Dying of Thirst, Surrounded by Water by Henry Israeli
Someone said, you can’t overestimate the body’s desire for eternity.
Dying of Thirst, Surrounded by Water
There we were, walking the line along
death’s precipice, mother trying on hats
in heaven’s department store.
Across the street, whores whistled
bitter schlaffmusik to lull the actuaries
into hypnotic grief. We tried
calling home but the telephone wires
had been ripped out by raccoons
or the government. I held the last
dime in my sweaty palm. Father had
a way with words, commanded them
stand tall as corn in August.
Since he’s gone there’s been a loud
silence, the hum of climate control
shifting the direction of my thoughts.
Bread refuses to rise even when
I strum the national anthem
along my pelvis. Always there,
always forgotten, my coccyx
connects me to what we always were.
*
Maybe it’s the rain or the spring
in the heel of my shoe or the cicada’s
shed overcoat alone on a lawn chair,
but something’s been telling me,
whispering in my ear, dance, or maybe
it’s once, or maybe dunce. Fire’s music
whorls through the wild conifers,
spreading the latest conspiracy
darkening the dark web.
How much of the soul is metaphor?
Someone said, you can’t overestimate
the body’s desire for eternity.
A baby’s finger clenches like its pulling
a trigger. Is its first instinct to kill?
I turn away in disbelief.
Chatter like fat in a flame.
*
Corpses burst out of their wooden pods
claw their way to the surface,
and forage the forest floors for guns.
I hide among the leaves and needles,
dreaming of another kingdom, another time.
Is this what trauma does? A bed might be
a bomb, a bomb might be a bed,
or maybe just a briefcase left innocently
by the embassy door. I have so many keys,
I can’t remember what they’re for.
The dead sit hunched, nodding in agreement,
emptying their pockets, dragonflies drying
transparent wings on their naked skulls.
One pulls a bullet from his temple, sets
it down on a stump with a little tap.
There’s always an eighty-four percent chance
of winning Russian roulette
for whoever goes first.
*
The crowd celebrates the return of
the father. Kismet, they say. Savior,
they whisper. Messiah, they think.
Each hair on my head extends its
root down into my brain where the masses
gather, staring in wonder at the dome of sky.
Mother holds a box of sea salt. Kosher,
of course. That’s the spirit! Spiritus mundi?
Make like a rabbit and burrow deep,
she says. I dig up their graves but find
only empty orange shells.
A jet plane stitches the sky closed.
I throw another stick in the fire.
Father says, stop crying
and smile for the camera.Read our interview with Poet of the Week, Henry Israeli, wherein he discusses using poetry as a bridge between past and present. About this, he says:
We’re all ancient artifacts with genetic material dating back from our parents to the world’s first single-celled organisms. The same could be said about writing. There is no present in writing. By the time we’ve written down a word, the present has past.





this is my favorite poem-type, a freight train, just keeps coming at me, won’t give up, won’t let go, leap to leap to Woah--those last four lines, i wish I wrote this poem.
This poem feels like grief breaking into surreal fragments, where memory and absurdity collide in dreamlike images.
The mother trying on hats in heaven’s department store embodies loss softened by strange, almost comic tenderness.
The father’s absence is a loud silence, his words remembered as pillars now missing from the landscape of thought.
The body appears fragile and estranged, bread refusing to rise, the coccyx tying us back to forgotten origins.
The refrain about the body’s desire for eternity haunts the text, questioning instinct, mortality, and the violence within us.
Trauma reshapes perception: beds become bombs, briefcases become threats, keys lose their meaning in a world of fear.
The dead return grotesquely, dragonflies drying wings on skulls, bullets placed gently as if relics of despair.
Even resurrection is distorted, the father celebrated as savior while graves yield only empty shells.
The poem stitches satire, horror, and longing into a theatre of mourning, where eternity is both desired and denied.
Ultimately, it humanises despair as a surreal ritual, showing how love and loss echo even in chaos.