When I say first time, that implies 
there will be a second, a fourth, a ninety-ninth. 
From far away our teeth must look like Tic Tacs, 
Chiclets, moons of a faraway planet. Nocturnal 
animals can smell better at night because scent 
lingers when the air is still, and so I smell the mint 
of our mouths but also the spill of peppers 
from the salsa dropped on your shirt. The greasy 
sidewalks we walked an hour earlier. Hotel soap 
freshly bubbled and wet in the dish. When I root through 
the thicket or the brush pile, my fur turns electric striped 
and tail-tumbled. I foam at the mouth. The mask 
on my face means bandit. Turns out I love the dark. 
My little paws want to grab everything and wash it. 

Copyright © 2024 by Aimee Nezhukumatathil. Originally published in Poem-a-Day on May 6, 2024, 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.

They sent him back to her. The letter came
Saying... and she could have him. And before
She could be sure there was no hidden ill
Under the formal writing, he was in her sight—
Living.— They gave him back to her alive—
How else? They are not known to send the dead—
And not disfigured visibly. His face?—
His hands? She had to look—to ask,
“What was it, dear?” And she had given all
And still she had all—they had—they the lucky!
Wasn’t she glad now? Everything seemed won,
And all the rest for them permissible ease.
She had to ask, "What was it, dear?"
                                                               “Enough,
Yet not enough. A bullet through and through,
High in the breast. Nothing but what good care
And medicine and rest—and you a week,
Can cure me of to go again.” The same
Grim giving to do over for them both.
She dared no more than ask him with her eyes
How was it with him for a second trial.
And with his eyes he asked her not to ask.
They had given him back to her, but not to keep. 

This poem is in the public domain.

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. 

You are enough

Divinity flows in your fingertips
        with light so radiant
        every beat of your heart
a victory march
made of whole universes
        stitched by the hands of creation
        with flawless design
a prophecy You fulfill perfectly with every breath

        You

The sun wouldn’t shine the same without it
Creation is only waiting for You
                to smile back at it

Do you see it yet?

You are enough
        For the birds to sing about
        For the seeds to sprout about
        For the stars to shoot about

        Do you see it yet?

        Gardens in your speech
Fields of wildflowers in your prayers
        Lighthouses in your eyes
    No one else can see it for you

You have always been enough
You will always be enough

Your simple act of being is enough

            Do you see it yet?

Copyright © 2022 by Andru Defeye. Sacramento Poetry Center Anthology (2022). Used with permission of the poet. 

It's at dinnertime the stories come, abruptly,
as they sit down to food predictable as ritual.
Pink lady peas, tomatoes red as fat hearts
sliced thin on a plate, cornbread hot, yellow
clay made edible. The aunts hand the dishes
and tell of people who've shadowed them, pesky
terrors, ageing reflections that peer back
in the glass when they stand to wash up at the sink.


                  One sister shivers and fevers with malaria,
                  lowland by the river where Papa tries to farm
                  the old plantation.  Midnight, she calls to him
                  to save her, there's money on fire, money between
                  her thighs, money burning her up, she's dying.

                  He brings no water but goes on his knees,
                  jerks up the bedclothes, shouts something she
                  has not said, has she? Yelling at the invisible man
                  he sees under the bed: Come out from there, you
                  black rascal, you. Flapping the heavy sheets
                  like angel wings, and smiling at his baby daughter


who in her eighties shuffles her words briskly
like a deck of playing cards, and laughs and says,
We're all crazy here, lived around negroes too long.


                  The oldest sister walks barefoot home from school
                  trembling. At the curve by the Lightsey's house
                  a black woman stands, bloody-handed, holding up
                  a pale fetus from a slaughtered sow, laughing,
                  I've killed me a baby, lookit the baby I killed.


          Beatrice looks past them all, sees the ramshackle houses
          past her grandmother's yard, the porch tin cans of snakeplants.
          Inside, sooty walls, from a hundred years' of pineknot smoke.


                  Inside no bigger than a corncrib. The door shuts from outside.
                  They can hear the board drop into the slot, the angry man
                  shut in to stand stud, the woman on her back on cornshucks,
                  who later, bloody, smothers her new daughter in rough homespun.

                  Inside a white-washed, lamplit room, a man bends over
                  a ledger: Boy Jacob Seventy-Five Dollars, Five Sows
                  and Sixteen Piggs Twenty Dollars. His pen flickers:
                  how fast could the pair he bought cheap increase five-fold
                  because God had said replenish the earth and subdue it?


Now the aunts are asking about her children, the boy
babies who'd so pleased, with their white skin, silky
crisp as new-printed money, a good thing too, with the farm
lost long ago. Beatrice wonders if the youngest sister


          remembers the noon she snapped the bedroom door open
          on her, arched, aching, above the girl cousin, taking
          turns on the carefully made-up bed. Flushed like dove
          out of the room's dusty shade, they murmured denials.
          They ended the long kissing that gets no children.

          Her nipples had been brown-pink like a bitten-into fig,
          gritty sweet, never tasted, lost as her cousin dressed
          after a night they'd sunk together in the feather mattress
          hip to hip, hair tangled, kinky brown, springcoiled blonde,
          skin stuck to humid skin in the sandy damp sheets. Dressed,
          at breakfast, elbow to elbow, they ate biscuits and jelly.

          She never claimed her with a look, no wherewithal, no currency
          in love, no madness, no money, only a silent vacancy.


          Only the stupor of lying alone on the bed reading: The man
          takes the woman roughly in his arms, pushes her down. If
          she lay still enough, she might feel.  Pressing herself
          down. The bedspread's blunt crochet cuts into her face,
          her cheek rouged and gouged by the thread's harsh twist.


They have more ice tea, the heat almost too much. The heat
at deep midnight grinds into slight motion, whir of a fan.

All sleeping, the aunts, the mother, the grown daughter. While
from bed to bed, slow as the sodden air, move two young girls,
white not-yet-swollen breasts, white underpants, white ghosts.

They stand at each bed, watching, asking, their dark, light
hair drifting like fire out from their unforgiving faces.

From Walking Back Up Depot Street, copyright © 1999 by Minnie Bruce Pratt. Reprinted by permission of the author. All rights reserved.

We borrow from the land what we can but cannot
return to it: bluestem, coneflower, boneset, broomcorn,
a ring-necked pheasant tied to a pole, a flat stretch of land
we strip and tar and pave, a creek that gets deeper
as it downrivers, its edges spoiled with runoff.
We collect seeds from the sunflowers and sow them
like quilt pieces, a little scrap of prairie rose here,
scrap of meadowlark feather there. Tamp down
the soil with plodding hooves, steel-toed boots.
Listen as the tallgrass rattles its dry stems,
cottonwood leaves quake as they remember mountain
lakes. Listen to the grain trucks rumble the highway.
We startle at the deer who startle at our footsteps.
A tree frog croaks from its harddark hole in
the otherwise empty change slot of a vending machine.

Copyright © 2024 by Sarah McCartt-Jackson. Originally published in Poem-a-Day on May 5, 2024, by the Academy of American Poets. 

When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy's been swinging them.
But swinging doesn't bend them down to stay
As ice-storms do. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
Soon the sun's warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust--
Such heaps of broken glass to sweep away
You'd think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm
I should prefer to have some boy bend them
As he went out and in to fetch the cows--
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father's trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It's when I'm weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig's having lashed across it open.
I'd like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth's the right place for love:
I don't know where it's likely to go better.
I'd like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.

From The Poetry of Robert Frost by Robert Frost, edited by Edward Connery Lathem. Copyright 1916, 1923, 1928, 1930, 1934, 1939, 1947, 1949, © 1969 by Holt Rinehart and Winston, Inc. Copyright 1936, 1942, 1944, 1945, 1947, 1948, 1951, 1953, 1954, © 1956, 1958, 1959, 1961, 1962 by Robert Frost. Copyright © 1962, 1967, 1970 by Leslie Frost Ballantine.

    She looked over his shoulder
       For vines and olive trees,
    Marble well-governed cities
       And ships upon untamed seas,
    But there on the shining metal
       His hands had put instead
    An artificial wilderness
       And a sky like lead.

A plain without a feature, bare and brown,
   No blade of grass, no sign of neighborhood,
Nothing to eat and nowhere to sit down,
   Yet, congregated on its blankness, stood
   An unintelligible multitude,
A million eyes, a million boots in line,
Without expression, waiting for a sign.

Out of the air a voice without a face
   Proved by statistics that some cause was just
In tones as dry and level as the place:
   No one was cheered and nothing was discussed;
   Column by column in a cloud of dust
They marched away enduring a belief
Whose logic brought them, somewhere else, to grief.

    She looked over his shoulder
       For ritual pieties,
    White flower-garlanded heifers,
       Libation and sacrifice,
    But there on the shining metal
       Where the altar should have been,
    She saw by his flickering forge-light
       Quite another scene.

Barbed wire enclosed an arbitrary spot
   Where bored officials lounged (one cracked a joke)
And sentries sweated for the day was hot:
   A crowd of ordinary decent folk
   Watched from without and neither moved nor spoke
As three pale figures were led forth and bound
To three posts driven upright in the ground.

The mass and majesty of this world, all
   That carries weight and always weighs the same
Lay in the hands of others; they were small
   And could not hope for help and no help came:
   What their foes liked to do was done, their shame
Was all the worst could wish; they lost their pride
And died as men before their bodies died.

    She looked over his shoulder
       For athletes at their games,
    Men and women in a dance
       Moving their sweet limbs
    Quick, quick, to music,
       But there on the shining shield
    His hands had set no dancing-floor
       But a weed-choked field.

A ragged urchin, aimless and alone,
   Loitered about that vacancy; a bird
Flew up to safety from his well-aimed stone:
   That girls are raped, that two boys knife a third,
   Were axioms to him, who'd never heard
Of any world where promises were kept,
Or one could weep because another wept.

    The thin-lipped armorer,
       Hephaestos, hobbled away,
    Thetis of the shining breasts
       Cried out in dismay
    At what the god had wrought
       To please her son, the strong
    Iron-hearted man-slaying Achilles
       Who would not live long.

From The Shield of Achilles by W. H. Auden, published by Random House. Copyright © 1955 W. H. Auden, renewed by The Estate of W. H. Auden. Used by permission of Curtis Brown, Ltd.