Viewfinder (For My Father)

Hunched under black cloth, he’d stand for hours,
sometimes letting me look through the glass
where everything was broken into squares
like chess, and I could see all the people upside down,
heads bouncing against the air, like acrobats
inside a private tent. Is this the way my father sees,
dreaming in black and white? I never told him
he had it upside down. I liked to watch the world
upended, people gliding beneath a grassy sky, legs
shifting, bodies narrow and alone. Something green
ribbons past, and my father pays no mind
to the snake I think I imagined. The world was in his lens.

Machine Hunger (In-Sink-Erator)

It took everything I had to feed it:
lamb fat and cream, crackers and cake,
sockets of grapefruit, soft oranges, gutted
lemons and limes, pockmarked and slippery
cheeses and rind. And always
that frantic grabbing at the air. Was it
so ready then to have done with it? And I
gleefully punishing it with its own desire,
as if it were anything but my own
hunger or rage — whatever remains
nothing can satisfy — not even death,
the machine gorged and choking with it,
the house giving way under pressure.
I took everything in, refused nothing.
What haven’t I misunderstood? All along,
was it saying, not, I want, I want, I want,
but I need you, I need you to stop.

Idlewild

I had a memory of flight, how I’d stood
in my bedroom on the eleventh floor, balancing
on a multicolored ball, willfully heaving myself
to a place of hovering in the air. I liked the idea
that wanting anything badly enough could make it happen.
I never told my parents this, the way I told them
I could count to a hundred, tie my shoes —
childhood’s expected, onerous tasks.

I had no fear of heights, volunteered to be the first to fall
from the topmost place on the tallest ladder I’d ever seen
into the arms of all those serious looking,
nervous boys — a theatre exercise
in trust, something I’d lose within a single year.
But inside that backwards falling motion,
it felt as if bodies were meant for this. And gravity
was something I could trust, could easily
have fallen into bed with, mistaken it for flight.

I never wanted to be a bird, didn’t want the hard work —
feeding others, building nests, lit glass
in the skyscraper night. I knew what could happen
if you tried to cross the line of the species
you were meant to keep inside. How badly it hurt
the mermaid, for example, walking across
what would never feel like sand, only shards of glass
beneath her new and tender feet. I’d like to have warned her, asked,
Would he do that for you? Your human prince?

But I still sometimes believe the birds in the trees
outside the window on President Street
are speaking to me — even in a language they know
I can’t speak or sing. Not that they are singing
only for me — I’m not that far gone —
but that their inscrutable music —
throat-warble, feather-whisper, rustle and click —
might hold a message I’ve yet to uncode
from someone I once knew — just possibly, in this instance,
taking the form, if not of a bird, then of sound itself —
those riotous notes, so urgent and out of reach.

And so, I listen closely, taking in their song, not so much
because I’m thirsty that way, but because —
if there’s even a chance — wouldn’t it be foolish, a grave mistake
not to listen, not to believe. Leaves, branches, the wind —
so much green and air — as good a place
as any I’ve ever seen to fly.

Show and Tell

Who made us troop through
that third-grade classroom? —
the one outside, in the trailer.
Who made us look? Did it
look back at me? Is it possible it knew
it was only one? None of us spoke.
None of us were brave enough
to touch it. It sat on the brown paper
in which it had been wrapped.
Whose parents were butchers?
Glossy and gelatinous, a sphere
flattened to a dome, a singular
cow’s eye, leaking a little at the base.
Who brought it here? Did it miss
its body, or mind? — nothing to offset
its damp majesty.

Lisa Andrews is the author of The Inside Room (Indolent Books, 2018), and Dear Liz (Indolent Books, 2016). Publications include Cagibi, Cordella, Gargoyle, Painted Bride Quarterly, POST(blank), and Zone 3, as well as Gargoyle Online and the Pine Hills Review. Her work may also be found in the anthologies Braving the Body (Harbor Editions, 2024), and Unsinkable: Poetry Inspired by the Titanic (Salmon Poetry, 2026).