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Volume 39, Issue 1
Volume 39, Issue 1

In the Post-Acute Care Unit of Mount Carmel Hospital in Haifa, Israel

I share a room with a man who has numbers tattooed 
on his arm. Cancer—he says, sardan and points to his head;

He’s unlikely to survive or so the doctors’ hushed voices
tell me as I pass in and out of sleep. My limited Hebrew

consists of ani midaberit kzat ivrit, and not
even that now; I can’t speak English without a stutter—

I’m just coming to and my father is reading this man
Isaiah 53, a prophecy that my dad thinks foretells Jesus. My

father is always insisting that he would bring the Truth by any
means necessary, but it’s just in poor taste to witness to a person

who can’t answer. I wave my arms, say, n-, n-, n- to get
Dad to stop. He smiles. Now look who’s woken up. She’s Alive!

She’s Alive! Singing the song that I remember of Jesus
rising on the third day, He’s Alive. A look passes between me

and the man. We sigh at the same moment He rubs his eyes,
puts a finger to his lips and rolls over.

About Anna Abraham Gasaway

Anna Abraham Gasaway (She/Her) is an emerging, disabled writer published in Cream City Review, Poetry International, Literary Mama, One Art and others. She received her MFA in Creative Writing at San Diego State University and serves as an editorial assistant for the Los Angeles Review. She can be found on Twitter/X at @Yawp97 and IG: annagasaway.

Zone 3 Press, the literary magazine of Austin Peay State University
Volume 39, Issue 1
Volume 39, Issue 1

In the Post-Acute Care Unit of Mount Carmel Hospital in Haifa, Israel

I share a room with a man who has numbers tattooed 
on his arm. Cancer—he says, sardan and points to his head;

He’s unlikely to survive or so the doctors’ hushed voices
tell me as I pass in and out of sleep. My limited Hebrew

consists of ani midaberit kzat ivrit, and not
even that now; I can’t speak English without a stutter—

I’m just coming to and my father is reading this man
Isaiah 53, a prophecy that my dad thinks foretells Jesus. My

father is always insisting that he would bring the Truth by any
means necessary, but it’s just in poor taste to witness to a person

who can’t answer. I wave my arms, say, n-, n-, n- to get
Dad to stop. He smiles. Now look who’s woken up. She’s Alive!

She’s Alive! Singing the song that I remember of Jesus
rising on the third day, He’s Alive. A look passes between me

and the man. We sigh at the same moment He rubs his eyes,
puts a finger to his lips and rolls over.

Volume 39, Issue 1
Volume 39, Issue 1

In the Post-Acute Care Unit of Mount Carmel Hospital in Haifa, Israel

I share a room with a man who has numbers tattooed 
on his arm. Cancer—he says, sardan and points to his head;

He’s unlikely to survive or so the doctors’ hushed voices
tell me as I pass in and out of sleep. My limited Hebrew

consists of ani midaberit kzat ivrit, and not
even that now; I can’t speak English without a stutter—

I’m just coming to and my father is reading this man
Isaiah 53, a prophecy that my dad thinks foretells Jesus. My

father is always insisting that he would bring the Truth by any
means necessary, but it’s just in poor taste to witness to a person

who can’t answer. I wave my arms, say, n-, n-, n- to get
Dad to stop. He smiles. Now look who’s woken up. She’s Alive!

She’s Alive! Singing the song that I remember of Jesus
rising on the third day, He’s Alive. A look passes between me

and the man. We sigh at the same moment He rubs his eyes,
puts a finger to his lips and rolls over.

About Anna Abraham Gasaway

Anna Abraham Gasaway (She/Her) is an emerging, disabled writer published in Cream City Review, Poetry International, Literary Mama, One Art and others. She received her MFA in Creative Writing at San Diego State University and serves as an editorial assistant for the Los Angeles Review. She can be found on Twitter/X at @Yawp97 and IG: annagasaway.