Emma Goldman Falls in Love (with Tolstoy) at the End of the World
8888888888888888If there won’t be dancing at the revolution I’m not coming—E.G.
88888888888888888888888888888888Such chances arise, and they alter and direct a 8888888888888888888888888888888888888888man’s whole life—L.T. “After the Dance”
Yes, he is a pacifist, but does he believe
88888888in dancing? I don’t know
88888888888888888888888888888888888888888888888888888888if I could love a man
8888888888888888888888888888888888888888888888888888888888888888opposed to both war and dancing.
Would I choose a man, like my other
88888888men with their hands on the trigger,
88888888888888888888888888888888888888888888888888888888bracing themselves for the end of the line
888888888888888888888888888888888888888888888888888888888888888888888888dance, over this man
with empty hands with open
8888888888888888hands? Not a word
88888888888888888888888888888888888888888888888888888888to say about dancing, except that once
888888888888888888888888888888888888888888888888888888888888while drunk, he watched a soldier
beat a man to death. With nothing
88888888but his hands. And he still remembers
88888888888888888888888888888888888888888888888888888888how the flies circled the body. The mass
8888888888888888888888888888888888888888888888888888888888888888of blood, after the dance.
Abigail Carl-Klassen’s work has appeared in Cimarron Review, Guernica, Post Road and Huizache, among others and is anthologized inNew Border Voices, Goodbye Mexico and Outrage: A Protest Anthology for Injustice in a 9/11 World. She was nominated for a Pushcart Prize in 2014 and Best New Poets 2015.