Nutrition Problems

after Charles Jensen

 

She slices apples for lunch in happy return, at least, to vegetarianism. Packs almonds, granola bar, flip phone and gradebook. Fixes coffee to make possible two morning meetings of Comp. I. Grabs the keys, a spare umbrella from the hall closet. Unpacks her heart from the top shelf’s hatbox. Swallows it down with a gulp of mocha. Wishes she hadn’t. Especially when, remembering the school’s overactive a/c, she needs to head back to the bedroom for a cardigan. Passes the new room, the newest wound, the would-be nursery, now never to be used beyond spouse’s closet/storage room for dirty laundry. Beside its shut white door, she’s stuck in towering stacks of onesies tucked in mint green dresser drawers, the plush ladybug wall art, next year’s Goodwill donation, gathering dust on the bedroom floor.

 

Quiz on this section:
a. How does your reading of the passage change if the pronouns are switched from she to he…you…they?
b. How much more meat (round to the nearest pound, please) would the main character have needed to eat to save the baby?
c. During the year lease, how many times did the protagonist pass the never-to-be nursery? (Closest guess wins a spare copy of What to Expect When You’re Expecting, which has sections on being pregnant while “Vegetarian” and “Red-Meat-Free.”)
d. Were those ladybugs ever hung on a living child’s wall? If so, attach the room’s diagram (preferably hand-drawn).

 



Click here to read Jill Michelle on the origin of the poem.

Image by cottonbro studio on pexels.com, licensed under CC 2.0.

Jill Michelle:

While working on my first full collection, Underwater, I found some gaps in the story that I was trying to share about my lost children while weaving together poems on that subject matter and others explored in the collection. During that time, I was fortunate to encounter Charles Jensen’s full collection, Instructions between Takeoff and Landing, which includes poems in the style of his amazing chapbook, Story Problems. These pieces begin with a prose poem, allowing for the magical realism/surrealism to enter the work, and then ends with a creatively-twisted, sometimes-impossible-to-answer series of multiple choice questions/prompts for the reader/listener of the poem. Having taught college now for over twenty years, this creative take on “test-making” appealed to me greatly and allowed be to explore aspects of the nursery-that-never-was depicted in the poem. My favorite thing about this form is that it feels like it breaks a barrier between the poet and the receiver of the art, inviting more participation from the recipient if you will, and that really appeals to me.

Jill Michelle
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