Autism in Stanzas

A day begins the way a day begins: alarm ignored, silk blocking light not blocked by other fabric. A day begins the way most days begin: late, a rush to wake and locate myself, a crumple to the floor on unsteady legs, frozen by the choices I give myself driven by obsession: too many clothes from which to choose, paralyzed as promised moments tick by. A day begins the way most days begin: drag a brush through blown-out hair meant to last all week because I cannot hold a blow dryer for very long, powder brushed over pale face that hasn’t seen sun in days—I stopped counting. A day begins the way a day begins: in best attempts gone untended, intentions unmoored because it isn’t possible to moor a boat made of papier-mâché.

A day becomes what a day becomes: pills before meals before other pills, timed and planned and counted, measured and measured again. A day becomes a series of decisions, guided and unguided, on good days measured and measured again, predictable and welcome, conversations scripted and mostly parsed. A bad day becomes a series of decisions, wholly unguided, unclear and unwelcome and unplanned, noise undeciphered and grating. A bad day becomes a series of decisions that become too much, like where to put one foot after the other, which direction to look, how many breaths I should take and whether or not it’s okay to touch the things I know I own. A day becomes paralysis, a stomach flipped inside out, a skin all wrong. A day becomes a pill after a pill, then another pill, a hideout in a room where I can’t find me, where I can leave my skin, maybe just for a moment.

A day becomes a night like other nights: my old skin, hanging in the back room, and I wander into the rooms, alone and uncaring. A night becomes a night: touch on new skin in all the right places, liquid food that soothes and burns the way I wish all things would burn. A night ends like all the other nights: pills followed by pills followed by dreams of other lives, of other mes with other skins and other days that become something else entirely that I will never know.

Adrienne Marie Barrios

Adrienne Marie Barrios is editor-in-chief of Reservoir Road Literary Review and CLOVES Literary. She is co-author of the poetry collection Too Much Tongue (Autofocus, 2022), written collaboratively with Leigh Chadwick, and her debut solo collection We Don’t Know That This Is Temporary (Redacted Books, 2023). Her work has appeared in trampset, Passages North, Rejection Letters, and Identity Theory, among others journals. She edits anthologies and award-winning novels and short stories. Find her online at adriennemariebarrios.com.

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