There’s the Katy Freeway. There is induced demand:
a distinctly 77406-tinged
entropy, of excess, futility, and there is me,
driving to your house once again.
There’s the tollway hanging halfway down the moon like a noose.
That moon— hauling the asphalt up like high tide, as though beckoning
a speeding driver heavenward at 90 miles an hour,
complete with the toll tag scans I always
mistake for lightning. There’s a reason
the route to your house is called an arterial road. I like the image of
severing a connection
like W Grand Pkwy S, watching
a gnarled alphabet of Silverados and
F-150’s spray like a severed jugular down
the feeder below. If I took a bulldozer
to us. If I carved out a city’s artery. Back fenders,
headlights splitting open like cresting waves on the
shoulder, the hot rock littered
with the brilliant remnants of two-ton red blood cells.
And that street— pulling my lane into yours, stretching
the road and us into an estimation.
I’ve memorized the shape
of your suburb, what it looks like in your (our) zip code.
Faster than I can seem to find
anything else these days, I can pick out
your cul-de-sac on a map. Yours
is the kind of curved way that ekes out a fate.
I’m doomed—
not like death, or crash on I-10 and Gessner,
but like take my forty-four cents, I can’t wait the extra intersection. Like there are
only so many red lights I can stomach
on my way to you. Like destination.
Imaan Faisal is a Pakistani writer and graphic designer based in Houston whose work explores themes related to cultural identity, gender, and her environment. Her work has been featured in Glass Mountain’s fall 2023 volume, and she was awarded the Bryan Lawrence Prize in Nonfiction from the University of Houston in spring 2023. When not creating, she spends her free time consuming YouTube video essays and matcha lattes.