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.