Two Poems by Kale Hensley
art by Isabelle Carasso
Scientists Mapped the Shape of a Supernova for the First Time; It’s Not What We Expected
for Cecilia Payne
To be whole is to be round, unless you are fat or pregnant,
then paradoxically you become a half citizen–later, oh perhaps
we can get into that. I promised you the stars in this poem
and you fell into my lap, dream-strung and doe-eyed, hoping
for a glimpse of the beyond. I cannot tell you how, but yes
I knew somehow it would all rut out like this, not as a sphere
but a wound, an olive, they said; the supernova strives not
for perfection but for a clit startlingly cosmic, an oval radiant
in its divine mutilation. My perspective, I can confess, may
be grossly Christian, not gross as in whole but as in not many
would want to be nibbling the Christ’s side with a pair of
naive lips, engrossed so down to the bones, like the poor girls
of radium. It would be a woman too, who told us of what
stars consisted from her studies of the night, from measuring
the tendencies of light and ink, unlike Earth she found, yes,
stars were a dance of just two elements and heavier ingredients
here and there, oh, how heavy was your stare–best it would
be for me to forget it, yes but like astronomers I learned prisms
were worth the weight in one’s hand, to stutter all the colors
of a situation. What a word that is, abundant, catastrophic, shaped
like every yes that left my lips; the stars, yes, take me back
to them, back to the olive, the tenor of your skin; see how cleaved
I live! Once, I could believe in perfect ends. The slickening
of a matchstick, the star held firmly in God’s lips, but this flesh knows
smoke, knows loosen, knows a girl extinguished in touches
so reckless. I have the memory of once a tail; I was made to swallow it.
Ode to the Club Girl I Used to Be (And Maybe Still Am)
for Katie Judy
How I used to fashion these legs! Fish nets, handgrown
sequins, dark hairs above or below the knee depending if
somebody was worthy enough to take a peek. Not a lick
of sense, but tin ankles rolled on Pleasant St. bridges, hang-
overs where I could not recall the bruises but the grasses
dew-tipped where I laid to soothe them, when I prayed for
shivers to clink like coins atop these hips. And oh, those
accomplices, tight-lipped friends and strangers with tongues
reminiscent; twirls with boys named after spices, makeouts
with the dolls that grew spurts of larkspur on our checker-
board dance floor; did you know inside a cage a girl can grow
a pair of wings? But I preferred the clipping, for it made
room inside the photo booths so pals could pile up in my lap
and we could capture the tender intentions of glitter, mind-
ful smears of glosses or liners. The dollar bills were an easy
sacrifice; please take George Washington from my lips once
you finish your set, I wanna see splits how God intended, I
know how far a leg can stretch–I know if we share the fur-
coat, it’ll make waiting for this 2 am hotdog worth it. We did
what we did–I still don’t know where that one pair of panty
hose went! Maybe they’re still swirling in the toilet or my heart
which too must be long-limbed; how does it still remember
every ache and lyric, every Advil downed with iced coffee: yes,
the morning after was the best, when in our club clothes we ate
sausage biscuits, agreed it doesn’t count if we share the cigarette.

Kale Hensley is a writer and visual artist from West Virginia. Her writing has appeared or is forthcoming in Gulf Coast, Booth, Evergreen Review, Cutleaf, Conduit, and Sonora Review. She serves as an Associate Editor for Indirect Books. Find more of her lore at www.kalehens.com.

Isabelle Carasso is a writer based in Los Angeles. She’s worked as writers' support staff in Emmy-winning writers' rooms, had short stories and essays published in The Catalyst and Cusper, and a knock-knock joke published in the LA Times when she was 4. In her free time, she shoots 35mm photos to capture moments that feel like movie stills. Her film photography has been published in Red Wheelbarrow Anthology and Door Is A Jar Magazine.


