Uh-Oh
I never knew I could fall in love
with the word uh-oh. The way
it sprouts throughout our home:
under a chair, beside the exposed
kitchen pantry, hanging off the edge
of the mist-colored couch, resting
on the back of our milk drenched
calico cat, or in the middle
of a literary festival reading.
Its beautiful unearthed roots tied to
an unopenable box, a stuffed bunny
fallen, a bus flipped over or a spill
of lunch eaten by the dog. The two
sounds hold hands as they bump
and stumble into toddler-sized
experiences. Both sit together
to watch and listen; to anticipate
when to take over the room
and make their presence known,
to experiment with pitches,
and discover the will of effect.
What happens when one bites
into the peel of a clementine?
What happens when one bites
into the arm of a parent: a ripple
of high-pitched staccato notes
to delight in. A composition
to study and learn like the very
first uttering of uh-oh. A gathering
of keys that have always been
around me like chairs and trees
and birds and windows. A sound
in the background–always waiting
to be used for an occasion, but one
I never held so close–one I tug along
as I walk slower through this life.
Amanda Galvan Huynh (she/her) is a Xicana writer and educator from Texas. She is the author Where My Umbilical is Buried (2023), a chapbook Songs of Brujería (2019), and Co-Editor of Of Color: Poets’ Ways of Making: An Anthology of Essays on Transformative Poetics (2019). Her writing has been supported by fellowships and scholarships from MacDowell, Storyknife, Sewanee Writers’ Conference, Robert Rauschenberg Foundation, Virginia Center for the Creative Arts, and others. She serves as the Managing Editor of Mānoa: A Pacific Journal of International Writing.
