How many sat underwater,

entangled by myth’s past tense,

before Neptune first raised his

beard in the direction of Ethiopia,

and after, Odysseus—

always living—

was saved by Homer’s tablet?

Centuries after that story was written,

in the land of Not Make Believe,

a crew of slave-ship sailors

threw one hundred and thirty-two

Africans into the Atlantic Ocean.

Heave-ho to souls.

And people. And laws. And kin.

But Odysseus lives. He always will,

Our Great White Hope—

before whiteness was invented—

this hero who longs for the wood’s sway.

Despite his tendency to chase tail—

sirens and sundry other

poppycock-drinking girls—

I want to be happy that Homer imagined

a sea housing pretty, forgiving Nymphs—

while somewhere else, a wheel dances

and someone else drowns.

Sharks should pass Odysseus by,

never imagining his taste.

The gods shouldn’t pull at his fate—

now angry, now benevolent.

I try hard not to blame that man:

We all deserve our Maker’s love.

Copyright © 2020 Honorée Fanonne Jeffers. From The Age of Phillis (Wesleyan University Press, 2020). Used with permission of the author.

I used to dream of living here. I hike
a trail I know that at the end opens

to glorious views of the city I did
live in once, when men my age kept dying

while I learned how to diagnose AIDS.
Some dreams don’t come true, and some dreams become

nightmares. Across a field that smells of sage,
a few horses loiter. I want to think

that they forgive me, since they’re noble creatures.
They stamp and snort, reminding me they know

nothing of forgiveness. I used to dream
that someday I’d escape to San Francisco,

when I was still in high school and I knew.
Tall and muscled, the horses are like the jocks

on the football team who beat me once, as if pain
teaches truth and they knew I had to learn.

I used to dream I was as white as them,
that I could slam my locker closed and not

think of jail. Some nightmares come true,
like when my uncle got arrested for

cocaine. My family never talked about it,
which made me realize they could also feel shame.

That’s when I started dreaming I could be
a doctor someday, that I could get away,

prescribe myself a new life. Right now, as
the city comes into view, I think of those

animals and hope they got what they deserved.
The city stretches out its arms, its two bridges

to Oakland, to Stockton, to San Rafael,
to Vallejo; places I could have been from

but wasn’t. It looks just as it did
all those years ago. Yet I know it’s changed

because so many of us died, like Rico,
who took me up here for the first time.

We kicked a soccer ball around and smoked
a joint. I think we talked about our dreams,

but who can remember dreams. I look out
and the sun like your hand on my face

is warm, and for a moment I think this is
glorious, this is what forgiveness feels like.

Copyright © 2020 by Rafael Campo. Originally published in Poem-a-Day on October 5, 2020, by the Academy of American Poets.

This is not a small voice
you hear               this is a large
voice coming out of these cities.
This is the voice of LaTanya.
Kadesha. Shaniqua. This
is the voice of Antoine.
Darryl. Shaquille.
Running over waters
navigating the hallways
of our schools spilling out
on the corners of our cities and
no epitaphs spill out of their river mouths.

This is not a small love
you hear               this is a large
love, a passion for kissing learning
on its face.
This is a love that crowns the feet with hands
that nourishes, conceives, feels the water sails
mends the children,
folds them inside our history where they
toast more than the flesh
where they suck the bones of the alphabet
and spit out closed vowels.
This is a love colored with iron and lace.
This is a love initialed Black Genius.

This is not a small voice
you hear.

From Wounded in the House of a Friend. Copyright © 1995 by Sonia Sanchez. Used with the permission of Beacon Press.