Jan 14, 2020
On Delilah and the Villains We Make of Women Who Seek Power
Succubus, siren, gold-digger, temptress: There are so many words for a woman with money in her hands.
Nina Li Coomes is a Japanese and American writer, currently living in Boston, MA. Her writing has appeared in EATER, The Collapsar, and RHINO Poetry among other places. Her debut chapbook haircut poems was published by Dancing Girl Press in 2017.
Succubus, siren, gold-digger, temptress: There are so many words for a woman with money in her hands.
Esther, you are a queen not because of your physical perfection, but because of the horror and rage you transformed it into.
Maybe, I thought, I could play Pokémon with my peers and bridge the gap between me and my an all-white classroom. But we lose things in translation.
While Ruth’s words— “where you go I will go, and where you stay I will stay”—made for a heart-stilling pseudomarital vow, I was not selfless enough to promise the same.
There is a part of me, even after so many iterations of faith and years of living in an adult body, that is waiting for punishment, waiting to be banished from the Garden.
Hafu carries insinuations of otherness; of not belonging, but being fetishized. How do I carry this name and this history at once?
Nukumori can refer to a kind of existence not dependent on physical proximity, allowing a person’s presence to linger with you even if they cannot.
How could I navigate my Japanese-language emotions in pursuit of a Western psychiatric label?
When he asked me how to say “I love you” in Japanese, I translated linguistically, but mistranslated culturally.
‘Setsunai’ implies something once bright, now faded. It is the painful twinge at the edge of a memory, the joy in the knowledge that everything is temporary.
