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The voice in my head is on its knees, either to pray or let hair fall over its chest like a mermaid. And I know both are best facilitated by getting wet, so I slide inside the Soul my father bought me and drive it to the old white chapel with the SALVATION IS STILL FREE marquee out front. But I keep going till I reach the new megachurch in the hollowed-out big box store.

It’s closed for the federal holiday, so I pick the lock with a credit card and follow flashing arrows through the concrete lobby, burst through the metal doors. And I face a clear kiddie pool on stage, so I walk the aisle like a bride in my red sundress, then climb. I take everything off before closed-mouth movie seats. I take everything off before silenced speakers. I sit coyly on the plexiglass edge, one foot in the water, but not for too long. Then I plunge in and sink with my legs pressed together, palms open to the sky.

And I come up 3 miles away in the reactor cooling lake, facing the rich houses. Covered in algae afterbirth, some half-woman thing, I perch on the fake rocky shore. I dry myself with hypothetical fallout maps and slip on a pair of denim cutoff shorts, as all around, the fathers prepare to blow their fingers off in pursuit of artificial stars.



Tessa C. Berman is a Creative Writing Fellow at Syracuse University and the assistant poetry editor of Salt Hill Journal. At the University of Virginia, she co-curated the exhibition Anne Spencer: I Am Here! Tessa’s poetry has previously appeared in Literary Matters and Heavy Feather Review, among other places. Visit her website at www.tessacberman.com.
Current Issue
10 Aug 2026

the sleeping are so hard to distinguish / from the dead
We'd only lived in Arizona four years—it was our retirement place. But I'd died there, and she'd dumped my ashes out in the desert without fanfare, without any poem or prayer, unless you considered, “Jesus, Marty, don't leave me. Why'd you leave me, you old bastard" to be an elegy.
Nature, desecrated, refused to yield more than bone
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