Chain of Causation
John Estes | Poetry
Past a given, but untold, threshold the mind suggests it’s OK to let people do
what they want, for a change. They start composing texts by dictation straight-
up phone to face—carefully noting where punctuation goes—in public spaces
and don’t even feel awkward about it. They relent and let the dog start sleeping
in the bed after years of principled, ironclad prohibition. We heave a collective
soft sigh, let the weird bad queso go and eat it anyway while expending a surfeit
of sympathy for the disappointing play of millionaires which assures us: failure is
very much on the table. Maybe a waypoint, maybe the furthest one can take it.
Let me wonder aloud why it can be so ungainly hard to say out loud what a heart
holds as secret knowledge. The angel may speak; one may be well-versed in sunk
cost fallacies; one may possess uncanny knowing like the top 10 fictional sheriffs.
By design no archetype is private. It’s a fact of the South that killing a best pig
to make a cornbread for the right occasion is what some recipes require. Get thee
to the abattoir. Science last week isolated the molecular stew in the brain stem
that can convince us opening email feels just like being stalked by killer wolves.
Baby, I know it’s not enough to say I love you and reanimate the kindred to rot.
Not everyone is a Pisces for God’s sake. Even my therapist, a merchant of hope,
keeps a live file of unforgivable acts. One cannot replace a purge valve to solve
an engine knock without, on account of the subframe, incurring a realignment.
To wit: wins must be bought, but the cost is a dear investment in this frivolous,
bricoleur world, in tender flesh, faith that faith is good despite the evident war
crimes, the gratuitous bulldozing of gardens by armored tanks, the ever-present
likelihood of error, incompetence, and injury. If points could be hung on a defense
any other way, if I could tack a surcharge onto service fees or lease out roof-space
to raise sufficient funds—if I could, affording this provocation, to cover repairs,
invent the code that once compiled runs uninterrupted unmutilating as it goes
honey I would I swear.
John Estes directs the MFA and Creative Writing Program at The University of Alabama and lives in Tuscaloosa. He is author of three poetry collections: Kingdom Come (C&R Press, 2011), Stop Motion Still Life (Apocryphile Press, 2026) and Sure Extinction (2017), which won the Antivenom Award from Elixir Press. A book of short fictions, The Irrelevant Self, is also forthcoming.