Mar/Apr 2018 • Vol. XL No. 2 Poetry |

Museum Footage, 1945

After Chechnya, after Stalin's Bykivnia, after ISIS and Boko Haram and the Killing Fields. After Tikrit, Wounded Knee, the great slave uprisings in the South put down relentless. After the bile keeps coming, words spewed at a podium, any monster in a drive-by with a spray can— After, and after how in that film they keep dragging body after body skin deep, bone rag, limp-headed, to toss them doggedly let's-get-this-done into a pit the size of an Olympic pool, the sort lifeguards scan with only zoned-out attention since everyone in a place like that swims well enough. After all, they did swim. Its like swimming, pitched midair up, arms and legs flung out to abandon, coming down coming down to others piled high who sleep— how dare to call it sleep—these deaths at last a real death. How dare we after, dazed on a bench to watch this. The unspeakable redundance. British soldiers force it at gunpoint, those draggers and hurlers in a kind of uniform too, Berg

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