(an exercise in confucian ethics)
Hannah Wu
孝, Filial Piety
the kitchen is warm in spring
peking opera blares from a UE boom
she warbles along, mincing garlic and an enormous fish
is cradled in wads of thin tracing paper
peaches shiver in the plastic fruit bowl
the size of a bucket, persimmons
crouch at the sticky altar table
underneath a photograph of a withered family
virtue is kneaded and compressed
when in latent heat, it takes form
in the splatters of oil from the frying pan
孝 (xiao) is comprised of:
老 (lao, old)
and 子 (zi, son)
you should respect
that this is what’s best for you,
when you can only think about yourself -
so i ask my mother, if it is possible to separate love from
deference? but she sighs with resolve,
and the knife glides across the silk screen
. 仁, Benevolence
仁 is comprised of: 人 (ren, mankind) and 二 (er, two)
in the wet heat of the restaurant
i continue to pick at the soft structures of crayfish and green
a rash blossoming across my back
thoughts congealing in humid soup
i watch her stretch out a demure hand, smooth her hair down
cruelty was inscribed into her features from a young age:
see, hear, say and do nothing improper, red ink will wane
into black
i am mutual, withdrawn, feel my limbs start to swell,
hear her for a second time, closer in the foreground:
there is a lot to say, but you can only say so much
and when your present is formed by aphorisms
their meanings are contorted into a loose black braid
like when she says benevolence
the sticky residue is silence
. 禮, Ritual
禮, (li, ritual, brotherhood, sacrifice, governance, respect)
a room filled with dark wood
incense loops around the room
plum bloom
black silk at the dressing table
gold lettering on the hardboard
a genealogy book without our names
jagged peanut shells at the desk
jasmine and pepper perfume
length of rope for emergencies
coil of insect repellent
porcelain tea cups
cypress wood for burning
poor eyesight
red thread and a sewing needle
孝, Filial Piety
the kitchen is warm in spring
peking opera blares from a UE boom
she warbles along, mincing garlic and an enormous fish
is cradled in wads of thin tracing paper
peaches shiver in the plastic fruit bowl
the size of a bucket, persimmons
crouch at the sticky altar table
underneath a photograph of a withered family
virtue is kneaded and compressed
when in latent heat, it takes form
in the splatters of oil from the frying pan
孝 (xiao) is comprised of:
老 (lao, old)
and 子 (zi, son)
you should respect
that this is what’s best for you,
when you can only think about yourself -
so i ask my mother, if it is possible to separate love from
deference? but she sighs with resolve,
and the knife glides across the silk screen
. 仁, Benevolence
仁 is comprised of: 人 (ren, mankind) and 二 (er, two)
in the wet heat of the restaurant
i continue to pick at the soft structures of crayfish and green
a rash blossoming across my back
thoughts congealing in humid soup
i watch her stretch out a demure hand, smooth her hair down
cruelty was inscribed into her features from a young age:
see, hear, say and do nothing improper, red ink will wane
into black
i am mutual, withdrawn, feel my limbs start to swell,
hear her for a second time, closer in the foreground:
there is a lot to say, but you can only say so much
and when your present is formed by aphorisms
their meanings are contorted into a loose black braid
like when she says benevolence
the sticky residue is silence
. 禮, Ritual
禮, (li, ritual, brotherhood, sacrifice, governance, respect)
a room filled with dark wood
incense loops around the room
plum bloom
black silk at the dressing table
gold lettering on the hardboard
a genealogy book without our names
jagged peanut shells at the desk
jasmine and pepper perfume
length of rope for emergencies
coil of insect repellent
porcelain tea cups
cypress wood for burning
poor eyesight
red thread and a sewing needle
Hannah Wu
Hannah Wu is a writer and musician from Aotearoa, studying on unceded Wurundjeri land. Her work has been published with or is forthcoming with Cordite Poetry Review, un Magazine, Island Island online for Bus Projects Gallery, Seventh Gallery, Liminal Magazine, Pantera Press, Yale Art History Journal, Enjoy Contemporary Art Space, Voiceworks and others. In 2021, she was shortlisted for the Liminal Nonfiction Prize and longlisted for the Liminal Fiction Prize in 2020.