearl earrings, Hyriopsis schlegelii;

Emma is dead.

 

Keys pressed in my hand, teeth coarse, uneven, an answer,

Be as busy as you need.

Janitors whistle in the hall at midnight, so I don’t startle when the door opens.

Trash empty, get some sleep kid.

The dead aliens do not speak;

pink sunrise lends them the specter of rusty shells and coral swimmerets.

 

III

Orconectes rusticus, native to Kentucky,

crossed the continental divide to the Ohio River watershed,

borne in a fisherman’s bucket.

What journey would that be?

Excised from your life by rough hands,

your friends, strung up as bait, vanish.

Dumped into a new stream, alone.

 

Did they mourn?

 

IV

Ecosystems collapse, streams stripped clean of algae, fish, insects,

a river-shaped void.

Even as they crossbreed,

Orconectes sanbornii is outcompeted by rusty invaders.

Evolutionary survival, the passage of genes

to future generations;

a poor measure of life.

 

V

Dust coats azure sky, endless corn to the left, soybeans to the right.

We stop the van at a culvert.

Between rocks, in the riffles, the species roam.

Barehanded, I can catch Orconectids.

Left spooks them backwards into my right.

My grip solid on the carapace, a chela swings to pinch my thumb.

Iron smell in the mud. I bleed, rust red on the river stones.

 

VI

Captured, I break off a leg segment and release my crustacean.

Each leg deposited in cell lysis solution. Each molt brings new legs.

It survives. Do crayfish feel pain?

 

In the tarot, the crayfish represents greatness, our higher calling.

A tray of legs on the passenger seat, I listen to the wind in the corn,

drive until dusk, moon peach-ripe on the horizon.

 

VII

The limbs—in blue, fingertip-sized test tubes—like a memory

fragmented.

Our Beautiful Reward Mini-Interviews: Dyani Sabin

interviewed by

We’ve got one more late-entry mini-interview for you on the eve of the Our Beautiful Reward launch event! (which is tonight, and for which you can still RSVP, click that link!).

Dyani Sabin’s searing poem about love amid oppression, “This is a romantic comedy” is online here.

 
Michael: How do the tools of speculative writing help you to think and communicate about what’s being done to personal freedoms around our bodies?

Dyani: I think that sometimes the only way to talk about issues that are so close to home, painful and traumatic, is to put on the gloves of metaphor, so to speak. Speculative fiction offers a lense into our reality that is unparalleled, because it automatically creates distance. That distance is what allows speculative writing to closely examine these issues—in the same way that memoir only works when the writer has enough emotional space and wisdom to see events with the understanding of time, speculative fiction allows us to do the same thing with culture.

 
Michael: What are you reading and thinking about that helps put this issue in perspective for you?

Dyani: I recently read Jeanna Kadlec’s Heretic, which I thought was just fantastic, a look at body autonomy and queerness through the lens of someone leaving an evangelical church to find the tarot and a queer community. I also enjoyed—in a totally different vein—Sara Mueller’s The Bone Orchard, which is a speculative fiction novel where the owner of a brothel is forced to investigate the death of the Emperor who captured her—and is entirely about consent, autonomy, and the struggle to define yourself in a world where there are gendered expectations.

 
Michael: Tell us, if you’d like, about something you’re doing, outside of writing, to make the world a less hostile and dystopian place for human beings with bodies to exist in?

Dyani: I work, every day, to reach out to my world with kindness! There are so many things you can do—lobbying, donating your time and money, calling your congresspeople—and all of that is important, but the thing that makes me feel human is going out into my community and making connections. Meet people in your community, and see other people who are learning and trying and believing in a better world—bit by bit you start to feel like together you can make it happen. And we will.

 
Michael: That’s a great answer! Thank you very much.

This is a romantic comedy

On the phone, she didn’t have to call it

danger. We all know how to flirt our way out

if you have to. Watch your drink, park under a light,

walk so you can see between the cars.

 

We held hands to leave, though they hooted

at us to kiss when they saw. But how else to

hide the shaking. Bruises on her ass, her

wrists, her thighs. She called them geography.

 

Bad joke. Lessons they don’t teach in school, although

we all learned. We went to the movies. Watched a man

stalk his way past boundaries. A happy ending. Romantic

violins played. Violence behind sloppily applied foundation.

 

Driving home in the dark she told me something

I cannot tell you. Guess. But I made her pull off the

road. Fears like tears rolled down her cheeks.

There was never a way out, no map in the jockey box.

 

Just two trapped girls, seventeen at

midnight, stopped in the parking lot

of an autobody shop, jamming broken

hearts together, trying to be whole.