And God stepped out on space,
And he looked around and said:
I'm lonely—
I'll make me a world.
And far as the eye of God could see
Darkness covered everything,
Blacker than a hundred midnights
Down in a cypress swamp.
Then God smiled,
And the light broke,
And the darkness rolled up on one side,
And the light stood shining on the other,
And God said: That's good!
Then God reached out and took the light in his hands,
And God rolled the light around in his hands
Until he made the sun;
And he set that sun a-blazing in the heavens.
And the light that was left from making the sun
God gathered it up in a shining ball
And flung it against the darkness,
Spangling the night with the moon and stars.
Then down between
The darkness and the light
He hurled the world;
And God said: That's good!
Then God himself stepped down—
And the sun was on his right hand,
And the moon was on his left;
The stars were clustered about his head,
And the earth was under his feet.
And God walked, and where he trod
His footsteps hollowed the valleys out
And bulged the mountains up.
Then he stopped and looked and saw
That the earth was hot and barren.
So God stepped over to the edge of the world
And he spat out the seven seas—
He batted his eyes, and the lightnings flashed—
He clapped his hands, and the thunders rolled—
And the waters above the earth came down,
The cooling waters came down.
Then the green grass sprouted,
And the little red flowers blossomed,
The pine tree pointed his finger to the sky,
And the oak spread out his arms,
The lakes cuddled down in the hollows of the ground,
And the rivers ran down to the sea;
And God smiled again,
And the rainbow appeared,
And curled itself around his shoulder.
Then God raised his arm and he waved his hand
Over the sea and over the land,
And he said: Bring forth! Bring forth!
And quicker than God could drop his hand,
Fishes and fowls
And beasts and birds
Swam the rivers and the seas,
Roamed the forests and the woods,
And split the air with their wings.
And God said: That's good!
Then God walked around,
And God looked around
On all that he had made.
He looked at his sun,
And he looked at his moon,
And he looked at his little stars;
He looked on his world
With all its living things,
And God said: I'm lonely still.
Then God sat down—
On the side of a hill where he could think;
By a deep, wide river he sat down;
With his head in his hands,
God thought and thought,
Till he thought: I'll make me a man!
Up from the bed of the river
God scooped the clay;
And by the bank of the river
He kneeled him down;
And there the great God Almighty
Who lit the sun and fixed it in the sky,
Who flung the stars to the most far corner of the night,
Who rounded the earth in the middle of his hand;
This great God,
Like a mammy bending over her baby,
Kneeled down in the dust
Toiling over a lump of clay
Till he shaped it in is his own image;
Then into it he blew the breath of life,
And man became a living soul.
Amen. Amen.
From God's Trombones by James Weldon Johnson. Copyright © 1927 The Viking Press, Inc., renewed 1955 by Grace Nail Johnson. Used by permission of Viking Penguin, a division of Penguin Books USA Inc.
Evening and the flat land, Rich and sombre and always silent; The miles of fresh-plowed soil, Heavy and black, full of strength and harshness; The growing wheat, the growing weeds, The toiling horses, the tired men; The long empty roads, Sullen fires of sunset, fading, The eternal, unresponsive sky. Against all this, Youth, Flaming like the wild roses, Singing like the larks over the plowed fields, Flashing like a star out of the twilight; Youth with its insupportable sweetness, Its fierce necessity, Its sharp desire, Singing and singing, Out of the lips of silence, Out of the earthy dusk.
This poem is in the public domain.
I cannot consider scent without you, I cannot
think that color so gay, so Japanese, so vernal
without you; not assassination or any death in any spring. I think of you
and I am man-and-woman, flawed as a Lincoln,
welcoming as a window-box, and so tenderly alliterative as to draw one near—
at times, perhaps, to withdraw from all—yes,
without you I am without pulse in that dooryard, that blooming unfurling
so tell me finally, is last as in the last time or to make something last
—to hold, to hold you, to memorize fast—
Copyright © 2019 by Kimiko Hahn. Originally published in Poem-a-Day on December 12, 2019, by the Academy of American Poets.
He said I must pay special attention in cars. He wasn’t, he assured me, saying that I’d be in an accident but that for two weeks some particular caution was in order, &, he said, all I really needed to do was throw the white light of Alma around any car I entered & then I’d be fine. & when I asked about Alma, he said, Oh, come on, you know Alma well. You two were together first in Egypt & then at Stonehenge, & I nodded though I’ve never been— in this life at least—to Stonehenge; then I said, Shouldn’t I always throw the white light of Alma around a car? & when he said, Well, it wouldn’t hurt, I said, What about around planes, houses? What if I throw the white light of Alma around anyone who might need protection from the reckless speed of driving or the reckless swerve & skid of the world? & the psychic opened his hands & shrugged up his shoulders. So despite your doubt or mine as to why I’d gone there, to a psychic, in—I kid you not—a town of psychics—in the first place, right now, as you read this, let me throw the white light of Alma around you & everyone you pass close to today, beloved or stranger, the grocer, the bus driver, the boy on his longboard, the lady you stand silent beside in the elevator, & also I am throwing it around anyone they care about anywhere in the spin of the world, because, we can agree that these days, everywhere, particular caution is in order &, even if unverifiable, the light of my dear sister Alma, couldn’t hurt.
Copyright © 2019 by Victoria Redel. Originally published in Poem-a-Day on December 16, 2019, by the Academy of American Poets.
For thee the sun doth daily rise, and set
Behind the curtain of the hills of sleep,
And my soul, passing through the nether deep,
Broods on thy love, and never can forget.
For thee the garlands of the wood are wet,
For thee the daisies up the meadow’s sweep
Stir in the sidelong light, and for thee weep
The drooping ferns above the violet.
For thee the labour of my studious ease
I ply with hope, for thee all pleasures please,
Thy sweetness doth the bread of sorrow leaven;
And from thy noble lips and heart of gold
I drink the comfort of the faiths of old,
Any thy perfection is my proof of heaven.
This poem is in the public domain. Published in Poem-a-Day on December 22, 2019, by the Academy of American Poets.
I cannot but remember
When the year grows old—
October—November—
How she disliked the cold!
She used to watch the swallows
Go down across the sky,
And turn from the window
With a little sharp sigh.
And often when the brown leaves
Were brittle on the ground,
And the wind in the chimney
Made a melancholy sound,
She had a look about her
That I wish I could forget—
The look of a scared thing
Sitting in a net!
Oh, beautiful at nightfall
The soft spitting snow!
And beautiful the bare boughs
Rubbing to and fro!
But the roaring of the fire,
And the warmth of fur,
And the boiling of the kettle
Were beautiful to her!
I cannot but remember
When the year grows old—
October—November—
How she disliked the cold!
“When the Year Grows Old” was published in Millay’s book Renascence and Other Poems (M. Kennerley, 1917). This poem is in the public domain.
She is neither pink nor pale, And she never will be all mine; She learned her hands in a fairy-tale, And her mouth on a valentine. She has more hair than she needs; In the sun 'tis a woe to me! And her voice is a string of colored beads, Or steps leading into the sea. She loves me all that she can, And her ways to my ways resign; But she was not made for any man, And she never will be all mine.
From Collected Poems by Edna St. Vincent Millay, published by Harper & Brothers Publishers. Copyright © 1956 by Norma Millay Ellis.
You’ve just died in my arms,
But suddenly it seems we’re eternal
Cali boys, Afro-haired cohorts in crime,
Racing through intricate lattices
Of quince and lemon tree shadows,
Corridors of Queen Anne’s lace—
On the skip-church Sunday you dubbed me
“Sir Serious” instead of Cyrus—
Then, swift as a deer’s leap, we’re devotees
Of goatees and showy Guatemalan shirts,
Intoxicated lovers for a month
On the northwest coast of Spain—
Praising the irrepressible sounds
Of a crusty Galician bagpiper
On La Coruña’s gripping finisterre,
Then gossiping and climbing
(Like the giddy Argonauts we were)
The lofty, ancient Roman lighthouse,
All the way—Keep on truckin’, we sang—
To the top of the Tower of Hercules—
Copyright © 2019 by Cyrus Cassells. Originally published in Poem-a-Day on December 30, 2019, by the Academy of American Poets.
Ring out, wild bells, to the wild sky,
The flying cloud, the frosty light:
The year is dying in the night;
Ring out, wild bells, and let him die.
Ring out the old, ring in the new,
Ring, happy bells, across the snow:
The year is going, let him go;
Ring out the false, ring in the true.
Ring out the grief that saps the mind
For those that here we see no more;
Ring out the feud of rich and poor,
Ring in redress to all mankind.
Ring out a slowly dying cause,
And ancient forms of party strife;
Ring in the nobler modes of life,
With sweeter manners, purer laws.
Ring out the want, the care, the sin,
The faithless coldness of the times;
Ring out, ring out my mournful rhymes
But ring the fuller minstrel in.
Ring out false pride in place and blood,
The civic slander and the spite;
Ring in the love of truth and right,
Ring in the common love of good.
Ring out old shapes of foul disease;
Ring out the narrowing lust of gold;
Ring out the thousand wars of old,
Ring in the thousand years of peace.
Ring in the valiant man and free,
The larger heart, the kindlier hand;
Ring out the darkness of the land,
Ring in the Christ that is to be.
This poem is in the public domain.
For hours, the flowers were enough.
Before the flowers, Adam had been enough.
Before Adam, just being a rib was enough.
Just being inside Adam’s body, near his heart, enough.
Enough to be so near his heart, enough
to feel that sweet steady rhythm, enough
to be a part of something bigger was enough.
And before the rib, being clay was enough.
And before clay, just being earth was enough.
And before earth, being nothing was enough.
But then enough was no longer enough.
The flowers bowed their heads, as if to say, enough,
and so Eve, surrounded by peonies, and alone enough,
wished very hard for something, and the wish was enough
to make the pinecone grow wings; the wish was enough
to point to the sky, say bird, and wait for something to sing.
Copyright © 2016 by Nicole Callihan. “The Origin of Birds” was originally published in Rise Up Review. Used with permission of the author.
You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise.
Does my sassiness upset you?
Why are you beset with gloom?
’Cause I walk like I’ve got oil wells
Pumping in my living room.
Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.
Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?
Does my haughtiness offend you?
Don’t you take it awful hard
’Cause I laugh like I’ve got gold mines
Diggin’ in my own backyard.
You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.
Does my sexiness upset you?
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs?
Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.
From And Still I Rise by Maya Angelou. Copyright © 1978 by Maya Angelou. Reprinted by permission of Random House, Inc.
1.
We are marching, truly marching
Can’t you hear the sound of feet?
We are fearing no impediment
We have never known defeat.
2.
Like Job of old we have had patience,
Like Joshua, dangerous roads we’ve trod
Like Solomon we have built out temples.
Like Abraham we’ve had faith in God.
3.
Up the streets of wealth and commerce,
We are marching one by one
We are marching, making history,
For ourselves and those to come.
4.
We have planted schools and churches,
We have answered duty’s call.
We have marched from slavery’s cabin
To the legislative hall.
5.
Brethren can’t you catch the spirit?
You who are out just get in line
Because we are marching, yes we are marching
To the music of the time.
6.
We are marching, steady marching
Bridging chasms, crossing streams
Marching up the hill of progress
Realizing our fondest dreams.
7.
We are marching, truly marching
Can’t you hear the sound of feet?
We are fearing no impediment
We shall never know defeat.
This poem is in the public domain. Published in Poem-a-Day on February 1, 2020, by the Academy of American Poets.
Though I was dwelling in a prison house,
My soul was wandering by the carefree stream
Through fields of green with gold eyed daisies strewn,
And daffodils and sunflower cavaliers.
And near me played a little browneyed child,
A winsome creature God alone conceived,
“Oh, little friend,” I begged. “Give me a flower
That I might bear it to my lonely cell.”
He plucked a dandelion, an ugly bloom,
But tenderly he placed it in my hand,
And in his eyes I saw the sign of love.
‘Twas then the dandelion became a rose.
This poem is in the public domain. Published in Poem-a-Day on April 4, 2020 by the Academy of American Poets.
Even this late it happens: the coming of love, the coming of light. You wake and the candles are lit as if by themselves, stars gather, dreams pour into your pillows, sending up warm bouquets of air. Even this late the bones of the body shine and tomorrow’s dust flares into breath.
Excerpted from The Late Hour by Mark Strand. Copyright © 2002 by Mark Strand. Excerpted by permission of Knopf, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
The monotone of the rain is beautiful,
And the sudden rise and slow relapse
Of the long multitudinous rain.
The sun on the hills is beautiful,
Or a captured sunset sea-flung,
Bannered with fire and gold.
A face I know is beautiful—
With fire and gold of sky and sea,
And the peace of long warm rain.
This poem is in the public domain. Published in Poem-a-Day on April 12, 2020 by the Academy of American Poets.
There is a wolf in me … fangs pointed for tearing gashes … a red tongue for raw meat … and the hot lapping of blood—I keep this wolf because the wilderness gave it to me and the wilderness will not let it go.
There is a fox in me … a silver-gray fox … I sniff and guess … I pick things out of the wind and air … I nose in the dark night and take sleepers and eat them and hide the feathers … I circle and loop and double-cross.
There is a hog in me … a snout and a belly … a machinery for eating and grunting … a machinery for sleeping satisfied in the sun—I got this too from the wilderness and the wilderness will not let it go.
There is a fish in me … I know I came from saltblue water-gates … I scurried with shoals of herring … I blew waterspouts with porpoises … before land was … before the water went down … before Noah … before the first chapter of Genesis.
There is a baboon in me … clambering-clawed … dog-faced … yawping a galoot’s hunger … hairy under the armpits … here are the hawk-eyed hankering men … here are the blond and blue-eyed women … here they hide curled asleep waiting … ready to snarl and kill … ready to sing and give milk … waiting—I keep the baboon because the wilderness says so.
There is an eagle in me and a mockingbird … and the eagle flies among the Rocky Mountains of my dreams and fights among the Sierra crags of what I want … and the mockingbird warbles in the early forenoon before the dew is gone, warbles in the underbrush of my Chattanoogas of hope, gushes over the blue Ozark foothills of my wishes—And I got the eagle and the mockingbird from the wilderness.
O, I got a zoo, I got a menagerie, inside my ribs, under my bony head, under my red-valve heart—and I got something else: it is a man-child heart, a woman-child heart: it is a father and mother and lover: it came from God-Knows-Where: it is going to God-Knows-Where—For I am the keeper of the zoo: I say yes and no: I sing and kill and work: I am a pal of the world: I came from the wilderness.
This poem is in the public domain.
It's a jazz affair, drum crashes and cornet razzes. The trombone pony neighs and the tuba jackass snorts. The banjo tickles and titters too awful. The chippies talk about the funnies in the papers. The cartoonists weep in their beer. Ship riveters talk with their feet To the feet of floozies under the tables. A quartet of white hopes mourn with interspersed snickers: "I got the blues. I got the blues. I got the blues." And . . . as we said earlier: The cartoonists weep in their beer.
This poem is in the public domain.
I. CHICKENS I am The Great White Way of the city: When you ask what is my desire, I answer: "Girls fresh as country wild flowers, With young faces tired of the cows and barns, Eager in their eyes as the dawn to find my mysteries, Slender supple girls with shapely legs, Lure in the arch of their little shoulders And wisdom from the prairies to cry only softly at the ashes of my mysteries." II. USED UP Lines based on certain regrets that come with rumination upon the painted faces of women on North Clark Street, Chicago Roses, Red roses, Crushed In the rain and wind Like mouths of women Beaten by the fists of Men using them. O little roses And broken leaves And petal wisps: You that so flung your crimson To the sun Only yesterday. III. HOME Here is a thing my heart wishes the world had more of: I heard it in the air of one night when I listened To a mother singing softly to a child restless and angry in the darkness.
This poem is in the public domain.
Beneath heaven’s vault
remember always walking
through halls of cloud
down aisles of sunlight
or through high hedges
of the green rain
walk in the world
highheeled with swirl of cape
hand at the swordhilt
of your pride
Keep a tall throat
Remain aghast at life
Enter each day
as upon a stage
lighted and waiting
for your step
Crave upward as flame
have keenness in the nostril
Give your eyes
to agony or rapture
Train your hands
as birds to be
brooding or nimble
Move your body
as the horses
sweeping on slender hooves
over crag and prairie
with fleeing manes
and aloofness of their limbs
Take earth for your own large room
and the floor of the earth
carpeted with sunlight
and hung round with silver wind
for your dancing place
From Collected Poems by May Swenson. Copyright © 2013 by The Literary Estate of May Swenson. Reprinted by permission of The Library of America. This poem appeared in Poem-a-Day on June 6, 2013. Browse the Poem-a-Day archive.
When sleepless, it’s helpful to meditate on mottoes of the states.
South Carolina, “While I breathe I hope.” Perhaps this could be
the new flag on the empty flagpole.
Or “I Direct” from Maine—why?
Because Maine gets the first sunrise? How bossy, Maine!
Kansas, “To the Stars through Difficulties”—
clackety wagon wheels, long, long land
and the droning press of heat—cool stars, relief.
In Arkansas, “The People Rule”—lucky you.
Idaho, “Let It Be Perpetual”—now this is strange.
Idaho, what is your “it”?
Who chose these lines?
How many contenders?
What would my motto be tonight, in tangled sheets?
Texas—“Friendship”—now boasts the Open Carry law.
Wisconsin, where my mother’s parents are buried,
chose “Forward.”
New Mexico, “It Grows As It Goes”—now this is scary.
Two dangling its. This does not represent that glorious place.
West Virginia, “Mountaineers Are Always Free”—really?
Washington, you’re wise.
What could be better than “By and By”?
Oklahoma must be tired—“Labor Conquers all Things.”
Oklahoma, get together with Nevada, who chose only
“Industry” as motto. I think of Nevada as a playground
or mostly empty. How wrong we are about one another.
For Alaska to pick “North to the Future”
seems odd. Where else are they going?
Copyright © 2016 by Naomi Shihab Nye. Used with permission by the author.
Listen. The wind is still,
And far away in the night—
See! The uplands fill
With a running light.
Open the doors. It is warm;
And where the sky was clear —
Look! The head of a storm
That marches here!
Come under the trembling hedge—
Fast, although you fumble. . . .
There! Did you hear the edge
Of winter crumble?
This poem is in the public domain.
The sky, above us here, is open again.
The sun comes hotter, and the shingles steam.
The trees are done with dripping, and the hens
Bustle among bright pools to pick and drink. . . .
But east and south are black with speeding storm.
That thunder, low and far, remembering nothing,
Gathers a new world under it and growls,
Worries, strikes, and is gone. Children at windows
Cry at the rain, it pours so heavily down,
Drifting across the yard till the sheds are grey. . . .
A county father on, the wind is all—
A swift dark wind that turns the maples pale,
Ruffles the hay, and spreads the swallows’ wings.
Horses, suddenly restless, are unhitched,
And men, with glances upward, hurry in;
Their overalls blow full and cool; they shout;
Soon they will lie in barns and laugh at the lightning. . . .
Another county yet, and the sky is still;
The air is fainting; women sit with fans
And wonder when a rain will come that way.
This poem is in the public domain.
Beyond the fence she hesitates,
And drops a paw, and tries the dust.
It is a clearing—but she waits
No longer minute than she must.
Though a dozen foes may dart
From out the grass, she crouches by;
Then runs to where the silos start
To heave their shadows far and high.
Here she folds herself and sleeps;
But in a moment she has put
The dream aside; and now she creeps
Across the open, foot by foot,
Till at the threshold of a shed
She smells the water and the corn
Where a sow is on her bed
And little pigs are being born.
Silently she leaps, and walks
All night upon a narrow rafter;
Whence at intervals she talks
Wise to them she watches after.
This poem is in the public domain.
Yesterday I held your hand,
Reverently I pressed it,
And its gentle yieldingness
From my soul I blessed it.
But to-day I sit alone,
Sad and sore repining;
Must our gold forever know
Flames for the refining?
Yesterday I walked with you,
Could a day be sweeter?
Life was all a lyric song
Set to tricksy meter.
Ah, to-day is like a dirge,—
Place my arms around you,
Let me feel the same dear joy
As when first I found you.
Let me once retrace my steps,
From these roads unpleasant,
Let my heart and mind and soul
All ignore the present.
Yesterday the iron seared
And to-day means sorrow.
Pause, my soul, arise, arise,
Look where gleams the morrow.
This poem is in the public domain. Published in Poem-a-Day on May 16, 2020 by the Academy of American Poets.
I want to paint in a way that the “I” disappears into the sky and trees
The idea of a slowed down, slowly unfolding image held my attention
Variations on a theme are of no interest. A bowl and cup are not ideas.
I want my painting to be what it contains: it should speak, not me
The idea of a slowed down, slowly unfolding image held my attention
I paint things made of clay, just as the pigments I use come from the earth
I want my painting to be what it contains: it should speak, not me
Brown and ochre stoneware bowls beside a white porcelain pitcher
I paint things made of clay, just as the pigments I use come from the earth
I place the pale eggs on a dark, unadorned tabletop and let them roll into place
Brown and ochre stoneware bowls beside a white porcelain pitcher
The dusky red wall is not meant to symbolize anything but itself
I place the pale eggs on a dark unadorned tabletop and let them roll into place
I want to paint in a way that the “I” disappears into the sky and trees
The dusky red wall is not meant to symbolize anything but itself
Variations on a theme are of no interest. A bowl and cup are not ideas.
Copyright © 2020 by John Yau. Originally published in Poem-a-Day on May 18, 2020 by the Academy of American Poets.
It’s a journey . . . that I propose . . . I am not the guide . . . nor technical assistant . . . I will be your fellow passenger . . .
Though the rail has been ridden . . . winter clouds cover . . . autumn’s exuberant quilt . . . we must provide our own guide-posts . . .
I have heard . . . from previous visitors . . . the road washes out sometimes . . . and passengers are compelled . . . to continue groping . . . or turn back . . . I am not afraid . . .
I am not afraid . . . of rough spots . . . or lonely times . . . I don’t fear . . . the success of this endeavor . . . I am Ra . . . in a space . . . not to be discovered . . . but invented . . .
I promise you nothing . . . I accept your promise . . . of the same we are simply riding . . . a wave . . . that may carry . . . or crash . . .
It’s a journey . . . and I want . . . to go . . .
“A Journey” from The Collected Poetry of Nikki Giovanni: 1968-1998 by Nikki Giovanni. Copyright compilation © 2003 by Nikki Giovanni. Reprinted by permission of HarperCollins Publishers.
Backing out the driveway the car lights cast an eerie glow in the morning fog centering on movement in the rain slick street Hitting brakes I anticipate a squirrel or a cat or sometimes a little raccoon I once braked for a blind little mole who try though he did could not escape the cat toying with his life Mother-to-be possum occasionally lopes home . . . being naturally . . . slow her condition makes her even more ginger We need a sign POSSUM CROSSING to warn coffee-gurgling neighbors: we share the streets with more than trucks and vans and railroad crossings All birds being the living kin of dinosaurs think themselves invincible and pay no heed to the rolling wheels while they dine on an unlucky rabbit I hit brakes for the flutter of the lights hoping it's not a deer or a skunk or a groundhog coffee splashes over the cup which I quickly put away from me and into the empty passenger seat I look . . . relieved and exasperated ... to discover I have just missed a big wet leaf struggling . . . to lift itself into the wind and live
"Possum Crossing" from Quilting the Black-Eyed Pea by Nikki Giovanni. Copyright © 2002 by Nikki Giovanni. Used by permission of HarperCollins Publishers.
for Sally Sellers
Like a fading piece of cloth
I am a failure
No longer do I cover tables filled with food and laughter
My seams are frayed my hems falling my strength no longer able
To hold the hot and cold
I wish for those first days
When just woven I could keep water
From seeping through
Repelled stains with the tightness of my weave
Dazzled the sunlight with my
Reflection
I grow old though pleased with my memories
The tasks I can no longer complete
Are balanced by the love of the tasks gone past
I offer no apology only
this plea:
When I am frayed and strained and drizzle at the end
Please someone cut a square and put me in a quilt
That I might keep some child warm
And some old person with no one else to talk to
Will hear my whispers
And cuddle
near
Copyright © Nikki Giovanni. From the Visual Verse Project. Used with permission of the author.
This is my first memory: A big room with heavy wooden tables that sat on a creaky wood floor A line of green shades—bankers’ lights—down the center Heavy oak chairs that were too low or maybe I was simply too short For me to sit in and read So my first book was always big In the foyer up four steps a semi-circle desk presided To the left side the card catalogue On the right newspapers draped over what looked like a quilt rack Magazines face out from the wall The welcoming smile of my librarian The anticipation in my heart All those books—another world—just waiting At my fingertips.
"My First Memory (of Librarians)" from Acolytes by Nikki Giovanni. Copyright © 2007 by Nikki Giovanni. Used by permission of HarperCollins Publishers.
I was born in the congo
I walked to the fertile crescent and built
the sphinx
I designed a pyramid so tough that a star
that only glows every one hundred years falls
into the center giving divine perfect light
I am bad
I sat on the throne
drinking nectar with allah
I got hot and sent an ice age to europe
to cool my thirst
My oldest daughter is nefertiti
the tears from my birth pains
created the nile
I am a beautiful woman
I gazed on the forest and burned
out the sahara desert
with a packet of goat's meat
and a change of clothes
I crossed it in two hours
I am a gazelle so swift
so swift you can't catch me
For a birthday present when he was three
I gave my son hannibal an elephant
He gave me rome for mother's day
My strength flows ever on
My son noah built new/ark and
I stood proudly at the helm
as we sailed on a soft summer day
I turned myself into myself and was
jesus
men intone my loving name
All praises All praises
I am the one who would save
I sowed diamonds in my back yard
My bowels deliver uranium
the filings from my fingernails are
semi-precious jewels
On a trip north
I caught a cold and blew
My nose giving oil to the arab world
I am so hip even my errors are correct
I sailed west to reach east and had to round off
the earth as I went
The hair from my head thinned and gold was laid
across three continents
I am so perfect so divine so ethereal so surreal
I cannot be comprehended
except by my permission
I mean . . . I . . . can fly
like a bird in the sky . . .
Copyright © 1968 by Nikki Giovanni. Used with permission of the author.
Today I will praise.
I will praise the sun
For showering its light
On this darkened vessel.
I will praise its shine.
Praise the way it wraps
My skin in ultraviolet ultimatums
Demanding to be seen.
I will lift my hands in adoration
Of how something so bright
Could be so heavy.
I will praise the ground
That did not make feast of these bones.
Praise the casket
That did not become a shelter for flesh.
Praise the bullets
That called in sick to work.
Praise the trigger
That went on vacation.
Praise the chalk
That did not outline a body today.
Praise the body
For still being a body
And not a headstone.
Praise the body,
For being a body and not a police report
Praise the body
For being a body and not a memory
No one wants to forget.
Praise the memories.
Praise the laughs and smiles
You thought had been evicted from your jawline
Praise the eyes
For seeing and still believing.
For being blinded from faith
But never losing their vision
Praise the visions.
Praise the prophets
Who don’t profit off of those visions.
Praise the heart
For housing this living room of emotions
Praise the trophy that is my name
Praise the gift that is my name.
Praise the name that is my name
Which no one can plagiarize or gentrify
Praise the praise.
How the throat sounds like a choir.
The harmony in your tongue lifts
Into a song of adoration.
Praise yourself
For being able to praise.
For waking up,
When you had every reason not to.
Copyright © 2020 by Angelo Geter. Originally published in Poem-a-Day on June 15, 2020 by the Academy of American Poets.
Dream-singers,
Story-tellers,
Dancers,
Loud laughers in the hands of Fate—
My People.
Dish-washers,
Elevator-boys,
Ladies’ maids,
Crap-shooters,
Cooks,
Waiters,
Jazzers,
Nurses of babies,
Loaders of ships,
Porters,
Hairdressers,
Comedians in vaudeville
And band-men in circuses—
Dream-singers all,
Story-tellers all.
Dancers—
God! What dancers!
Singers—
God! What singers!
Singers and dancers,
Dancers and laughers.
Laughers?
Yes, laughers….laughers…..laughers—
Loud-mouthed laughers in the hands of Fate.
This poem is in the public domain. Published in Poem-a-Day on June 20, 2020, by the Academy of American Poets.
There is a solitude in seeing you,
Followed by your company when you are gone.
You are like heaven’s veils of lightning.
I cannot see till afterward
How beautiful you are.
There is a blindness in seeing you,
Followed by the sight of you when you are gone.
This poem is in the public domain, and originally appeared in Others for 1919; An Anthology of the New Verse (Nicholas L. Brown, 1920).
At the touch of you, As if you were an archer with your swift hand at the bow, The arrows of delight shot through my body. You were spring, And I the edge of a cliff, And a shining waterfall rushed over me.
This poem is in the public domain.
This poem is in the public domain.
This poem is in the public domain.
Because there is too much to say
Because I have nothing to say
Because I don’t know what to say
Because everything has been said
Because it hurts too much to say
What can I say what can I say
Something is stuck in my throat
Something is stuck like an apple
Something is stuck like a knife
Something is stuffed like a foot
Something is stuffed like a body
Copyright © 2020 by Toi Derricotte. Originally published in Poem-a-Day on July 3, 2020 by the Academy of American Poets.
I think of a good night’s sleep
an exhale taking its precious time
to leave my lungs unworried
about the breathing to come If only
I did not hail from the sweet state
of panic the town’s river,
my adrenaline raging without cease
I’d love peace but the moon is pulling me by my water
I know this is no way to live but I was born here
a mobile of vultures orbiting above my crib
the noise you speak bragging
about the luxury of your stillness
reminds me that some children are told to pick flowers
while others are told to pick a tree switch
that’ll best write a lesson across their hide
and my skin is a master course written in welts
I touch myself and read about the years
I cannot escape I hold my kids
and pray our embrace is not a history
repeating itself
Copyright © 2020 by Rasheed Copeland. Originally published in Poem-a-Day on July 22, 2020 by the Academy of American Poets.
The summer I was ten a teenager
named Kim butterflied my hair. Cornrows
curling into braids
behind each ear.
Everybody’s wearing this style now, Kim said.
Who could try to tell me
I wasn’t beautiful. The magic
in something as once ordinary
as hair that for too long
had not been good enough
now winged and amazing
now connected
to a long line of crowns.
Now connected
to a long line of girls
moving through Brooklyn with our heads
held so high, our necks ached. You must
know this too – that feeling
of being so much more than
you once believed yourself to be
so much more than your
too-skinny arms
and too-big feet and
too-long fingers and
too-thick and stubborn hair
All of us now
suddenly seen
the trick mirror that had us believe
we weren’t truly beautiful
suddenly shifts
and there we are
and there we are
and there we are again
and Oh! How could we not have seen
ourselves before? So much more
We are so much more.
Copyright © 2020 by Jacqueline Woodson. Originally published in Poem-a-Day on August 12, 2020, by the Academy of American Poets.
'Twas mercy brought me from my Pagan land,
Taught my benighted soul to understand
That there's a God, that there's a Saviour too:
Once I redemption neither sought nor knew.
Some view our sable race with scornful eye,
"Their colour is a diabolic die."
Remember, Christians, Negros, black as Cain,
May be refin'd, and join th' angelic train.
This poem is in the public domain.
The great thing
is not having
a mind. Feelings:
oh, I have those; they
govern me. I have
a lord in heaven
called the sun, and open
for him, showing him
the fire of my own heart, fire
like his presence.
What could such glory be
if not a heart? Oh my brothers and sisters,
were you like me once, long ago,
before you were human? Did you
permit yourselves
to open once, who would never
open again? Because in truth
I am speaking now
the way you do. I speak
because I am shattered.
From The Wild Iris, published by Ecco Press, 1992. Copyright © 1992 by Louise Glück. All rights reserved. Used with permission. This poem appeared in Poem-a-Day on October 10, 2020.
In your extended absence, you permit me use of earth, anticipating some return on investment. I must report failure in my assignment, principally regarding the tomato plants. I think I should not be encouraged to grow tomatoes. Or, if I am, you should withhold the heavy rains, the cold nights that come so often here, while other regions get twelve weeks of summer. All this belongs to you: on the other hand, I planted the seeds, I watched the first shoots like wings tearing the soil, and it was my heart broken by the blight, the black spot so quickly multiplying in the rows. I doubt you have a heart, in our understanding of that term. You who do not discriminate between the dead and the living, who are, in consequence, immune to foreshadowing, you may not know how much terror we bear, the spotted leaf, the red leaves of the maple falling even in August, in early darkness: I am responsible for these vines.
From The Wild Iris, published by The Ecco Press, 1992. Copyright © 1992 by Louise Glück. All Rights reserved. Used with permission.
When Hades decided he loved this girl
he built for her a duplicate of earth,
everything the same, down to the meadow,
but with a bed added.
Everything the same, including sunlight,
because it would be hard on a young girl
to go so quickly from bright light to utter darkness
Gradually, he thought, he'd introduce the night,
first as the shadows of fluttering leaves.
Then moon, then stars. Then no moon, no stars.
Let Persephone get used to it slowly.
In the end, he thought, she'd find it comforting.
A replica of earth
except there was love here.
Doesn't everyone want love?
He waited many years,
building a world, watching
Persephone in the meadow.
Persephone, a smeller, a taster.
If you have one appetite, he thought,
you have them all.
Doesn't everyone want to feel in the night
the beloved body, compass, polestar,
to hear the quiet breathing that says
I am alive, that means also
you are alive, because you hear me,
you are here with me. And when one turns,
the other turns—
That's what he felt, the lord of darkness,
looking at the world he had
constructed for Persephone. It never crossed his mind
that there'd be no more smelling here,
certainly no more eating.
Guilt? Terror? The fear of love?
These things he couldn't imagine;
no lover ever imagines them.
He dreams, he wonders what to call this place.
First he thinks: The New Hell. Then: The Garden.
In the end, he decides to name it
Persephone's Girlhood.
A soft light rising above the level meadow,
behind the bed. He takes her in his arms.
He wants to say I love you, nothing can hurt you
but he thinks
this is a lie, so he says in the end
you're dead, nothing can hurt you
which seems to him
a more promising beginning, more true.
"A Myth of Devotion" from Averno by Louise Glück. Copyright © 2006 by Louise Glück. Reprinted by permission of Farrar, Straus and Giroux, LLC.
In the first version, Persephone is taken from her mother and the goddess of the earth punishes the earth—this is consistent with what we know of human behavior, that human beings take profound satisfaction in doing harm, particularly unconscious harm: we may call this negative creation. Persephone's initial sojourn in hell continues to be pawed over by scholars who dispute the sensations of the virgin: did she cooperate in her rape, or was she drugged, violated against her will, as happens so often now to modern girls. As is well known, the return of the beloved does not correct the loss of the beloved: Persephone returns home stained with red juice like a character in Hawthorne— I am not certain I will keep this word: is earth "home" to Persephone? Is she at home, conceivably, in the bed of the god? Is she at home nowhere? Is she a born wanderer, in other words an existential replica of her own mother, less hamstrung by ideas of causality? You are allowed to like no one, you know. The characters are not people. They are aspects of a dilemma or conflict. Three parts: just as the soul is divided, ego, superego, id. Likewise the three levels of the known world, a kind of diagram that separates heaven from earth from hell. You must ask yourself: where is it snowing? White of forgetfulness, of desecration— It is snowing on earth; the cold wind says Persephone is having sex in hell. Unlike the rest of us, she doesn't know what winter is, only that she is what causes it. She is lying in the bed of Hades. What is in her mind? Is she afraid? Has something blotted out the idea of mind? She does know the earth is run by mothers, this much is certain. She also knows she is not what is called a girl any longer. Regarding incarceration, she believes she has been a prisoner since she has been a daughter. The terrible reunions in store for her will take up the rest of her life. When the passion for expiation is chronic, fierce, you do not choose the way you live. You do not live; you are not allowed to die. You drift between earth and death which seem, finally, strangely alike. Scholars tell us that there is no point in knowing what you want when the forces contending over you could kill you. White of forgetfulness, white of safety— They say there is a rift in the human soul which was not constructed to belong entirely to life. Earth asks us to deny this rift, a threat disguised as suggestion— as we have seen in the tale of Persephone which should be read as an argument between the mother and the lover— the daughter is just meat. When death confronts her, she has never seen the meadow without the daisies. Suddenly she is no longer singing her maidenly songs about her mother's beauty and fecundity. Where the rift is, the break is. Song of the earth, song of the mythic vision of eternal life— My soul shattered with the strain of trying to belong to earth— What will you do, when it is your turn in the field with the god?
"Persephone the Wanderer" from Averno by Louise Glück. Copyright © 2006 by Louise Glück. Reprinted by permission of Farrar, Straus and Giroux, LLC.
One summer she goes into the field as usual stopping for a bit at the pool where she often looks at herself, to see if she detects any changes. She sees the same person, the horrible mantle of daughterliness still clinging to her. The sun seems, in the water, very close. That's my uncle spying again, she thinks— everything in nature is in some way her relative. I am never alone, she thinks, turning the thought into a prayer. Then death appears, like the answer to a prayer. No one understands anymore how beautiful he was. But Persephone remembers. Also that he embraced her, right there, with her uncle watching. She remembers sunlight flashing on his bare arms. This is the last moment she remembers clearly. Then the dark god bore her away. She also remembers, less clearly, the chilling insight that from this moment she couldn't live without him again. The girl who disappears from the pool will never return. A woman will return, looking for the girl she was. She stands by the pool saying, from time to time, I was abducted, but it sounds wrong to her, nothing like what she felt. Then she says, I was not abducted. Then she says, I offered myself, I wanted to escape my body. Even, sometimes, I willed this. But ignorance cannot will knowledge. Ignorance wills something imagined, which it believes exists. All the different nouns— she says them in rotation. Death, husband, god, stranger. Everything sounds so simple, so conventional. I must have been, she thinks, a simple girl. She can't remember herself as that person but she keeps thinking the pool will remember and explain to her the meaning of her prayer so she can understand whether it was answered or not.
"The Myth of Innocence" from Averno by Louise Glück. Copyright © 2006 by Louise Glück. Reprinted by permission of Farrar, Straus and Giroux, LLC.
After reading a letter from his mother, Harry T. Burn cast the deciding vote to ratify the 19th amendment of the U.S. Constitution
My parents are from countries
where mangoes grow wild and bold
and eagles cry the sky in arcs and dips.
America loved this bird too and made
it clutch olives and arrows. Some think
if an eaglet falls, the mother will swoop
down to catch it. It won’t. The eagle must fly
on its own accord by first testing the air-slide
over each pinfeather. Even in a letter of wind,
a mother holds so much power. After the pipping
of the egg, after the branching—an eagle is on
its own. Must make the choice on its own
no matter what its been taught. Some forget
that pound for pound, eagle feathers are stronger
than an airplane wing. And even one letter, one
vote can make the difference for every bright thing.
Copyright © 2020 Aimee Nezhukumatathil. This poem was co-commissioned by the Academy of American Poets and the New York Philharmonic as part of the Project 19 initiative, and appeared in the Spring-Summer 2020 issue of American Poets.
How was I supposed to know
Medgar? I only met the man once
and even then, freshly fallen,
back flesh a sea split red
with god’s permission. I do
as I am asked and no more—
back, chest, window, wall, sinew,
bone glass, brick—as quick as it
began. For you so loved the son
of man, you begat the sweat-swaddled
plunk of viscera on concrete. And man
so loved the silence he begat the close
hold of a barrel, the blank stare cutting
clean to the other side: a family and greens
on the table two low beds where
stuffed animals still hold the child-
smell of milk, baby powder, Ovaltine.
Outside, the Magnolias, whispering.
Inside, the silence locking in place.
Copyright © 2021 by Sadia Hassan. Originally published in Poem-a-Day on January 21, 2021, by the Academy of American Poets.