Jhani Randhawa
A RIDE AFTER I ASKED DEATH TO TAKE THE RABID, FOR HIS SHOES TO DISSOLVE
AT THE TENT ENTRANCE
I.
River does not reflect the sky
it is doing something else look there
there
is a forgotten colour for that—
What water makes sky reflects in folded clouds
but water does something else or nothing
this is continental rabidity I was, stop
I am a fish and the moon transparency
erratic frequency without detection
meditation, or music—
what the water does or does not do giving up the sky
who regurgitates all water
in the evening clouds turn a pink shape only
there above the river emplaced and molten
imagine this wind in parallax
that house
that hour on fire
carbon smears licking up
I am working backwards
an overlapping dishevelment of grids
tasting rose, welter of restraint
the signs mixed up—
a fish walks upright forging sibilance
on slip that is no colour at all yet it rolls sky around in fury
fury becomes fury and disambiguated, alloyed
like dissolution or a white helmet, steel baton
scratches in the distance
having lost personhood deep behind
edge of a word its wildflower prism
border of dog I
could never be as present
as habitual and motile as the fish
having tasted كھرباء bijali
in the building I imagine in flames
maybe it is mold, a damp expansion
of electricity
amounting to nearly the same rhetorical metastasis
this wind then as ice
chrysalis of fire
then the salamander spore becomes snow poet
her party blurs as I wheel under locked gate
then another until the island tips over
and river tucks into itself with cascading passivity—
I will never arrive
still the anadromous research centre
red boulders encased in glass amount to landscaping
chain against my chest—
on principle it looked like a nice place to host a dinner
vomit in solitude
and I heard music, so this fantasy found gravity
I was doing something like water
that is, free bleeding into borrowed shorts and growing my nails pawing
at a frictionless polyseme, blank matter of his arrest
closer the river
closer the endless raked hydropower
metal spires floating rush
canal canal lock river endless
loosening sky seethe, unmaker
swan spiraling
as tectonic things strapped with batteries fixate—
there is so little dignity we begin with
in our liberty
you can go anywhere
in crossing if you’re prepared to die
our nakedness, here,
worse—
it is commentary
II.
Yet the water seems barely to move, advance, current—
grasshopper approaches, of fibrous body without
density suctioned to a little immobile wave
Minutes and more minutes torque of day
matching this valley’s declining velocity
unending blood of night
Something in the body having parties, hailing fish
but using other phrases—
I still wanted violence, to see if it could be collapsed
That which eats women, eats their languages, the weather
if I tried to keep it, like this, it would not stay
but if I said it again, maybe it would dissolve
Woodsmoke in dirty keratin or incense in fabric walls
How aggregated I becomes, riding the bus
under the radiance of a bruised cervix
dreaming of choking, praying with ibrahim—
A current modulator, two coordinates, dehydrated beech
beams shuttling energy from one shore to the other
braided cables, no thing, no image
Yet there are tangles of fluorocarbon and little bait pearls
flung out from a pole cast wide: planted ornaments of lazy hunting—
Heat murmurs in gaps between white oaks
Unpaintable, the suffused tongue of water and fish
of my grief fish my ancestor, who carries surface
refracted firmament forever on her spine—
Alone under atmosphere, infrastructure, the demon of god:
Because they exist, I stopped for them
and that is all,
I remain stopped
Jhani Randhawa is an interdisciplinary artist, community organiser, and scholar, whose praxis studies the limits of legality, sensuality, memory, and racially gendered power within the ongoing ecological crises of settler colonialism. Winner of the 2024 California Book Award for their debut poetry collection, Time Regime (Gaudy Boy, 2022), Jhani’s work has appeared in the New Art Gallery Walsall (Walsall, England) and the Czong Institute for Contemporary Art (Gyeonggi-do, South Korea), as well as publications Gulf Coast, A Mouth Holds Many Things: A Hybrid Literature Anthology, ASAP/J, 128 Lit, Footnotes, and O BOD, among others. You can learn more about their work at www.jfkrandhawa.com.