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Kami Westhoff<br />

Release<br />

The phone call about his release<br />

enters her ear like a letter<br />

opener. It’s unlikely he will cause<br />

you any more grief, she is told, but<br />

we want to be on safe side.<br />

Their daughter, only a month into walking,<br />

toddles into the gate at the top of the stairs.<br />

It quivers, and she worries about its installation.<br />

She’d never before held a drill, and its vibration<br />

settled in her throat like a lie.<br />

She thanks the man<br />

on the phone, and promises,<br />

at his insistence, caution. She imagines<br />

his head as two dots, a triangle, an semi-circle,<br />

arms and legs and body as simple<br />

as sticks. If he were real, flesh and shit<br />

and guts and bone, he would at least let slip<br />

a tone of defeat, regret, some hint<br />

of the pity one feels when it watches<br />

a creature, whatever its kind,<br />

drag itself roadside.<br />

The baby shakes the gate’s railing,<br />

her smile exposes gums erupting<br />

with bone. It is almost time for her dinner:<br />

mashed avocado, blueberries, cheese cubed<br />

smaller than necessary. Then her bath<br />

where the yellow duck tests the temperature<br />

and promises Okay. She lifts her, hushes<br />

her fussing before it begins. Its legs tighten<br />

around her hip as its chest twists away, back<br />

in an arch toward the gate.<br />

42

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