Like crawling black monsters
the big clouds tap at my window,
their shooting liquid fingers slide
over the staring panes
and merge on the red wall.
Some of the fingers pull at the hinges
and whisper insistently: “Let us come in,
the cruel wind whips and drives us
till we are sore and in despair.”
But I cannot harbor the big crawling black clouds,
I cannot save them from the angry wind.
In a tiny crevice of my aching heart
there is a big storm brewing
and loud clamour and constant prayer
for the reflection of snow-capped mountains
on a distant lake.
Tires and dazed I sit on a bear skin
and timidly listen to the concert of storms.
This poem is in the public domain, and originally appeared in Others for 1919; An Anthology of the New Verse (Nicholas L. Brown, 1920).
What kind of thoughts now, do you carry
In your travels day by day
Are they bright and lofty visions,
Or neglected, gone astray?
Matters not how great in fancy,
Or what deeds of skill you’ve wrought;
Man, though high may be his station,
Is no better than his thoughts.
Catch your thoughts and hold them tightly,
Let each one an honor be;
Purge them, scourge them, burnish brightly,
Then in love set each one free.
This poem is in the public domain. Published in Poem-a-Day on January 18, 2020, by the Academy of American Poets.
Nisei, remember the party line?
How you shared the same line,
The same mornings,
The same problems—
My girl is sick, the check was mailed late,
The irrigation pump doesn’t work—
Two hundred for the man to come out.
Life on the nisei family farm…
If Mrs. Oda lifted the black telephone
And another voice was there,
She set it back into the cradle,
Looked up at the clock,
Maybe folded baby clothes,
Maybe cut coupons from the newspaper,
Maybe ironed a shirt,
Maybe took a broom to the spiders
Near the ceiling.
(Water drip from the kitchen sink,
Tractor roar near the barn,
Dog barking just to bark,
Sunlight hot as an iron on the sill.
She looked at the telephone, looked and looked.)
Mrs. Oda smoothed the front
Of her dress—printed with chickens,
Little white fences, roses faded from the wash.
She could have cooked rice,
Chopped green onions and carrots,
Nappa if one was in the fridge.
Elbows on the kitchen table,
She could have examined her book
Of Green stamps.
At a quarter to five
She lifted the receiver of the phone.
She called her sister-in-law on the next farm
To say that she had folded clothes,
Ironed and cut coupons,
Swiped the broom at spiders,
And saved the better part of the nappa.
Her sister-in-law would say,
“I did those very things—
Okazu’s for supper.
You could come over
But looks like you’re having the same.”
Copyright © 2016 by Gary Soto. Used with permission of the author.
Where did the shooting stars go?
They flit across my childhood sky
And by my teens I no longer looked upward—
My face instead peered through the windshield
Of my first car, or into the rearview mirror,
All the small tragedies behind me,
The road and the road’s curve up ahead.
The shooting stars?
At night, I now look upward—
Jets and single-prop planes.
No brief light, nothing to wish for,
The neighbor’s security light coming on.
Big white moon on the hill,
Lantern on gravestones,
You don’t count.
Copyright © 2016 by Gary Soto. Used with permission of the author.
Small fellowship of daily commonplace
We hold together, dear, constrained to go
Diverging ways. Yet day by day I know
My life is sweeter for thy life’s sweet grace;
And if we meet but for a moment’s space,
Thy touch, thy word, sets all the world aglow.
Faith soars serener, haunting doubts shrink low,
Abashed before the sunshine of thy face.
Nor press of crowd, nor waste of distance serves
To part us. Every hush of evening brings
Some hint of thee, true-hearted friend of mine;
And as the father planet thrills and swerves
When towards it through the darkness Saturn swings,
Even so my spirit feels the spell of thine.
1888
From The Poems of Sophie Jewett (Thomas Y. Crowell & Co., 1910) by Sophie Jewett. Copyright © Thomas Y. Crowell & Co. This poem is in the public domain.
I was there at the edge of Never,
of Once Been, bearing the night’s hide
stretched across the night sky,
awake with myself disappointing myself,
armed, legged & torsoed in the bed,
my head occupied by enemy forces,
mind not lost entire, but wandering
off the marked path ill-advisedly. This March
Lucie upped and died, and the funny show
of her smoky-throated world began to fade.
I didn’t know how much of me was made
by her, but now I know that this spooky art
in which we staple a thing
to our best sketch of a thing was done
under her direction, and here I am
at 4 AM, scratching a green pen over a notebook
bound in red leather in October.
It’s too warm for a fire. She’d hate that.
And the cats appear here only as apparitions
I glimpse sleeping in a chair, then
Wohin bist du entschwunden? I wise up,
know their likenesses are only inked
on my shoulder’s skin, their chipped ash poured
in twin cinerary jars downstairs. Gone
is gone, said the goose to the shrunken boy
in the mean-spirited Swedish children’s book
I love. I shouldn’t be writing this
at this age or any other. She mothered
a part of me that needed that, lit
a spirit-lantern to spin shapes inside
my obituary head, even though—
I’m nearly certain now—she’s dead.
Copyright © 2019 by Mark Wunderlich. Originally published in Poem-a-Day on May 23, 2019, by the Academy of American Poets.
Reverend Walter Peters, All Angels’ Church, November 18, 1849
Someone has died, who will never see the black joylight expand in her mother’s blue eyes. Who will never grasp a pinky, nor be danced up, down and around and lullabied all night. Someone who will never come to realize that her Dada’s palms aren’t dirty, they’re just brown. Who made HER mother, HIM father, then broke their hearts. Who is their shooting star, glimpsed only once. Someone who will never laugh, or play, or care … Praying that little box into the earth, Rev. Peters asks forgiveness for his faint faith. He thinks of the life of pain Someone was spared.
“A female still born child of Egbert Stairs (colored) & Catherine Cochran his wife (white) was buried in All Angels’ churchyard, November 18, 1849”—from the church record.
Copyright © 2015 Marilyn Nelson. Published with permission of Namelos Editions.
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway . . .
He did a lazy sway . . .
To the tune o’ those Weary Blues.
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming from a black man’s soul.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan—
"Ain’t got nobody in all this world,
Ain’t got nobody but ma self.
I’s gwine to quit ma frownin’
And put ma troubles on the shelf."
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more—
"I got the Weary Blues
And I can’t be satisfied.
Got the Weary Blues
And can’t be satisfied—
I ain’t happy no mo’
And I wish that I had died."
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that's dead.
From The Weary Blues (Alfred A. Knopf, 1926) by Langston Hughes. This poem is in the public domain.
When I left, I left my childhood in the drawer
and on the kitchen table. I left my toy horse
in its plastic bag.
I left without looking at the clock.
I forget whether it was noon or evening.
Our horse spent the night alone,
no water, no grains for dinner.
It must have thought we’d left to cook a meal
for late guests or to make a cake
for my sister’s tenth birthday.
I walked with my sister, down our road with no end.
We sang a birthday song.
The warplanes echoed across the heavens.
My tired parents walked behind,
my father clutching to his chest
the keys to our house and to the stable.
We arrived at a rescue station.
News of the airstrikes roared on the radio.
I hated death, but I hated life, too,
when we had to walk to our drawn-out death,
reciting our never-ending ode.
From Things You May Find Hidden in My Ear by Mosab Abu Toha. Copyright © 2022 by Mosab Abu Toha. Reprinted with the permission of The Permissions Company, LLC, on behalf of City Lights Publishers.
Lady in the leopard skin
Has a fear of plunging in
Traffic like a muddy river,
Starting gives a little shiver.
Gears and peers and fears again
That her horn is not too plain;
Edges to curb, pauses to think
How to move upon the brink.
Go ahead, implores the tender,
Heavy-handed on the fender,
In her ears the engine sings
Yellow-eyed, the lady springs.
From Collected Poems, 1930–83. Copyright © 1983 by Josephine Miles. Used with permission of the University of Illinois Press.
I shut my eyes under the scalding stream,
scrubbing off last night’s dream,
when suddenly I hear your voice again
as though it caught in the clogged drain
and was sent bubbling back up from the other
world where you’re not my mother.
This time, it’s really you. I’m really here.
I blink. We do not disappear.
Dad left, you say, to shower at the shop
so I don’t need to stop
just yet—and yet I do, unable to
resume old customs, unlike you.
In a one-bath four-person household, we
learn what we mustn’t see,
growing, in time, so coolly intimate
with one another’s silhouette
behind the opaque frosted shower screen
that once more stands between
us two. While at the mirror you apply
foundation and concealer, I
wash out my hair with rosewater shampoo,
which means I’ll smell like you
all day. Mama, I shout, I’m coming out,
and as you look away I knot
around me tight your lavender robe de chambre,
cinching my waist, and clamber
out of the tub, taking care not to step
outside the cotton mat and drip
on the cracked floor you’ve polished with such zeal
we’re mirrored in each tile.
Yet, you’d forgive the spillage, or forget.
What else will you love me despite?
Excerpted from The Palace of Forty Pillars by Armen Davoudian. Published with permission from Tin House. Copyright © 2024 by Armen Davoudian. All Rights Reserved.
What is home:
it is the shade of trees on my way to school
before they were uprooted.
It is my grandparents’ black-and-white wedding
photo before the walls crumbled.
It is my uncle’s prayer rug, where dozens of ants
slept on wintry nights, before it was looted and
put in a museum.
It is the oven my mother used to bake bread and
roast chicken before a bomb reduced our house
to ashes.
It is the café where I watched football matches
and played—
My child stops me: Can a four-letter word hold
all of these?
From Things You May Find Hidden in My Ear by Mosab Abu Toha. Copyright © 2022 by Mosab Abu Toha. Reprinted with the permission of The Permissions Company, LLC, on behalf of City Lights Publishers.
After Robert Rauschenberg’s “Bed,”
oil and pencil markings on pillow, quilt, and sheet, 1955
So garish: the arc of his interior
thinking. So red,
so deceptive. The coordinates of this project fall
between sheets and box spring:
the command of horizontal passage.
The bed soaked
with the overlapping tongue
of his brushes, with pattern interruption, the departure
from edges. Let’s say he is within
his composition. Inside
his story. As he tips
the paint, the objective can be taken
altogether away until he detects
only desire: a rough strike
of purple
censured from exuberance. The room remains
with the weeping wreckage
all around, and the panels
in the corner
beaded with aggressive desperate skins.
Below the window, the dirty
city, its permanent
tensed distances, its hungry
catastrophes, its bare
windows. His pillow is creased. It tells everything
we need to know. Each drip, directionless.
Copyright © 2016 by Lauren Camp. Originally published in Poem-a-Day on June 13, 2016, by the Academy of American Poets.
Sometimes when you start to ramble
or rather when you feel you are starting to ramble
you will say Well, now I’m rambling
though I don’t think you ever are.
And if you ever are I don’t really care.
And not just because I and everyone really
at times falls into our own unspooling
—which really I think is a beautiful softness
of being human, trying to show someone else
the color of all our threads, wanting another to know
everything in us we are trying to show them—
but in the specific,
in the specific of you
here in this car that you are driving
and in which I am sitting beside you
with regards to you
and your specific mouth
parting to give way
to the specific sweetness that is
the water of your voice
tumbling forth—like I said
I don’t ever really mind
how much more
you might keep speaking
as it simply means
I get to hear you
speak for longer.
What was a stream
now a river.
Copyright © 2023 by Anis Mojgani. Originally published in Poem-a-Day on May 18, 2023, by the Academy of American Poets.