Jhani Randhawa: SQUALL (excerpt from Pacific Gothic)

We once wrote each other letters
from stone littered beaches
newly eroding, from fog, from tropics

One of these letters arrived in a torso-sized
envelope, water-stained and wrinkled—
it was slipped through a gap between
the door and its frame

It was a letter of abstraction

Inside, my friend rendered in a night-flash
a photograph, and on its emptied reverse,
some words to cut his shadow from sand—

I do not love
music, sound, sea, surf and surfacing;
O sea, open, I am there, them, then—

I do not remember the rest now;
to be subsumed, a liquid subject
to depart from love, to depart from subject—

In dredging the body for its memories,
there was also what Aggie said, in her transcription:

We believe that where contour-swept slopes
are steep, the resulting intensification
of near-bottom velocities prevents

healing

slope

processes


As an ocean ages, plural god
shuttle of light and languages
as ocean is thick
on an atmosphere cupped snow,
born of glacier
I exit into dream of tsunami frozen in place
of settlement, of permutation

zero. squall
one. shape the limit
two. find the road and the vertical drop
three. refute then be refuge
four. the body dissolves
five. consciousness as ripple

Jhani Randhawa

Jhani Randhawa is an interdisciplinary artist, community organiser, and scholar, whose praxis centres the performative uses of literature, archival marginalia, and bodies to illuminate limits of legality, memory, and racially gendered power within the ongoing ecological crises of settler colonialism. Winner of the 2024 California Book Award for their debut poetry collection, Time Regime (Gaudy Boy, 2022), Jhani’s work has appeared in the New Art Gallery Walsall (Walsall, England) and the Czong Institute for Contemporary Art (Gyeonggi-do, South Korea), as well as publications A Mouth Holds Many Things: A Hybrid Literature AnthologyASAP/J128 LitFootnotes, and O BOD, among others. You can learn more about their work at www.jfkrandhawa.com

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