I Call It Sabotage.
By Kayla Spencer.
“An empty gnaw behind my too-soft ribs / Feels safer than that plate of hash browns / And the casual indifference of one man / More familiar than the love of another.“
Limpieza sixtina by Olga S Ortiz.
I learned to love hunger and “no, thank you,”
To love longing, dismissal, and doubt
More than hands held across busy streets,
More than warm beds, soft hands, or fresh croissants.
An empty gnaw behind my too-soft ribs
Feels safer than that plate of hash browns
And the casual indifference of one man
More familiar than the love of another.
I push away ample plates and affection with the same hands
Telling myself that it’s better to be hungry, to be wanting,
Than to be full, sated, or complete,
And forgetting who or what convinced me so in the first place.
The weight of my own mother’s self deprecation seeps between
The folds of my stomach and the space where my thighs rub
Because I accidentally watched her hate her body and deny herself
Compliments, fresh croissants, new clothes, and praise.
If the most perfect woman to walk the planet folds herself
Into dim alcoves and frowns in every mirror,
Absently disparaging the well from which I was drawn,
How can I indulge in something as unthinkably forbidden
As comfort in or–God forbid–celebration of
this body made of rounded edges and sourdough bread?
If I’ve survived this long starving for softer hands on my skin
but kept alive through scant offerings of sex and isolated flowers,
How dare I glut my base, primal hunger
For a shared bed, for lips pressed against my temples,
For blissfully unconscious nights, and for slow breathing mornings
Warm at the side of another?
So starve, they say, in beauty’s name; suffer in love’s:
It’s supposed to hurt in the name of something greater.
Strange, I find myself thinking,
That what was meant for joy somehow wrought ruin.
I’ve taken the simple and good, and with Midas’ hands,
Sharpened it into a weapon against myself,
Shaving the skin from my body in martyrdom
And paring affection from my hands in sterilization,
forgetting that no one asked me to.
The Blood Pudding – November 10, 2025
Kayla, 27, is based in Utah, where she teaches 7th/8th grade English at a local charter school. She is a lifetime lover of the language arts, and now dedicates herself to the noble art of teaching teenagers that reading is not punishment, writing is not fruitless, and revision is not failure. When not engaged in mortal combat with said teenagers, she’s found scribbling down lines of poetry or deep between the pages of fantasy novels, likely with a rapidly cooling cup of Earl Grey at her side. This is her first piece of published work. To contact Kayla, please email kmspence97@gmail.com, or follow her on X @k_spence_.
Artwork: Olga S Ortiz studied Industrial Design Engineering but has always been drawn to art. Since the age of nine, she has been painting at Conchita de la Cueva’s studio, a formative experience that shaped her creative vision. After completing her degree in Industrial Design Engineering, Olga pursued a Master’s in Art Direction in Barcelona, followed by studies in scenography. You can find more about her here.
