The morning after your suicide you peel your body’s edges down like string cheese and find your dead heart suspended in thin air, folded up tight like a paper crane. The discovery lights a candle in the empty pantry of your brain. You remember something true, something you knew since before you were born, although there’s not a word for it, not a poem that could contain it, just a heavy, flapping feeling like a tongue lapping at the skin behind your knees. You tell the doctors you think you’re sane again and they believe you. They return your blood in a zip-locked bag and then release you. The road home is paved with postage stamps and acorns, bottle caps and coupons, mud puddles and maybe-laters. When you find the time, you pick it up and put in your pocket like a dirty coin. You call it your cravings account. You attach each tick of the clock to a lick of that gnawing, hungry feeling. Only the dead don’t eat, you remind yourself. You grow a second set of teeth. You stare into each sharp fang as if it were a mirror. You write the squirrels. You drink your money. You take giant, gulping hops from season to season, but still the gangrene creeps like mold from your untwitching toes to your shoulders. You dig yourself a mote with logic and reason. You fill it with a stream of stale whys and stoic hows and stuttering whens. You fall in and nearly drown, but find the surface scribbled on a scrap of algae in your mouth: The spark comes not from the thirst alone, but from the friction in the chasing. You build a fortress of desire and set it aflame. The fire eats through your paper heart in seconds, but the crane rises from the ash with bigger, beating wings again and again. The coins from your time bank melt in the heat. Your crane-heart, now shock-white and hard as clay, begins to speak in a language you recognize like a dream: A bridge, a stone, a book, a lake. You inhale, you remember your name, you jolt awake.
The art of unkilling yourself
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