It was not Death, for I stood up,
And all the Dead, lie down—
It was not Night, for all the Bells
Put out their Tongues, for Noon.
It was not Frost, for on my Flesh
I felt Sirocos—crawl—
Nor Fire—for just my Marble feet
Could keep a Chancel, cool—
And yet, it tasted, like them all,
The Figures I have seen
Set orderly, for Burial,
Reminded me, of mine—
As if my life were shaven,
And fitted to a frame,
And could not breathe without a key,
And 'twas like Midnight, some—
When everything that ticked—has stopped—
And Space stares all around—
Or Grisly frosts—first Autumn morns,
Repeal the Beating Ground—
But, most, like Chaos—Stopless—cool—
Without a Chance, or Spar—
Or even a Report of Land—
This poem is in the public domain.
Hope is the thing with feathers
That perches in the soul,
And sings the tune without the words,
And never stops at all,
And sweetest in the gale is heard;
And sore must be the storm
That could abash the little bird
That kept so many warm.
I've heard it in the chillest land,
And on the strangest sea;
Yet, never, in extremity,
It asked a crumb of me.
This poem is in the public domain.
Because I could not stop for Death—
He kindly stopped for me—
The Carriage held but just Ourselves—
We slowly drove—He knew no haste
And I had put away
My labor and my leisure too,
For His Civility—
We passed the School, where Children strove
At Recess—in the Ring—
We passed the Fields of Gazing Grain—
We passed the Setting Sun—
Or rather—He passed us—
The Dews drew quivering and chill—
For only Gossamer, my Gown—
My Tippet—only Tulle—
We paused before a House that seemed
A Swelling of the Ground—
The Roof was scarcely visible—
The Cornice—in the Ground—
Since then—’tis Centuries—and yet
Feels shorter than the Day
I first surmised the Horses’ Heads
Were toward Eternity—
Poetry used by permission of the publishers and the Trustees of Amherst College from The Poems of Emily Dickinson, Ralph W. Franklin ed., Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1998 by the President and Fellows of Harvard College. Copyright © 1951, 1955, 1979, by the President and Fellows of Harvard College.
I have gazed the black flower blooming
her animal eye. Gacela oscura. Negra llorona.
Along the clayen banks I follow her-astonished,
gathering grief’s petals she lets fall like horns.
Why not now go toward the things I love?
Like Jacob’s angel, I touched the garnet of her wrist,
and she knew my name. And I knew hers—
it was Auxocromo, it was Cromóforo, it was Eliza.
It hurtled through me like honeyed-rum.
When the eyes and lips are touched with honey
what is seen and said will never be the same.
Eve took the apple in that ache-opened mouth,
on fire and in pieces, from the knife’s sharp edge.
In the photo her fist presses against the red-gold
geometry of her thigh. Black nylon, black garter,
unsolvable mysterium—I have to close my eyes to see.
Achilles chasing Hektor round the walls of Ilium
three times. How long must I circle
the high gate above her knees?
Again the gods put their large hands in me,
move me, break my heart like a clay jar of wine,
loosen a beast from some darklong depth—
my melancholy is hoofed. I, the terrible beautiful
Lampon, a shining devour-horse tethered
at the bronze manger of her collarbones.
I do my grief work with her body—labor
to make the emerald tigers in her hips leap,
lead them burning green
to drink from the violet jetting her.
We go where there is love, to the river,
on our knees beneath the sweet water.
I pull her under four times
until we are rivered. We are rearranged.
I wash the silk and silt of her from my hands—
now who I come to, I come clean to, I come good to.
Copyright © 2015 by Natalie Diaz. Originally published in Poem-a-Day on April 21, 2015, by the Academy of American Poets.
They’d only done what all along they’d come
intending to do. So they lay untouched by regret,
after. The combined light and shadow of passing
cars stutter-shifted across the walls the way,
the night moths used to, softly
sandbagging the river of dream against dream’s
return…Listen, it’s not like I don’t get it about
suffering being relative—I get it. Not so much
the traces of ice on the surface of four days’
worth of rainwater in a stone urn, for example,
but how, past the ice,
through the water beneath it,
you can see the leaves—sycamore—where they fell
unnoticed. Now they look suspended, like heroes
inside the myth heroes seem bent on making
from the myth of themselves; or like sunlight, in fog.
Copyright © 2017 by Carl Phillips. Originally published in Poem-a-Day on December 4, 2017, by the Academy of American Poets.
Evening, and all my ghosts come back to me
like red banty hens to catalpa limbs
and chicken-wired hutches, clucking, clucking,
and falling, at last, into their head-under-wing sleep.
I think about the field of grass I lay in once,
between Omaha and Lincoln. It was summer, I think.
The air smelled green, and wands of windy green, a-sway,
a-sway, swayed over me. I lay on green sod
like a prairie snake letting the sun warm me.
What does a girl think about alone
in a field of grass, beneath a sky as bright
as an Easter dress, beneath a green wind?
Maybe I have not shaken the grass.
All is vanity.
Maybe I never rose from that green field.
All is vanity.
Maybe I did no more than swallow deep, deep breaths
and spill them out into story: all is vanity.
Maybe I listened to the wind sighing and shivered,
spinning, awhirl amidst the bluestem
and green lashes: O my beloved! O my beloved!
I lay in a field of grass once, and then went on.
Even the hollow my body made is gone.
From Even the Hollow My Body Made Is Gone by Janice N Harrington. Copyright © 2007 by Janice N. Harrington. Used by permission of BOA Editions, Ltd.