Editor's Note
Reading Sara Pirkle, I was captivated by the malleability of her language that is expanded to embody the relationship of twin sisters who share a linguistic world, a ‘dream speak, mirror speak, unspoken speak.’ Even in the face of the realisation that ‘the rest of [this] cut-short life/ would be pain’, the speaker finds solace in sisterhood. These poems convey the devastation of an unfavourable diagnosis, pain, love, and above all, hope. If Pirkle’s set of poems presented here are about just one thing, it is about ‘the will to move forward after/ the wind’s knocked out of you.’
There is something interesting here in the shape of these poems too. ‘Afterparty’ and ‘Twin Speak’, poems directly addressed to the twin sister, are written in couplets, holding space just enough for the two sisters. ‘On Our Walk to Le Celle’ and ‘When the Doctor Says Cancer’ are more expansive, holding more room in their six-line stanzas. While the former expands the sisters’ bond that allows them to sustain themselves to include an injured bird, the latter ties together the twins in the womb to an astronaut in outer space. Notably, each of these poems hold space for us, readers, to partake in this vocabulary of survival
— Aswin Vijayan
The Bombay Literary Magazine
On Our Walk to Le Celle
Because we knew nothing
about breaking a bird’s neck,
when we saw the fist-sized swift
lugging its injured body chest-first
along the sunned cobblestone,
we couldn’t end its suffering.
Anyone who believed in God might
ask why, on a hike to the monastery
of St. Francis of Assisi, patron saint
of animals, we would see this bird
dragging its crumpled legs and tail
down a narrow mountain road.
What should we do? my sister asked,
both of us thinking we had no right
to take what little time it had left,
even if the rest of its cut-short life
would be pain. So we kept walking,
something we both knew how to do,
something we shared with the swift—
the will to move forward after
the wind’s knocked out of you.
The rest of the day, touring the hermitage
where St. Francis tormented himself
by starving and sleeping on a hard bench,
we said nothing to each other
about the bird we’d seen, its determined
black eyes staring at the sky as it hauled
the broken back half of its body,
its deflated wings like pitiful dishrags
wiping the ground clean.
Afterparty
Hey twin, here’s the plan: after your last breath or mine, we’ll find
ourselves outside of time. We must know where to meet, and when:
Let’s say half-past ten [so you can sleep in], at a desert oasis
where sun-drenched disciples worship their tans, or in the eaves
of a cold cathedral in France. Our hair braided into crowns,
we’ll wave like queens, gloved hands stirring circles by our cheeks.
Let’s meet where night becomes day, that pink plug of light at 5 am,
or better yet, in the space between Springsteen’s fingers and guitar.
I’ll see you on the serif in eternity’s lowercase r.
I’ll see you in Cortona once the monks have gone to sleep,
on the stone path leading up the mountain to Le Celle,
stars scattered like hundreds of breadcrumbs on a dark plate, or
in the bus station café in Camucia, where the old cook
reached across the lunch counter to cradle our chins.
To get there, remember his name: Blanco, and his kind brown eyes,
his skinny arms, the cut on his nose. Let’s meet before chemo,
before baldness and blankets and ginger ale through a straw.
We’ll meet where water sparkles, the pond by the county hospital
where we were cut from our mother one minute apart, back when
the only operating room was the one in which we were born.
In fact, let’s return to before we began, that lawless land,
wherever toddlers think they go when they close their eyes.
Let’s meet in the chasm between the imagined and the absolute.
Whoever gets there first must claim the corner booth.
When The Doctor Says Cancer
the patient hears Not Cancer.
Pink light floods her heart.
Denial must be some kind of miracle, then,
the brain inflating like a life raft,
tricking the body into staying afloat
the river of words from the doctor.
Two hundred miles above the doctor
saying Cancer, an astronaut sleeps
on the International Space Station,
zipped tight in a bag so she won’t float away,
knees to her chest, weightless as a fetus.
In wombs, twins trace each other’s faces.
The patient looks at her face in the mirror
over the doctor’s shoulder and sees her twin
before understanding it is a mirror not a window.
In the beginning, she and her sister were the same
cell, a single cell holding one hundred years
of nicknames, nightmares, first kisses, cancer.
In the beginning, one cell split and began replicating
in a race to the finish line: birth, the beginning of ending.
Before knowing them apart,
the patient’s mother
carried below her heart
two more hearts beating.
The doctor says No cure, just chemo.
So too, in yards across America,
golden retrievers chase unthrown tennis balls,
the cruel beauty of blind faith.
The patient must tell her twin she will survive.
Cancer sticks in her throat like a cracker.
The patient must tell her twin they will survive.
One bad year, she will say. She dials, thinking
about the astronaut’s body floating in a bag,
floating in a ship, floating in space.
She dials, pitying the astronaut coming home—
the burden of gravity after that kind of sleep.
Twin Speak
Dream speak, mirror speak, unspoken speak.
The babble of babies. Bugs Bunny words.
The nonsense and fears of childhood. Worlds
we created together, mundane, magical, complex.
Cat-and-mouse speak. Make-me-laugh speak.
Quiet-so-the-witch-won’t-hear-us speak.
Four decades of conversations without words—
just eyebrows, a shoulder roll, a chin tilt.
A nod, a look, a code. An internal knowledge,
ignited at conception. Never Pig Latin. Never Gibberish.
Language painted in watercolor, stick-drawn in mud,
lettered in yellow icing on a shared birthday cake.
Language that traverses years, mountain ranges,
marriages. A language that is waterproof,
frost-resistant, sturdy as snow boots. Steady
as a ladder held by the person you trust most.
Every time I fall in love she says, You don’t care
about anyone but yourself. She means: Pay attention to me.
I’m the first one you loved. Every time I hurt her
I say I’m sorry, meaning, I always come back to you.
Coffee talk. Real talk. What-if-he-doesn’t-love-me talk.
Best self, worst self, manicured, glittered, polished talk.
Lip gloss, platinum blonde, matching leather jacket talk.
Drawers full of nicknames, colorful as socks.
Nicknames for the men: the German,
the Romanian, the Egyptian one-night-stand.
Words that sound English but mean other things.
Our word for milk left in the bowl after cereal.
Our word for the artificial leg in Papa’s closet.
The word for our father’s belt. A language felt.
Words that catch in the throat like a cough.
Words sacred as notes passed in church,
sacred as the year she spent in a hot pink camp chair
beside my chemo recliner. She knew what I wanted,
spoke my wishes to nurses while I listened
to my voice coming from her mouth.
She washed my sweaty pajamas and sheets, lifted spoons
of applesauce to my lips when I was too weak to eat.
I’m sorry, was all I could say. Don’t be, she said,
meaning, Don’t you dare leave me here alone.
Acknowledgments
Image credits: The Safarani Sisters. Interrogation of the Self. Video projected onto oil paintings on wooden panels. Image, courtesy WBUR, Boston.
Author | SARA PIRKLE
SARA PIRKLE is an identical twin, a breast cancer survivor, and a board game enthusiast. Her first book, The Disappearing Act (Mercer University Press, 2018), won the Adrienne Bond Award for Poetry. She also dabbles in songwriting and co-wrote a song on Remy Le Boeuf’s album, Architecture of Storms, which was nominated for a 2023 GRAMMY. She is an Associate Director of Creative Writing at The University of Alabama. Follow her on Insta at: @sarapirklepoet