Abstract

Prologue: mother’s lullaby
that night, the bombs scythed the muscle of the sky and recklessly bled him dry. sanguine, i watched it sluice like a crushed fruit into the wooden vessel of the earth, nestled tenderly between the cupped hands of the sea.
i curled my own hands around my belly, my nucleus, the radiant centre of my universe, and gazed at the great wound that hovered above our tiny isle. the amber moon hung in anticipation. i thought my daughter would stir, but she was waiting
too. i tried to think of what to say to her, but it felt like talking to the moon, silenced by its faceless, golden gleam. that night shimmered with the melancholy of a dream, caught halfway between sleep and life. i felt her shift tentatively with the seeping unease of a blood drop flowering
in water, wispy, yellow and cloud like. my daughter was already part ocean, part memory. but in that final flash of lucidity i saw her, this child of my veins, watched those bloodshot vessels carry her away to a city carved from the inside of a star.
The island
at night the sky was a beautiful blood red. beneath it, the thick blackness of the sea with its oily iridescent sheen rolled and seethed. we hauled fish packed like bodies brought them back our city, built from e-waste, the corpses of screens.
but tonight the air smelt rancid, stank of acid. it was the rainy season. i could count the seasons from the pock marks on my skin. four years ago it rained like armageddon and the island crumpled, caved in like an empty eye socket like a man without a soul; the acid whittled down our island to the ragged gleam of bone
but we sucked on its marrow. made love in the hollows of the island’s cheekbones saw ourselves as the blade and the island as our whetstone, blinded ourselves with our own luminosity, felt the pulse of our lives as quick and bright as mercury, as the jagged light that beats behind an eyelid.
but under the burn of rain the island’s flesh corroded. the metal became a living liquid membrane that dripped in loose and languid rivulets round the island’s blistered lips. cowering in the deep groan of island’s distended
jawbone as the hot metal freely flowed and the black waves heaved like bile, i watched our island dissipate into silver flakes like fish scales, fine and fickle and fragile. we thought we drank from life, but our lives were one long exhale.
The man
we could have gone on dying forever if it wasn’t for the body. as the weather turned, i went one night to look for clams and found the empty, salt-licked shell of a man.
that yellowed night was strangely soft, like the tender curve of an animal’s spine. as he slowly blinked i realised for the first time under that wide and deep and mellow sky the quiet miracle of what we had merely called survival.
his arrival blew in a hot and hazy climate of denial. they gathered round him like gulls and spoke with holy stained-glass tongues. they spat words like fish bones, crunched the shards between their teeth, let each vicious piece pierce sunburned lips with violent apathy.
this stranger was no responsibility of ours, they said, yet here he was, sharp and unwelcome as a crack on a lip. as the accusations swelled and soaked his frail flesh with the scent of immanent death, dull and acrid as petrol
i felt the sickening tilt of vertigo, felt the spinning coils of time refract through glassy sightless eyes, felt pasts and futures left unsung urgently throbbing against my tongue, against a bruised and blackening sky, heard clocks screaming as their faces melted,
felt the second-hand beating as the sins of the children unfolded.
Interlude: a grammar lesson
what do you call a pack of lions?
a pride.
what do you call a pack of witches?
a coven.
what do you call a pile of bodies?
a condemnation.
what do you call a man beaten
to death with a vacuum cleaner pipe?
Blood vessels
after the guilty flock dispersed i covered his body like a half-eaten piece of meat after a party swept up the delicate shrapnel of his skull, scooped the viscous remains of his eyes back into their sockets with the wet plop of a frog returning to a swamp.
every night after that i dreamed of the strange tremble of gelatine in the palm of my hand.
three days later we saw an arrow. a single bone protruding, long and slender, from the dark water. as the ship approached it stretched further and further into the sky, pointing up in judgement towards its god, like a sword plunged up into the body of a gladiator.
it took a good week for that arrow to become a bow. the ship’s body was the archer, the straining muscle of her curved back pulled tight, quivering with tension, drawn by her glistening sternum towards our shore. when she finally landed there
a gang plank reached out tremulously, like a prayer, and sank deep into the island’s crown. and although we were now a damned nation, i can still see her deep bow in supplication: the grace of a ship brought to its knees.
Interlude: revenge, a dish best served cold
a traditional recipe, passed down from generation to generation to generation to generation to generation to generation to generation to generation.
first, separate the men from the women and children. then butcher them.
second, kill the old ones. they’re no use: they’re all gristle.
third, keep the women. we need laying hens.
finally, take the children. at this age, they’re still tender, but they’ll toughen up quickly, and soon they won’t remember a thing.
chef’s note: oh, the sound. ignore it. it’s a natural reaction, one that happens as soon as they hit the hot water: the sound they make when the air leaves their bodies.
Some thoughts about love in the middle of disaster
in that small ship’s cabin he owned three things: two books, and me. i became an atlas of my own violation, caught in the cacophony of my ragged fish-net body, frayed and fraught with fear beneath his brutalist cartography.
i became a map soaked by a spray of salt water, the paper left swollen and tender. when paper dries it remains misshapen, sunken and mellowed with a seeping sadness foreign to its once-bright pages. bold brush strokes washed out to soft shadows,
the great plain of paper they once strode upon withered into brittle, shifting, sand dunes. those runes became ruins: stains formed new edges, remapped my borders with frightening apathy …
but now, as i write, i wonder whether i am just exploiting my own tragedy, mining it for a kind of tormented beauty, like the broken, slapstick dance of a half-wrecked man. i wonder whether love is just a competition over who can be the most vulnerable;
whether our words are just the stolen memories of another generation; whether poetry is just a never-ending protestation of my own innocence; whether wisdom, like gold, is just a ledger of the costs wrought upon my molten body;
whether I will ever be more than the sum of my loss.
Interlude: echo
hot blooded man
he told me
he couldn’t
stand to
see me cry.
now i realise
that what he
couldn’t bear to see
was his face
reflected in
my eyes.
The calm
thinking back on those long days at sea, i would wonder if i internalised his violence, as though violence was a lonely traveller and i offered him a place to rest,
hung his coat on my clavicle, let him slumber in the hollow of my chest, rocked him to sleep with every shallow breath. was it he or I trapped, broken- hearted, behind the bars of my ribcage?
neither, I suspect: for the longer I was there I lost all sense of my own interior. in its despair the tendrils of my body bloomed into an entire ecosystem of violence, a canopy of cruelty, a web of open wounds.
i drank down his malice, felt it trickle and pool in the chalice of my hips; let it languish in the place where my tongue used to sit; it had atrophied into velvet, pale satin and silence.
all i had left and my pity, dark and heady, brewing within me, thick with the scent of an oncoming storm. so i mourned behind veiled eyes; swallowed my sorrow, balmed my body with lies, let the dregs of my soul congeal
did whatever it took to survive.
Interlude: sisyphus
of course i’m a woman.
you think they’d break
a man’s back for this
useless rock that
rolls with the sun?
its underbelly all
caked with mud?
atlas? he shrugged
a long time ago
but you know what?
that’s not how i roll.
me? I won’t stop.
I will fucking roll this rock.
I will roll this fucking rock.
The storm
it was easy, in the end, to slit his pale throat in the dead of the night, the blade dancing like the white of his eyes when he rolled them back in his private ecstasy. he had grown careless,
carefree, for i’d been so accommodating i had become mere upholstery; he was no longer scared of catching himself on one of my sharp edges. he was distracted, too, by the storm clouds thickening on the horizon. they all were, that night.
a bad omen, they muttered, for colonists and pirates are nothing if not superstitious. yesterday the sea felt like it was holding its breath; and now, with a great and violent exhale it turned into a
wild beast that thrashed and churned and screamed, bucking against this tiny pathetic little burr stuck to its back. i could hear grown men wailing as they were battered between its sides. the blood that
poured from my captor’s throat mimicked the saline spray of the crashing tides. i closed my eyes, and with the ship’s next violent list i made my escape, slipping deep into the ocean’s embrace.
Atlantys
at first, i thought i was dying, my body twisting and floating through an endless abyss. i felt the blood and water swirling, salty and ferrous, around my face and through my veins.
slowly, gently, i realised that i was not alone. i saw their eyes first, delicate and luminous, almost orchidaceous. their eyes seemed to flower in the darkness.
i know that i should have been frightened but i was drawn to their faces. it may sound strange but it seemed less like a meeting than a memory. they swam closer, and began to speak.
welcome home, child they said, arms outstretched, blue skin glowing in the oceanic light. scarlet coral bloomed between their lips and fingertips. their smooth, bare scalps gleamed.
i joined them, restored to my rightful place among them, a messy constellation of sea witches and monsters and goddesses whose lives had become braided together through the ceaseless myths of their weakness, their bitterness, their cruelty, their immortality,
their slippery lies. they surrounded me in an endless circle, a protective golden amulet as the waters around me continued to rise.
they taught me so many things that night, as i lay coiled in their arms, grateful to be alive. i laughed and i screamed and i wept with them, knowing what a miracle it was to survive.
Epilogue: the goddess
that night, the bombs once again rained down from the sky like an ugly cluster of insects, dark and cockroach like. like my mother i stared upwards, unfazed as they crawled by, jagged and monstrous against the cavernous
light of the moon. my crescent body had expanded, now round and whole to accommodate you. as it did i thought my mother cradling me before this apocalypse; her eyes like mine had traced
the nuclear stars that cleaved their way across the sky like a blade through flesh, leaving in their wake these deep glowing wounds. i said a prayer for her, my mother,
whose body was calcified, slowly eaten alive, dried down to a brittle shell, poisoned by the nuclear fallout that fell over our electronic isle.
but this time, i would survive; her fate would not be mine. against the sickening explosions of light i felt my womb quicken, tighten with anticipation. and then from that blood red abyss came the cry of a deity: a goddess named atlantys.
Footnotes
Acknowledgements
Many thanks to William Wedel McInerney and Jenny Carla Moran for their thoughtful feedback on my poems. Many thanks to Dr Eleanor Drage for her insights on feminist science fiction, critical utopia and critical dystopia, and to Dr Tomasz Hollanek for his feedback on the essay section of this piece. I also would like to thank the editors of Feminist Review for their appreciation of this creative piece. Additional thanks to Dr Natasha Tanna and Dr Hakan Sandal-Wilson for encouraging my engagement with creative methods.
Author’s note
How can and should we imagine the future? The utopian studies scholar Tom Moylan coined the term ‘critical utopia’ to describe the feminist science fiction that emerged in the 1960s and 1970s (Drage, 2023). Unlike the manicured perfection (and often, rotten underbelly) of classical utopias, critical utopias reframed utopia not as a place but as an ongoing process of seeking freedom (
ibid.
). In doing so, the critical utopia compels the reader to reach for a world that exists beyond its pages. Conversely,
use the term critical dystopia to describe world-imaginings that maintain hope not outside their pages but somehow within them. Critical dystopias allow utopian enclaves to persist within a world where survival seems impossible, and refuse to capitulate to any kind of narrative closure.
The open-endedness of critical dystopia is secured in part through playing with the bounds of genre (ibid.). In this piece, I use poetry to create this sense of open-endedness and to reach for a world that exists beyond the page. Poetry embodies the multiple temporalities of the feminist imagination. The ability to play with word, with form and with phrase in a way that refuses to be bound by the ordinary space of the page naturally lends itself to the many gaps and slippages in feminist thought. It is a place where multiple currents of thought can swirl and coexist. Poetry provides a crashing constellation of words and images that calls for contemplation instead of an easy resolution. In Walking the Clouds (
), Grace Dillon builds on the term ‘slipstream’, a descriptor for speculative writing that rejects ordinary genre conventions, disrupts expectations and joyfully turns norms on their head, with the concept of the ‘native slipstream’. The native slipstream encapsulates how Indigenous Futurism ‘views time as pasts, presents, and futures that flow together like currents in a navigable stream’ (ibid., p. 3). The threads of life flowing together like a river, the tumbling together of generations, similarly shapes the poems in this collection, atlantys.
The poems evoke both the temporality of the slipstream but also what Lisa
describes as ‘suspended time’: the temporality of trauma, when time ‘pools, like a great pocket of blood, that both holds and suspends time as motion’. Many of these poems are painful. In particular, two of the poems in the middle of the series, ‘some thoughts about love in the middle of disaster’ and ‘the calm’, dwell in this extended stillness. Meanwhile, the interconnected beginning and ending of the poems, which allows them to be read in a circular way, evokes how, in the wake of trauma, ‘time can fold-over, rather than unfold over time’ (ibid., p. 184). This folding over of time and the oscillation between pasts, presents and futures is amplified by the interweaving of loose feminist interpretations of Greek myths as poetic interludes throughout the story. Yet this repetition also captures how this enduring time is intimately entwined with the cyclicality classically associated with women’s time (ibid.). This cyclicality, Baraitser (ibid.) argues, is not solely about reproductivity but more broadly reflective of an ethic of interdependency; thus, ‘to remain in this time, to live it consciously, arduously, routinely, in its quotidian form, might tell us something about a mode of attachment to ourselves, others and the world, that I have named as “care”’. In their violence, these poems attempt to dwell and make sense of these attachments and these modes of relation to ourselves and one another.
In atlantys, the protagonist is a child of the apocalypse. On the island where she lives—which is constructed from the ragged detritus of e-waste, bombarded with nuclear weapons and regularly scourged with acid rain—life itself is the miracle that she strives to imagine. Life emerges and is somehow sustained amid a tapestry of violence upon violence. The word ‘atlantys’ evokes the famous lost world of Atlantis as the utopia that exists beyond these pages. Yet, while the main character is never named in the piece, she herself is the embodiment of the utopian possibilities that persist in this dystopian world. The poems—and the violence contained within them—thus fold over on themselves, nestling dystopian feminist futures within dystopian presents and dystopian pasts, while simultaneously gesturing towards a hope for a better future.
Funding
The author disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: I am currently funded by the Stiftung-Mercator foundation.
Author biography
Kerry McInerney (née Mackereth) is a Research Fellow at the Leverhulme Centre for the Future of Intelligence, where she researches anti-Asian racism and AI, the geopolitics of AI and feminist approaches to AI ethics. Kerry is an AHRC/BBC Radio 3 New Generation Thinker, where she brings complex conversations about gender, race and artificial intelligence to wide audiences. She is a Research Fellow at AI Now and a Visiting Fellow at the Institute of Advanced Studies, UCL.
