Excerpts from Queens Flora
by Libby Mislan
as if to say
are there lovers on earth more exquisite than monarch and milkweed?
monarch’s spring flight north is slow and sailing, wing muscles pumping
in the thorax, beady eyes dimly detecting the delicate pink flowers
of the common plant and landing lightly as if to say, honey of ten
hundreds of years, i’m home— she lays her eggs on the shady
underbelly of milkweed— and egg becomes caterpillar, and caterpillar
feasts ferociously on milkweed leaves as if to say, survival is dubious—
and milkweed fills caterpillar with the perfect portion of compounds
poisonous to predators, as if to kiss her forehead and say, you
forgot to trust— and exquisite is her chrysalis, blue-green with
gold dots, and exquisite is the moment when she sheds her green
exoskeleton and emerges as butterfly, drying her orange and black wings
in the summer sun, flapping slowly as if to say, i am queen
because of you, and as fall circles back, and milkweed hardens
to seed, monarch knows in her small as sesame seed mind it is time
to go south, and she follows her solar compass home—and exquisite
is the grief that monarch may not find milkweed on her journey—
that herbicides have skimmed them off the wild edges
of corn fields where they once grew in abundance— that monarch
will search fleetingly in a dance disrupted, and fall to rest without
laying eggs in milkweed’s soft haven, breaking an ancient
migratory chain— exquisite is the grief that a harsher sun
could heighten the compounds in milkweed, poison for monarch,
a fragile symbiosis gone wrong— and the forest in mexico
where monarch returns to spend winter could fall silent, when before
the flapping of millions of wings created a constant fluttering,
like summer rain— and all the trees could fall bare, when before the
butterflies would cover them, sleeping so close together for warmth
in massive clumps, that even their orange was obscured— and the people
of the forest could wait for the souls of the dead to arrive on el dia
de los muertos, like they had forever and ever, but they would not show—
and the people would explain to their children— once, we were blessed
with these daughters of the sun, and the children will wonder
why these mysterious winged creatures fill their dreams,
always on broad-leaved plants with tiny flowers, never one without
the other, as if milkweed whispers to monarch as sappho whispered
to her lover, someone will remember us/ even in another time.
on the cancellation of sakura matsuri
they say the earth wasn't made for us humans,
that it will live on, happier, after we are gone—
but i do wonder if the cherry blossom trees will
miss us this year at the brooklyn botanical garden,
where they will fruit for no one— if they will miss,
in japan and worldwide, our cheerful feasting
at their trunks — if, like dr. emoto’s experiments
on water reacting to loving words, the blossoms
respond to our kind attention, feeling our nourishment
like a kind of nutrient, a subtle root-curl scientists
struggle to capture as data. i sense those two hundred
some trees deep inside the garden gates feel the
lonely brilliance of blossoming for no audience—
perhaps you know the feeling—of stumbling upon
your own epiphany, coasting solo into your grand
finale, without a single follower or admirer to
witness you flourish, just your dance your sweat
your breath your private ecstasy, and then the
melancholic wish to share your bounty— call me
anthropomorphic, but i feel the need to say:
blossoms, if you are indeed feeling the blues,
i want you to know that we are still here, writing
love poems and kneeling metaphorically at your
trunks, and this year, i hope you go so deep inside
your own floral explosion that you forget the
empty seats— i hope you relish in the soft leather
of your petals, luxuriate in your creamy almond
vanilla scent, just for this year, i hope you go to
seed basking in your own light pink love.
in a name
they
say that
columbus was
lured to the shores
of america by the
smell of sassafras, an
eerie biophilia— he fell
for the sweet scent of freshly
snapped twigs and citrusy leaves, like me
when i was hiking in the hills of wanaque,
new jersey, wanaque translated from lenape
meaning land of sassafras, and i saw all over
the baby leaves tinged with red, their shape so
round and cheerful like hands drawn by a child,
or hands in mittens, and i smelled the blend that
pulled me in and got me so high on leaving the city—
these trees are survivors from half a millennium ago,
when heavy-footed men stepped off boats and learned
from the natives of sassafras’ medicine, saw how it
healed their fevers and cuts, blemishes and std’s,
aches and pains— and they began to dig hungrily
for roots in a one-sided lust, ships like the
discoverer accruing pounds of root by
the thousands, the spanish,
french, and english in
frenzied competition—
on my ascent
to the tallest
rock in
wanaque,
i heard
a rustling
and found
myself staring
into the
soft
eyes of a
white-tailed deer
munching on sassafras
leaves, and i knew this reciprocity
wound back through the ages, in a
timeless way, the way this friday afternoon
was not friday anymore, it just us crouching in
reverence in the misty rain and the young fawn
grazing, and i knew white-tailed deer was not truly
called white-tailed deer— just as sassafras is not
sassafras but is winuak for the lenape, pauane for
the timuca, kombu for the choctaw— there was no
mutuality in that european craze for the plant, backed
up by their doctors, proclaimed magic for their ships’
hulls, promised to keep bedbugs from beds, lice from
chicken coops, until they depleted their once plentiful
harvest, and couldn’t gather but 30 pounds for a
shipment— and the fad faded, as they do, and the
trees were left to regenerate in a land forever altered—
and from the highest point i looked out over the
hills, green with spring, and i knew new jersey
was not new jersey— and from far off through
the fog i could make out that majestic
skyline and i knew that place i
lived and came from was not
new york city— and all the
words on my english
tongue went blank
and i could
not speak.
Libby Mislan (she/her) is a poet and community-based artist living in Brooklyn, NY. She received her MFA in poetry from Vermont College of Fine Arts in 2018, and in 2019 she was the recipient of an artist grant from Queens Arts Fund to produce Queens Flora, a poetry project about the plants and history of the Ridgewood Reservoir. She works as a teaching artist in New York City public schools with Community-Word Project, City Lore, and Teachers and Writers Collaborative. Libby is currently working on a new series of poems with support from a grant from New York State Council on the Arts, that explore what it means to restore health amidst capitalist burnout, tech addiction, and climate change. You can learn more about her work at her website, www.libbymislan.com.