Poem: ‘Mendeleev’s Nightmare’

Science in meter and verse

Illustration of a scientist with atomic elements floating in front of his eyes

Olga Aleksandrova

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I went to my rest a sober man, content with the stable progression of elements I found to be more reliable than any prayer. Sleep came easily. I went deep, then deeper, until in a single instant I fell straight through the lattice of all-that-is.

Diced, I arrive into this hell scape, my sobriety sieved, irretrievable. A man dressed in black dips the tip of a thin moustache into pot after pot of color. With a theatrical swoop, he renders all-that-was-rectilinear down to violent,
vertiginous curves, which drip like fluorescent tallow

 tock  tock  tock
         off the edge of the known world.


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He turns to me and seals my throat with the same, whispers only memory persists. Then, lifting his shoe hat, winks horribly, and recedes at implausible speed toward a doorway newly there. I stumble after him, desperate to find what order might remain.

We stand on the threshold. I could wish my ears stopped with wax. A brass band decibels down the street, while ranks of percussive skeletons dance past bearing aloft faux-gold balloons. They are on their way to the ceremony where what-is-lost (as light and unwilling as any child bride) must wed what-remains-forever. My rage swells. I will find a way to annul this marriage made in hell. Twisting free, I run backwards and slip into an alley where it is dim and the carnival din quietens.

  tap  tap     tap  tap

Have I arrived tongueless, then, in the land of the blind? Slowly my eyes and ears adjust. Up ahead I see street gangs gathered to scry the uncertain future. I draw closer. A young girl crouches, dressed in rags. She stares so fixedly at what is before her that she does not see me. I look over her shoulder, read the words that appear and fade on her handheld screen: How to recover silver from X-rays.

I cough and spit out fractured wax. It is critical I speak.

  The ghosts are in the machine.

Liana Christensen is an Australian poet whose published works include Deadly Beautiful, Wild Familiars and Unnatural History. This poem was inspired by the European Chemical Society’s revised periodic table, depicting element scarcity, which struck Christensen as “Dali-esque.”

More by Liana Christensen
Scientific American Magazine Vol 332 Issue 2This article was originally published with the title “Mendeleev’s Nightmare” in Scientific American Magazine Vol. 332 No. 2 (), p. 73
doi:10.1038/scientificamerican022025-27u5kfgQF7PDYJsFIU30bP