Now cosmos in bloom and snow-in-summer
opening along the garden’s stone borders,

a moment toward a little good fortune,
water from the watering can,

to blossom, so natural, it seems, and still
the oldest blooms outside my door are flourishing

according to their seedtime. 
They have lived as in trust

of tended ground, not of many seasons
as the lingering bud in late summer,

when leaves have reached their greenest,
when a chill enters the nights,

when a star I’ve turned to, night after night,
vanished in the shift of constellations. 

But when on a bare branch,
even in August, a sprig starts,

sprig to stem—as if to say, See,
there’s kinship with the perennials

you think so hardy—voice
the moment among the oaks, toast

the spring in summer, as once each May
a shot of vodka is poured on bare dirt

among gravestones to quench the dead,
among the first stars of this new evening.

There is no life after death. Why
              should there be. What on

earth would have us believe this.
              Heaven is not the American

highway, blackened chicken alfredo
              from Applebee’s nor the

clown sundae from Friendly’s. Our
              life, this is the afterdeath,

when we blink open, peeled and
              ready to ache. Years ago

my aunt banged on the steering, she
              insisted there had to be a

God, a heaven. We were on our
              way to a wedding. I would

have to sit at the same table as the
              man who saw no heaven

in me. Today I am thinking about
              Mozart, of all people, who

died at 35 mysteriously, perhaps of
              strep. What a strange cloth

it is to live. But that we came from
              death and return to it, made

different by form, shaped again back
              into anti–, anti–. On my run,

I think of Jack Gilbert, who said we
              must insist while there is still

time, but insist toward what. Why we
              must fill the void with light—

isn’t that our human insistence? But
              we drift into a distance of

distance until proximity fails, our
              name lifts away with any

future concerns, the past a flattened
              coin that cannot spin. I am

matter spun from death’s wool—and
              I bewilder the itch, I who am

I am just so happy to go.

One borrows time not to be left out.

Been in the pattern of sun—secure, re-creating.
One needs one thing.

One father is left with new limits, but one
father is left. This repeat is filled with above and below.
(Do you understand that it won't cease?)

Every hour compared to dozens of previous
hours and angers, and the daughters post pictures
of vanishing. Such is a comfort.

One agrees to ask for nothing.

Under time lives silence.
 

It’s the inside which comes out, as I contemplate
him there half in sunlight, weeding diligently
a Midwestern lawn. On my persons, I have only notes
and a drying pen, the memory of onion blossoms
scenting in a window. Reflection is my native medium.
I am never arriving, only speaking briefly on material
conditions between myself and others. My country
inoculates me lovingly, over time. My country grasps me
like desire. I will show you my credentials, which is to say
my vivid description, if you ask. Here we are, my father
and I, never hostile, a small offering: pointless cut flowers
appear on the kitchen table when one finally arrives
into disposable income. Still possible. Am I living? Do I
accept revision as my godhead and savior?
I do and I am, and in the name of my Chinese father now
dragging the tools back inside, brow shining but always
a grin, faithless except to protect whatever I still have time
to become, Amen.

^{after not wanting to watch “Time: The Kalief Browder Story” on Spike TV}

It rained inside me
it is raining inside my neck
the rain falls in sheets inside long sheets inside
all the rain is falling inside collapsing spit
I don’t want to watch another black man die
today or know the story of how he died today
or how he was thrown away or how he ended up
I don’t want to study the rain from inside
the house or overhear wild rain swell & thicken
slap the roof with wet words       & Kalief 
who was there when you stopped
being & who was there when you were alone
& beyond yourself     how
the water around you from the island around you
might have sounded like a chorus    who was there
who was there      who was there  & now everyone
is watching your life from inside but I’m afraid to watch
them beat you    watch torture throbbing dry & long
with ache & blue-black bruising                so I don’t
& another black body is blown out      smoking wick
the lone wisp of a life lingers smelling burnt & gone
how rain wraps round a tornado is a type of sorrow
because no one knows how to fathom damage inside
someone’s eyes could be the weather just after or before
a storm         calm & clear but still bleaker inside the black
parts of the pupils the holes smooth black holes in the eyes
as they left you in the hole with no rain      & I’m emptying
a waterfall shouting                       KALIEF
I want you to be undead & not alone      lonely in the ground  
again     I want I want (the “I” wants so much) how it greeds 
like a fist      of pounding rain on your body bleating broke
but what I want doesn’t matter what I want are rare blossoms
for the dead      because you’re gone & your mother is gone
all because someone said you stole a backpack meaning
your body was made a forgotten altar your body made bodiless
kept pushing back as your trial kept pushing back & back &
black matter moves backwards in time meaning    Kalief matters
in the past tense even though the space around your life didn’t
matter to them   or them   or them    like the space that scatters
& navigates around the circumference of raindrops is never wet
& the braided distance between you & me  is dry & long
like time is rainless with a tight & loaded lungful blowing 800
candles out for the 800 days in solitary your brain behind bars
fades your body in confinement your chest caged alone
your body alone   all    I     hear         is your name falling
& beating    Kalief      Kalief      Kalief Kalief Kalief
this is such a poor offering but I am pouring it on the ground
like good rain & whatever softens the earth is your name
whatever might grow from that darkening bright spot is your name
lapping little lakes of creation turning mud in your name
whatever might be fed from the liquid raining inside me
whatever might be loosened from the muck & the dark
rum pouring from my bottle    & Kalief    your name     is drizzling
a type of grief upon my mouth like mist as it reigns
inside me it is raining inside my body the rain falls in sheets
inside all the rain is untangled & not touching
who touched you with tenderness falling inside   
                                                                                          & Kalief  
what is there to say
after so much rain?

                                  The ground is swollen with your name…

The war ships bobbing off the coast.
                         The outdated oil drills painted
so to blend into the clouds. The gold thin
                         stitched to the water’s edge. Errant dolphin.
Balled up piece of trash on PCH with the list: Eggs, whole milk, butterflies.
                         You cry like a peacock, she says,
every time you get close to being the thing you want to be. 
                         What if God is the people around us:
watching, listening? What a relief that would be. 
                         But it’s so easy to forget we’re not
only being watched by the people in front of us, but
                         also by the people in places we cannot see. What is it
to be allowed back again? On the bike path, my father
                         ahead of me, saying, look at the wind,
meaning: look at the thing doing the moving,
                         moving orange-coned flags holding on for dear life.
The salt rolling off the ocean rots everything in its jowls
                         & my skin so close to turning, I can feel
becoming the metal shard you will learn to protect yourself from,
                        capable of catching the light drawing you in.
Everything rusted is a story beginning
                        once upon a time, I was young, standing in front of the ocean,
beneath the sun without consequence or query
                        for time, just standing, looking out into the thing
unaware of its indifference. There’s something Greek in that. Did Odysseus need the monsters more
                        than they needed him? Does it matter? A kind of antiquity
in that line of thinking but also something very American. Akin to sparklers.
                        They only dance if you light them & wave. Birds do not
abandon their young merely because of human touch.
                        This & so many other myths my mother breaks
in her search for palatable colors, for mixing,
                        for making what was lost whole again. 

Phones were ringing

in the pockets of the living
and the dead

the living stepped carefully among.
The whole still room

was lit with sound—like a switchboard—
and those who could answer

said hello. Then
it was just the dead, the living

trapped inside their bloody clothes
ringing and ringing them—

and this was
the best image we had

of what made us a nation.
 

To everything, there is a season of parrots. Instead of feathers, we searched the sky for meteors on our last night.  Salamanders use the stars to find their way home. Who knew they could see that far, fix the tiny beads of their eyes on distant arrangements of lights so as to return to wet and wild nests? Our heads tilt up and up and we are careful to never look at each other. You were born on a day of peaches splitting from so much rain and the slick smell of fresh tar and asphalt pushed over a cracked parking lot. You were strong enough—even as a baby—to clutch a fistful of thistle and the sun himself was proud to light up your teeth when they first swelled and pushed up from your gums. And this is how I will always remember you when we are covered up again: by the pale mica flecks on your shoulders. Some thrown there from your own smile. Some from my own teeth. There are not enough jam jars to can this summer sky at night. I want to spread those little meteors on a hunk of still-warm bread this winter. Any trace left on the knife will make a kitchen sink like that evening air

the cool night before
star showers: so sticky so
warm so full of light
 

Tonight the wind is in your voice.
And the gods are nervous
about the drinking water.
Someone hijacks the background
with three simple dance moves.
Or maybe the clouds
paused on the television
set during a ball game.
The silence inside
the photograph
of you eating alone
in an old yearbook.
This is going to be over
before you know it.
But not before your hands
become small birds
in celebration
of the present snow.
An expressed panic
attack of harmonics.
It’s like listening to your heartbeat
in a club, all the lights off,
all by yourself. 

You’re used to it, the way,
in the first wide-eyed
minutes, climbing from parking lot
to fire trail, or rifling through
cupboards in a rented kitchen,
I can’t help but tell you
we should visit here again,
my reverie inserting
a variation in the season,
or giving friends the room
next door, in stubborn panic
to fix this happiness in place
by escaping from it.
“We’re here now,” you say,
holding out the book I bought
with its dog-eared maps and lists
and, on the cover, a waterfall,
white flecks frozen, very close.

The socks came in a pack of five.
What is the most boring subject
possible? Translucent blue
with punctures pierced to shape
a star around the ankle.
I carried them along the aisles
as if I needed them. I fingered
lacquered dishes and the rubber heads
of mallets, crystal trinkets
stitched to underwear.
Wherever you go, this buffering.
A dull hour. All that time
I could have touched you and didn’t
or did absentminded, getting in
or out of bed or trying to reach
something behind you.
I didn’t need anything
I could buy. I bought the socks
and a slatted spoon I haven’t used.
Blue interrupted by the living points
of constellated skin. I’ve been
looking for a long time
at the stretch of table where you had
your hand. I am afraid
to touch it. Love, all I’ve ever
seen is things in airless dense
configuration and no transparency.

Lord, I ain’t asking to be the Beastmaster
gym-ripped in a jungle loincloth
or a Doctor Dolittle or even the expensive vet
down the street, that stethoscoped redhead,
her diamond ring big as a Cracker Jack toy.
All I want is for you to help me flip
off this lightbox and its scroll of dread, to rip
a tiny tear between this world and that, a slit
in the veil, Lord, one of those old-fashioned peeping
keyholes through which I can press my dumb
lips and speak. If you will, Lord, make me the teeth
hot in the mouth of a raccoon scraping
the junk I scraped from last night’s plates,
make me the blue eye of that young crow cocked to
me—too selfish to even look up from the black
of my damn phone. Oh, forgive me, Lord,
how human I’ve become, busy clicking
what I like, busy pushing
my cuticles back and back to expose
all ten pale, useless moons.  Would you let me
tell your creatures how sorry
I am, let them know exactly
what we’ve done? Am I not an animal
too? If so, Lord, make me one again.
Give me back my dirty claws and blood-warm
horns, braid back those long-
frayed endings of every nerve tingling
with all I thought I had to do today.
Fork my tongue, Lord. There is a sorrow on the air
I taste but cannot name. I want to open
my mouth and know the exact
flavor of what’s to come, I want to open
my mouth and sound a language
that calls all language home.

The heat rises in distorted gold
              waves around fire
                            but without fire,
              shimmering, twisting

anything seen through it.
              The heat rises, rasping
                            the air it rises through,
              scuffing the surface,

if the air has a surface.
              The tall summer
                            field is the keeper
              of secrets. Lie down

and forget your body, forgive
              your body its bad cradle,
                            its brokenness.
              Lie down and listen

to the rasp, to heat sweep
              the pale, dry grass as if
                            it were your own
              breathing, as if the field

you’ve pressed your shape into
              is a broom in reverse,
                            a broom being
              swept by the wind.

Drop fire from the sky but don’t name me
as reason. My sister is lost on the longest lit road

in the world. She wanders into shoe stores
the hour before close and chews the stock

back to rawhide. My father’s workshop tools
have broken into open rebellion—he worked

and worked them to the bone. Any second now
the circular saw will churn through the basement door

and into the kitchen, gnawing the floor to spit
and sawdust. Out West my cousin has soldered

the mirrored lenses of police-issue sunglasses
over his ocular cavities. All he sees is wrong.

Alert the Department of the Interior: our enemies
are inside the fence. Drop fire from the sky

but don’t expect it to purify their hate.
Or, if it does, it’ll burn me clean with the rest.

Here’s my hope for salvation: when the stranger
comes knocking, open my arms wide with the door

and give him whatever he takes.
 

I love the whir of the creature come
to visit the pink
flowers in the hanging basket as she does

most August mornings, hours away
from starvation to store
enough energy to survive overnight.

The Aztecs saw the refraction
of incident light on wings
as resurrection of fallen warriors.

In autumn, when daylight decreases
they double their body weight to survive
the flight across the Gulf of Mexico.

On next-to-nothing my mother
flew for 85 years; after her death
she hovered, a bird of bones and air.

Silence again. The glorious symphony
Hath need of pause and interval of peace.
Some subtle signal bids all sweet sounds cease,
Save hum of insects’ aimless industry.
Pathetic summer seeks by blazonry
Of color to conceal her swift decrease.
Weak subterfuge! Each mocking day doth fleece
A blossom, and lay bare her poverty.
Poor middle-agèd summer! Vain this show!
Whole fields of golden-rod cannot offset
One meadow with a single violet;
And well the singing thrush and lily know,
Spite of all artifice which her regret
Can deck in splendid guise, their time to go!

“We can no longer afford that particular romance.”
—James Baldwin

Brother Rickey halts me before I cross East
Capitol. He trumpets that we are at war.

I want to admit that I don’t believe in “white”
—in the manner that Baldwin did not—but Brother

Rickey would simply retort that my disbelief
is no immunity from the imaginations of those

who think themselves “white.” As we await
the stoplight’s shift—so I may walk and he may

holler “Final Call!” between lanes of idle traffic—
I think of race as something akin to climate change,

a force we don’t have to believe in for it to kill us.
I once believed in the seasons. (I fantasize

fall as Brother Rickey’s favorite—when his suits,
boxy and plaid, would be neither too hot nor

thin.) But we are losing spring and fall—tripping
from blaze to frost and back. And what’s to say

we won’t soon shed another season, one of these
remaining two, and live on either an Earth

of molten streets or one of frozen light? That’s when
worlds end, no—when, after we’ve eradicated

ourselves, we become faint fossils to be exhumed
by the curiosities of whichever life-forms follow

our reign? I still owe Brother Rickey two dollars
for the paper he last placed in my hand, calling me

“soldier.” I don’t have to believe that I am enlisted
in order to understand he’ll forgive my debt

so long as this idea of “whiteness” sorties above us—
ultraviolet, obliging an aseasonal, unending deployment.

Released by the signal, I advance—my head down,
straining to discern the crossfire from the cover.
 

My father’s mother grew a garden of zinnias
to divide the house from the woods:

pop art tops in every color—cream,
peach, royal purple, and even envy

(white-green, I knew, and when the pale
petals opened in early August,

I thought they’d blush like an heirloom
tomato, heir-loom, how strings of wine-dyed

wool lay over the frame of an idea,
how my cheeks look in the mirror

after a run, always the wrong
time of day, thunder rolling around the stadium

of trees, or the sun striking the boughs
with light over and over as though to plead

the green right out of the leaves,
or so it seems to me,

too sensitive, she would say, her love
scientific)—the sunburst petals

a full spectrum except for the sea
returning to you, blue, blue,

the color appearing in language only
when we could know it like a cluster of stars

in the arms of another galaxy
while ours spirals around a black hole,

and now they grow in space, in the satellite
where we live out an idea of permanence

among galactic debris, acquiring stars,
losing vision, the skin touching nothing,

the heads little suns you watch die
on the stem if you want the bloom back.

tonight I'm cleaning baby portobellos
for you, my young activist

wiping the dirty tops with a damp cloth
as carefully as I used to rinse raspberries

for you to adorn your fingertips
before eating each blood-red prize

these days you rarely look me in the eye
& your long shagged hair hides your smile

I don’t expect you to remember or
understand the many ways I’ve kept you

alive or the life my love for you
has made me live

(The essay on modesty) (in application for) (bodily autonomy)

              (She lost that case) (on (wide is the gate))  (rhetorically memorable)

                            (Arbiter rise)

(Attracted to) (the most minor) (advantages)                 (adopting gendered props)

              (Assaying willingness)                       (I notice a certain scarlet letter)

(Dream of a house)           (it can’t be mine)     (vast roominess)

                            (Dream of a beach) (but it’s a beach with a                 problem)

              (In the smug of your (natural woman))               (I have had (a stain) (a conceit))

                                        (Despite appearances (allegedly))

              (A medical person) (declares the injury a                                     non-emergency)

To my left,
you, in the driver’s seat.
Chlorophyll, to my right,

through the windowglass, green tipping
to black, tipping to gold, shivering.
Green hills, further on, shading

to blue. Fuzzed slopes, lovable, rolling down down.
Awkward weeds, sprigged, not wheat and won’t feed anyone.
All is Dutch, set out for display and gain.

I’ve come to a conclusion about happiness: I want it.
You say “Sometimes you’ve got
to bust a move.” How would I do that?

Through the windowglass I can get a fearsome burn.
Thus I’m spf’d. I must earn.
On my lap, folderful of papers to which I should turn

but the sun does her thing: down down.
We don’t see her cooling, but we gain
from her careful campaign.

Goodbye glimpse, speed past,
the green consummation tracks
everwards, lost—

Lost me, lost you,
lost green hills shading to blue
and lost the valley view….

There’s no law that says
life needs to get more complicated.
In fact, it’s difficult to grow big.
Humanity has always been improbable,

but occurred when two single cells
floated—perhaps they wanted
each other?—into one. Even a host
can learn to love a leech. This is molecular:

One thing cares for another, in a way
it could never care for itself. Everything
you know was born from this sacrifice. Red-
woods stretched, shellfish bristled the floor.

Life, in even the simplest form, has always
been a matter of finding the energy.
 

                        You remind them
             of weighted tumbleweeds,
hen-egg brown. Don’t let
                        them take the rag-
             time beneath your skin.
        It stirs earth’s curvature
and a choir
of frogs 
when you enter
             or leave a room. Don’t
             leave a swallow of juice
                  or milk in the fridge.
A body grieved
is a whole new body.
             Give your shadow a name
                        big as a star, see
             yourself out loud.
Pick wild irises                         the best gifts
             roll under a ribcage, leave 
             open mouths splendid.

I like your smile unpenned.

Keep your bird-
             song close, imagine
                     an hourglass full
                         of architects and dreamers,
the first taste of fresh
             scooped ice cream.
                         You will learn to master
                         camouflage among ordinary things— 
             men who spill words
not thoughts, trigger fingers
                         ready
                         to brand loose.

I love your smile unpenned.

His tongue shorn, father confuses
snacks for snakes, kitchen for chicken.
It is 1992. Weekends, we paw at cheap
silverware at yard sales. I am told by mother
to keep our telephone number close,
my beaded coin purse closer. I do this.
The years are slow to pass, heavy-footed.
Because the visits are frequent, we memorize
shame’s numbing stench. I nurse nosebleeds,
run up and down stairways, chew the wind.
Such were the times. All of us nearsighted.
Grandmother prays for fortune
to keep us around and on a short leash.
The new country is ill-fitting, lined
with cheap polyester, soiled at the sleeves.

The street grew only strangers. All the faces we were wore slings. An ingrown arena peered out from our sigh. We spread ourselves out to feel the glass in a crowd. We prayed to a dog, then some flies. Our solo was a burning zither, not a kite.

“yes of course” was one speech too many
now you’ve done it exposed your
obsequious emphases
                           hardly speech if disclosing nothing
thought to stay blameless in a
well-tended hothouse that’s now
            out of use beyond wear not in your possession
to break out so lay blame on
ritual pronouncements like
                          the unitary root of the whole is torn      
try knitting cozies to hide
your household aporias
                                       a little more than mortal   
how yarn can knit a surface
that will flaunt its absences
                          looking at it as though it were behind you
is how gnats spin a hole in
air & then slip right through it
           caterpillars moles lost limbs
try a little blind reaching
surprising what you can find

There is a force that breaks the body, inevitable,
the by-product is pain, unexceptional as a rain
gauge, which has become arcane, rhyme, likewise,
unless it’s assonant or internal injury, gloom, joy,
which is also a dish soap, but not the one that rids
seabirds of oil from wrecked tankers, that’s Dawn,
which should change its name to Dusk, irony being
the flip side of sentimentality here in the Iron Age,
ironing out the kinks in despair, turning it to hairdo
from hair, to do, vexing infinitive, much better to be
pain’s host, body of Christ as opposed to the Holy
Ghost, when I have been suffering at times I could
step away from it by embracing it, a blues thing,
a John Donne thing, divest by wrestling, then sing.

You meant more than life to me. I lived through
you not knowing, not knowing I was living.
I learned that you called for me. I came to where
you were living, up a stair. There was no one there.
No one to appreciate me. The legality of it
upset a chair. Many times to celebrate
we were called together and where
we had been there was nothing there,
nothing that is anywhere. We passed obliquely,
leaving no stare. When the sun was done muttering,
in an optimistic way, it was time to leave that there.

Blithely passing in and out of where, blushing shyly
at the tag on the overcoat near the window where
the outside crept away, I put aside the there and now.
Now it was time to stumble anew,
blacking out when time came in the window.
There was not much of it left.
I laughed and put my hands shyly
across your eyes. Can you see now?
Yes I can see I am only in the where
where the blossoming stream takes off, under your window.
Go presently you said. Go from my window.
I am in love with your window I cannot undermine
it, I said.

in the divorce i separate to two piles                 books: english      love songs: arabic
my angers   my schooling    my long repeating name       english    english     arabic

i am someone’s daughter but i am american born        it shows in my short memory
my ahistoric glamour     my clumsy tongue when i forget the word for [   ] in arabic

i sleep         unbroken dark hours on airplanes home           & dream i’ve missed my
connecting flight      i dream a new & fluent mouth full of gauzy swathes of arabic

i dream my alternate selves               each with a face borrowed from photographs of
the girl who became my grandmother   brows & body rounded & cursive like arabic

but wake to the usual borderlands     i crowd shining slivers of english to my mouth
iris    crocus   inlet   heron         how dare i love a word without knowing it in arabic

& what even is translation       is immigration        without irony         safia
means pure           all my life it’s been true           even in my clouded arabic

 

                                          unfastened
                                    in the backseat a
                             portion of our music is
                          mucus flying into stillness
                          at what point do we submit
                           to the authority of flowers
                          at what point after it enters
                   the mouth is it no longer in the
                  mouth but the throat the colon
making sumptuous death of the world
  this is what crossing the line gains
                 no need to pretend we
                     are the people we
                           want to be in
                            the next life
                             bone under
                          tongue drives
             taste of snow to metal
        sorry I threw up at your wedding
     it wasn’t from drinking it was from
thinking on mountain all night waking
      tangled in spirits of morning light
            our planet floats on emptiness
                         the undisclosed mirror
                                       held to flame
                                      pushed it into
                                      a pile of ash
                                      a trail of ash
                                         leading us
                                         toe to toe
                                       with wild sides
                                     what’s emerging is
                                       a grip we’ve been
                                     reaching for please
                                       grab hold with us

I keep going back to that word
the French like it trahison the French are partly me
in micro-particular disposition I sing
I'm most fascinated by metaphysical
betrayal and its off-color quarter-tones I mean
I mean it      that a bit of matter could humiliate

another like in a beginning when of angels…
No I believe they play me like a winning king but
in a future I know already while scourged
I remember when X and Y made Ted miserable
Until he died? before he died? but that's before the
time of these poems of my emplacement in the zeros

Do you know that all history's happening at the same time
and see the future if you scry, gross matter      It is 2007
someone dear having died I am on an air-
plane to San Diego and suddenly see blue and orange geo-
metrical formations around the periphery of my vision
both eyes is this part of the poem I'm the singer of

tales of bliss and structure of the universe yet unperceived
Is it built like what I'm talking is it in
fact structured when I write Voices Ross, the dear dead
speaks to me in the kitchen to say he's happy the dead are
happy I later believe some are sad sometimes, cyc-
lically until they work it out my poems help them

that my poems help everyone that I am re-
structuring whatever this is that is everything so
that nothing's lost but placed new-pieced into a collage
of the transpired remade into a transcendental richesse
opening of graves gold light burst out: Grave of Light
gravid of light Grave Alice and laughing Allegra

ocean of chaos breaks collage of tones you know
and who I was am and will be come back to me
in an enormous betrayal by who once left heaven
all those wanting to be matter my own body
born no one can understand      born no one can com-
prehend how many possibilities we once were be-

fore anyone deceived a rock by breaking it
Ross tell me what      You got it he says and what
you've kept to yourself is cool but the Fibonacci Series
being no longer how shall we say these irrelevancies
They slide into the collage I say      Yeah he says
That on the other hand anything will do any glue

Because I was upset at your death mine eyes did break
not into tears but figments colored particles castle bat-
tlements they call them swim before me collapse
I rise again for I am everything participatory in
the earth world's illusions this is an homage to Ross
all that exists communicates cry a little, cry

betrayal that there is dying though death the other breathes

Citadel of our best names—angsty Zooey & chatty Zarathustra,
              wee Zaccheus & mighty Zorro. (Zebediah, of course,                              would place among them.) 

Experiment in endings (A-Z), as in “where the A ends up,” the crooked path
              an A could take toward some arrival’s gate (zig-zag). 
 
Or Z-pack: superhero strength contained in capsules. 

Like the 7, crossed or uncrossed, mustachioed or not,
              the Z with its dashing  good looks & flaming androgyny,                        its cursive tail & tiger purr. 

That Z, its maze of contradictions, shape-shifter & fortress of finality:
              N’s topsy-turvy cousin, S’s more callous sidekick,

The stuff of caped-crusader skirmishes: ZAP! &  ZOOM!

Enabler of interjections (think Wowie Zowie! think Zoinks!)
              Symphonic doppelgänger shadowing xylophone &                                 disguise. 

The verbage of bees, buzzing all day in a hive. 

Zeta or zed, its dialectical relatives, or the numeral 3,
              Z’s bodacious brother on its mother’s side.        

Ambiguous, flirtatious, & worth 10 points on the Scrabble board,
              Z turns out to be quite the catch—zany, zesty, &                                      remarkably well-read.

But despite its zeal, Z can also communicate quietly, eloquent as an ideogram. 
              It’s raining, it’s pouring, the old man is snoring…

How do we know? Just look at the rocket of Zs rising out of his mouth.

I don’t call it sleep anymore.
             I’ll risk losing something new instead—

like you lost your rosen moon, shook it loose.

But sometimes when I get my horns in a thing—
a wonder, a grief or a line of her—it is a sticky and ruined
             fruit to unfasten from,

despite my trembling.

Let me call my anxiety, desire, then.
Let me call it, a garden.

Maybe this is what Lorca meant
             when he said, verde que te quiero verde—

because when the shade of night comes,
I am a field of it, of any worry ready to flower in my chest.

My mind in the dark is una bestia, unfocused,
             hot. And if not yoked to exhaustion

beneath the hip and plow of my lover,
then I am another night wandering the desire field—

bewildered in its low green glow,

belling the meadow between midnight and morning.
Insomnia is like Spring that way—surprising
             and many petaled,

the kick and leap of gold grasshoppers at my brow.

I am struck in the witched hours of want—

I want her green life. Her inside me
in a green hour I can’t stop.
             Green vein in her throat green wing in my mouth

green thorn in my eye. I want her like a river goes, bending.
Green moving green, moving.

Fast as that, this is how it happens—
             soy una sonámbula.

And even though you said today you felt better,
and it is so late in this poem, is it okay to be clear,
             to say, I don’t feel good,

to ask you to tell me a story
about the sweet grass you planted—and tell it again
             or again—

until I can smell its sweet smoke,
             leave this thrashed field, and be smooth.

As in some demented romantic comedy,
my wife and I divided the apartment in half.

She took the living room and I took the bedroom.
Bivouacked and bleeding, we waited for the lawyer

to finish the stipulation so we could sign
the pages and crawl away forever.

I lived in her midst like an alien species.
The exclusion zone sizzled like wet lightning

when I whispered to outsiders on the house phone.
Then came the morning of my departure:

I awoke in civil twilight with my wife standing
over me, looking down into my pallid face.

For half a second, I thought she might strike me,
but she grasped my hand and squeezed it goodbye,

an astonishing tenderness glistening in her eyes,
one final gift in all that pain and murderous détente,

all that wailing and mortification of the flesh.
On the way to the gallows of divorce,

she held a merciful cup of clemency to my lips,
and I drank deeply, I drank so deeply

that I forgot what I’d done to deserve her.

    1

We encountered a problem

sending
a command

to the program.

Did I say that
aloud?

I’ve broken out
in imps.

     *

To be a blip
in a circuit

and to know it,
to relish

this knowledge
in your private

moments
as all moments

are gated
and switched.

    2

When I mentioned hatred
I was not thinking

                                           of you,

but you’d best not break
our momentum,

the thrill we get
from our own self-
loathing,

that guilty snigger
running round the room
 

Vision of Baudelaire        in this North Florida forest      looking into the eye
of a lizard with green         purple eyeliner zigzagging its way up a burnt log

Florida Yew, Olive, neon orange        day moon mushrooms
over the white bluffs         of the psychiatric Apalachicola River

Valéry says shells, flowers and crystals    are the privileged
objects of nature           harmonic underbelly,
endless, alien recycle      of gorge and interlude 

George Michael died today       For I live in a bubble of joy     
Go out into the sun!         the doctor says               your blood work     
is totally normal   except for a            Vitamin D deficiency 
and left the office behind     and unleashed my sentimentality
 

Someone will        love you     many will      love

you         many will brother you   some of these

loves will        bother you   some   will      leave you

one might        haunt   you      hunt you in your

sleep        make you       weep the tearless kind of

weep the         kind of weep   that drowns your

organs     slowly    there are little oars  in your body      

little boats   grab onto them and row and        row

someone will tell you      no       but you won’t   know

he is    right until you have   already        wrung your  

own heart dry    your hands dripping knives    until

you have    already   reached your hands into       his       

body and put them through his        heart     love is

the only thing that       is not    an       argument

The shadow I had carried lightly has

Been forced upon me now and heavy since

Bulky since     now and since unwieldy as

A corpse the shadow I     was born from in

And to I     should have known I couldn’t being

As how it wasn’t me who lifted it

Not     all the way     from me in the first place being

As how its lightness after was a gift

Its near-     bodilessness a gift     from those

Who bind it to me now I should have known

I couldn’t while they watched me     set it loose

They bind it     to my back they make it strange

That I knew     in my arms they weigh it down

With the shadow they had kept the bindings in

I’m thinking of the boiling sea
and the dream in which
all the fish were singing.
I want to wake up with my heart
not aching like death,
but I am always falling
in to terror. I’m a good person.
I grieve to appropriate degrees.
I mourn this season. This moment.
I mourn for the polar bear
drifting out of history
on a wedge of melting ice.
For the doughnut shop
which reached an end
yesterday, after decades and decades.
I’m thinking of the light
at dawn. Of the woman
in Alabama who ordered
six songbirds from a catalog because
she was lonely. Or
heartbroken. I’m thinking
of the four that came
dead in the box, mangled.
Of the two that are
missing. I want to tell you
that they were spotted
in the humid air
winging above a mall.
I want to tell you a story
about the time leaves fell from
the trees all at once. I am
thinking of cataclysm.
More than anything, I want to tell you
this. I want to disappear
in the night. I want
the night to vanish from memory.
I want to tell you
how this happened.

the sap that I am springtime
               makes me want to reread Virgil’s

Georgics while eating cacio
              e pepe with fresh-shelled

peas this morning over coffee I
              watched a video of spinach

leaves washed of their cellular
              information and bathed in stem

cells until they became miniature
              hearts vascular hopes capable

of want to roll down a hill
              of clover to cold-spoon chrysanthemum

gelato or to stop whenever
              their phones autocorrect gps

to god the sublime is a suspension
              of disbelief the earth has gotten

sentimental this late in the game
              with its smells of gasoline

rosemary and woodsmoke the Rorschach
              of vitiligo on my eyes mouth

and throat the ongoing
              argument between self

and selfhood the recognition
              of the storm the howling

wind I wish I could scream
              into someone else’s rain

^{—at The Giant Heart, The Franklin Institute (Philadelphia, PA)}

Today the boy won’t rest long enough
for me to burn a single metaphor
back to whether precision or

prayer leavens the language I need
cast into the well of our survival. And then
the boy urges my turn to stay

poised on a floor scale while watching 24
chilling cups of hurt-colored liquid spill
into a clear cylinder. The gutted window

to the privacy of blood harbored
in this body thins the daily belief
that no sick imaginary could cut us

full open. And then the boy gawks around
a carousel of animal hearts, fidgets against
his surprise at the smallness of the lion’s

carnal engine beside the cow’s. Before
I can weigh the un-chambered bellows
of hunger, the boy begins to sound

a panel that plays the pulse of each animal.
He doesn’t linger with a blood-music; he keeps
mashing buttons at random—from the canary’s

constant lift to the cavernous crawl
of the blue whale—until I can’t see living
inside a god-rhythm that soothes

this earthly cacophony pleading
toward the dark effort of tomorrow.
By now, I have a strange image for heart

filling my mouth. I’m remembering
the tiny fleshy pyramids my own father
cleaned from sunfish. When they ceased

their tight contractions, I strained
to recognize the heart-ness in his hand,
sometimes pressing down into the soft

plunge of his palm to witness one
last lunge. This memory dissolves because
the boy dashes off, and then I’m chasing him

through the beating corridors of a giant
vascular room. The way is dim
and narrow—: I’m working hard to keep up.

I’m trying not to lose the boy
inside the heart. But every time I hear the light
of his laughter murmur across another

distance, I breathe into the new blessing
his life has kindled from the space between us:—
I think I could survive like this all day.

Florid, fluted, flowery petal, flounce
of a girl’s dress, ruffled fan,
striped in what seems to my simple eye
an excess of extravagance,
intricately ribboned like a secret
code, a colorist’s vision of DNA.
At the outermost edge a scallop
of ivory, then a tweedy russet,
then mouse gray, a crescent
of celadon velvet, a streak of sleek seal brown,
a dark arc of copper, then butter,
then celadon again, again butter, again
copper and on into the center, striped thinner
and thinner to the green, green moss-furry heart.
How can this be necessary?
Yet it grows and is making more
of itself, dozens and dozens of tiny starts, stars
no bigger than a baby’s thumbnail,
all of them sucking one young dead tree
on a gravel bank that will be washed away
in the next flooding winter. But isn’t the air here
cool and wet and almost unbearably sweet?

It’s a little bit
true that the
hole in my jacket
pocket
the breast pocket
yeah all relaxed
has a hole &
pens keep
slipping through
one’s in the lining
but this one
perched
now it’s a writing
bird
silly black out there
wants to
tell its
song. Miguel’s
book was
in the air &
I was on
a train
my feet are cold
and you wouldn’t
be in the
air so
long it doesn’t happen
like this
there’s no climate
in a plane
and I was in one
but not on
earth
my mother
is gone
each thing I do
is a little
bit wrong. I’m willing
to apologize
but they never
help it’s
just pointing
out the hole
& people
forget but I
won’t forget
you

We trace the dust lines left behind from the appliances, fumble for the brick foundations between the steel beams, peer at serrated stairlines where the wall paints stopped. Reincarnated. Tenement apartments become dance spaces without barres or mirrors, in the dank basement of a bank on Market Street, in anonymous green-carpeted rooms on Mott Street.

After a century, humpbacks migrate
again to Queens. They left
due to sewage and white froth

banking the shores from polychlorinated-
biphenyl-dumping into the Hudson
and winnowing menhaden schools.

But now grace, dark bodies of song
return. Go to the seaside—

Hold your breath. Submerge.
A black fluke silhouetted
against the Manhattan skyline.

Now ICE beats doors
down on Liberty Avenue
to deport. I sit alone on orange

A train seats, mouth sparkling
from Singh’s, no matter how
white supremacy gathers

at the sidewalks, flows down
the streets, we still beat our drums
wild. Watch their false-god statues

prostrate to black and brown hands.
They won’t keep us out
though they send us back.

Our songs will pierce the dark
fathoms. Behold the miracle:

what was once lost
now leaps before you.

I watched in horror as the man hung
half a pig by a hook in the window.

Nearby, the sea shone or something.
Nearby, the wingspan of a hawk cast an elongated shadow.

I listened with horror to the words I was missing.
A wrongness was growing in the living moon.

& nearby, the sea rolled endlessly.
Nearby, the saw grass peered through the grit & preened.

I've never been to Florida. Louisiana however
is second skin of mind, a habit-habitat.

& Texas on the way there, the red soil 
& black boars, the frankly haunted pines

lone men in pickups fishing
for nothing they intend to catch.

& nearby, the sea froths over the edge.
& nearby, the sea.

Nearer & nearer
the obliterating sea

Thirteen


look out
be well
do that
at least
for whatever
has hap-
pened
Thy no longer
shall glimpse
things great-
er
you
say you
aren’t safe
well, no
you’re not
for-
get your
aims,
your other
loves
no one
can know
what thought
was for
what adva-
ntage
it gave
when time
was young
& speech
a distant
dream
back on earth

                      After Anne Sexton

Some ghosts are my mothers
neither angry nor kind
their hair blooming from silk kerchiefs.
Not queens, but ghosts
who hum down the hall on their curved fins
sad as seahorses.

Not all ghosts are mothers.
I’ve counted them as I walk the beach.
Some are herons wearing the moonrise like lace.
Not lonely, but ghostly.
They stalk the low tide pools, flexing
their brassy beaks, their eyes.

But that isn’t all.
Some of my ghosts are planets.
Not bright. Not young.
Spiraling deep in the dusk of my body
as saucers or moons
pleased with their belts of colored dust
& hailing no others.

Every time I open my mouth my teeth reveal
more than I mean to. I can’t stop tonguing them, my teeth.
Almost giddy to know they’re still there (my mother lost hers)
but I am embarrassed nonetheless that even they aren’t
pretty. Still, I did once like my voice, the way it moved
through the gap in my teeth like birdsong in the morning,
like the slow swirl of a creek at dusk. Just yesterday
a woman closed her eyes as I read aloud, and
said she wanted to sleep in the sound of it, my voice.
I can still sing some. Early cancer didn’t stop the compulsion
to sing but
there’s gravel now. An undercurrent
that also reveals me. Time and disaster. A heavy landslide
down the mountain. When you stopped speaking to me
what you really wanted was for me to stop speaking to you. To
stifle the sound of my voice. I know.
Didn’t want the quicksilver of it in your ear.
What does it mean
to silence another? It means I ruminate on the hit
of rain against the tin roof of childhood, how I could listen
all day until the water rusted its way in. And there I was
putting a pan over here and a pot over there to catch it.

I am taken with the hot animal
of my skin, grateful to swing my limbs

and have them move as I intend, though
my knee, though my shoulder, though something
is torn or tearing. Today, a dozen squid, dead

on the harbor beach: one mostly buried,
one with skin empty as a shell and hollow

feeling, and, though the tentacles look soft,
I do not touch them. I imagine they
were startled to find themselves in the sun.

I imagine the tide simply went out
without them. I imagine they cannot

feel the black flies charting the raised hills
of their eyes. I write my name in the sand:
Donika Kelly. I watch eighteen seagulls

skim the sandbar and lift low in the sky.
I pick up a pebble that looks like a green egg.

To the ditch lily I say I am in love.
To the Jeep parked haphazardly on the narrow
street I am in love. To the roses, white

petals rimmed brown, to the yellow lined
pavement, to the house trimmed in gold I am

in love. I shout with the rough calculus
of walking. Just let me find my way back,
let me move like a tide come in.

Winter, friend, I get it. We are having a long talk 
and have just gotten into the thick of it.  

Days ago the signs were there.  
I was the only thing dark and moving 

through the white woods, and my leg kept leaving me
small grey commas of ice seen coming back.  

This is a very long talk we’ve been having. My body already knew 
and began to make an important list.

Behind disinfected curtains,
           beyond touch of sunrise
devouring the terrible gold

           of leaves, a man could be
his own eternal night. City
           flattened to rubble, his

surviving height a black flight
           of notes: the chip-toothed
blade and oldest anesthetic.

           Escaped convict, he climbs
wild-eyed, one hand out—
           running its twin on the rails

of a broken Steinway. Who
           has not been found guilty
of a carrion cry—the dream

           of a feathered departure
one has not earned, then fall
           back down teeming fault lines

of the flesh? Memory recedes
           into nocturne, a kingdom born
of spruce and fading light—

           he reaches in the end what
he had to begin with: fingertips
           on corrupted tissue, cathedral

of octaves in his thinning
           breath, tears like small stubborn
gods refusing to fall. 

We will count on these walls
             to whisper
                           our resumes 
to the strangers who take up
             the work of these rooms,
forwarding them
             past dust.

Our purpose shared,
             suspended in trust
                           to a poem
      that told us a long love
                                          is willed.

Believing such
             we are bound to exit
             flattered
                            by our design,
unmindful that this thing
                            has also always
             been lying
                            in wait,
                 a thing
                            in itself, bossy and brutish
that has thrived in spite of
              sabotage chapters
                                           occasional giddy
                           neglect.

              A volition
                                           apart
        that exceeds
                            dull need
a self-interweaving
               imperative be mine
                             that will whisper
               our love
                             past dust.

i know we exist because of what we make. my dad works at a steel mill. he worked at a steel mill my whole life. at the party, the liberal white woman tells me she voted for hillary & wishes bernie won the nomination. i stare in the mirror if i get too lonely. thirsty to see myself i once walked into the lake until i almost drowned. the white woman at the party who might be liberal but might have voted for trump smiles when she tells me how lucky i am. how many automotive components do you think my dad has made. you might drive a car that goes and stops because of something my dad makes. when i watch the news i hear my name, but never see my face. every other commercial is for taco bell. all my people fold into a $2 crunchwrap supreme. the white woman means lucky to be here and not mexico. my dad sings por tu maldito amor & i’m sure he sings to america. y yo caí en tu trampa ilusionado. the white woman at the party who may or may not have voted for trump tells me she doesn't meet too many mexicans in this part of new york city. my mouth makes an oh, but i don't make a sound. a waiter pushes his brown self through the kitchen door carrying hors d’oeuvres. a song escapes through the swinging door. selena sings pero ay como me duele & the good white woman waits for me to thank her.  

Start with a base map, unlabeled terrain,
in shaded green and ochre, nude relief,
 
cool continental mass bathing in blue,
a face whose features now are visible,
 
unannotated, apolitical,
as if a mighty snow had settled here
 
and muffled every static line and letter,
earth as naked as the moon, but full
 
of lively color, from the fissured west
into the placid belly of the country,
 
eastward over quartzite ridge, carbonate
valley into southwest-trending s-curves
 
up the coast, a range two thousand miles,
two hundred fifty million years of mountain
 
formed in three successive waves of rock
uplifted and depressed, and in the west
 
it’s just begun. Nine hundred million acres
under time, under stress and stretches
 
of content. Reserved for a duration.
Blue-green grid of constant revolution.

Mind was a prison, ruby lined
in its lipstick noir—everything woman
I was expected to be, trapped between
papered walls. What they said to do, I did not
but only levitated at the burning,

the body a water in which I drowned, the life
a windshield dirty with love. What they
said to think, I thought not but instead made
my mind into a birdcage with wings

(Title is from an Anne Sexton Poem.)

But there never was a black male hysteria
Breaking & entering wearing glee & sadness
And the light grazing my teeth with my lighter
To the night with the flame like a blade cutting
Me slack along the corridors with doors of offices
Orifices vomiting tears & fire with my two tongues
Loose & shooing under a high-top of language
In a layer of mischief so traumatized trauma
Delighted me beneath the tremendous
Stupendous horrendous undiscovered stars
Burning where I didn’t know how to live
My friends were all the wounded people
The black girls who held their own hands
Even the white boys who grew into assassins 

What does it mean to be so still?
to glide along the ocean floor

like some black-tongued electric eel,
to burn through marbled gold and green

of oceanic things like some
compact mass deforming space, time,

a void within voids, and then?
It is easier to imagine amphibian,

to know that blood, too, can change
its temperament as quickly as

salamanders change skin, as quickly as
eyes of newt and tongues of dog become

incantations, enchantments of art
and life just as an animal submerged

under water becomes unknown,
just as respirations become primitive

and breaths and motions cease
as a lone fish in a dark pond

arrives as an object of thought
and becomes stone.

white-throat sparrows/full of note/netted in the eventide/voices
sawing the trees/fragile little bodies/tracing frantic circles
             not understanding/what we must all come to accept/not one day
                         will last/we must end ourselves/as gently as we can
             take our swords/our facts/oddments of feather
                         turn them into the dark/she takes us as we are
             windswept/awake with shattering & nothing
             is as loud as her arms pulling us
             close/not even these wings
             landing/forever
             in the nests of
             my ears

A man can’t die where there is no earth
 
because there will be no place
to bury him. His body is the sky
and understands the language of birds.
 
His body says the earth is made of everything
that has fallen from Heaven
 
while no one was looking. He promises
to defy gravity and then return home.
 
A man can’t reach for the sky and not feel
he is falling. It goes on forever and the birds
talk about the awesomeness of flight
 
while the oxen labor in the fields,
while the cows eat grass and dream
 
of slaughter. A man can’t talk about flight
because one day, there will be no sky,
just the body covered in earth.
 
And now the sky is empty of birds.
And now the earth is covered in flowers.

when did we become friends?
it happened so gradual i didn't notice
maybe i had to get my run out first
take a big bite of the honky world and choke on it
maybe that's what has to happen with some uppity youngsters
if it happens at all

and now
the thought stark and irrevocable
of being here without you
shakes me

beyond love, fear, regret or anger
into that realm children go
who want to care for/protect their parents
as if they could
and sometimes the lucky ones do

into the realm of making every moment
important
laughing as though laughter wards off death
each word given
received like spanish eight

treasure to bury within
against that shadow day
when it will be the only coin i possess
with which to buy peace of mind

Because I did not have to smell the cow’s fear,
because I did not have to pin the man, watch his eyes
go feral, because I did not have to drag the stones
that formed in the child’s body, because I did not sheathe
my hands in dank soil, or skirt the machine’s battering, the needles
knitting my lower back, because when the factory collapsed
I smelled no smoke, and no one made me kneel at the cop’s boots
and count the pulse slowing beside me as every sound
soured, because my hands have never had to resist being comforted
by the warmth of blood, because the plastic-
wrapped meat and the mousetraps, because my job
was to stay clean and thankful and mostly imaginary, I have been stealing
what little I can:
                           onions. sandpaper. handfuls of skin.
the dumpster’s metal groan. hurried breath. hot knives.

^{Where are you from?
      There.}

^{Where are you headed?
      There.}

^{What are you doing?
      Grieving.
            —Rabia Al-Adawiyya}

Little brother, we are all grieving
& galaxy & goodbye. Once, I climbed inside
the old clock tower of my hometown
& found a dead bird, bathed in broken light,
like a little christ.

Little christ of our hearts, I know
planets light-years away
are under our tongues. We’ve tasted them.
We’ve climbed the staircases saying, There, there.

Little brother, we are all praying. Every morning,
I read out loud but not loud enough
to alarm anyone. Once, my love said, Please
open the door. I can hear you talk. Open the door.

Little christ of our hearts, tell anyone
you've been talking to god & see
what happens. Every day,
I open the door. I do it by looking
at my daughter on a swing—
eyes closed & crinkled, teeth bare.
I say, Good morning good morning you
little beating thing.

Little brother, we are all humming.
More & more, as I read, I sound
like my father with his book of prayers,
turning pages in his bed—a hymn
for each day of the week, a gift
from his mother, who taught me
the ten of diamonds is a win, left me
her loose prayer clothes. Bismillah.

Little christ of our hearts, forgive me,
for I loved eating the birds with lemon,
& the sound of their tiny bones. But I couldn’t
stomach the eyes of the fried fish.

Little brother, we are always hungry.
Here, this watermelon. Here, some salt
for the tomatoes. Here, this song
for the dead birds in time boxes,
& the living. That day in the clock tower,
I saw the city too, below—

                    the merchants who call, the blue awnings,
                    the corn carts, the clotheslines, the heat,
                    the gears that turn, & the remembering.

What still grows in winter?
Fingernails of witches and femmes,
green moss on river rocks,
lit with secrets... I let myself
go near the river but not
the railroad: this is my bargain.
Water boils in a kettle in the woods
and I can hear the train grow louder
but I also can’t, you know?
Then I’m shaving in front of an
unbreakable mirror while a nurse
watches over my shoulder.
Damn. What still grows in winter?
Lynda brought me basil I crushed
with my finger and thumb just to
smell the inside of a thing. So
I go to the river but not the rail-
road, think I’ll live another year.
The river rock dig into my shoulders
like a lover who knows I don’t want
power. I release every muscle against
the rock and I give it all my warmth.
                              Snow shakes
onto my chest quick as table salt.
Branches above me full of pine needle
whips: when the river rock is done
with me, I could belong to the evergreen.
Safety is a rock I throw into the river.
My body, ready. Don’t even think
a train run through this town anymore.

1.
             In the first place—I wanted him and said so
when I had only meant to say. His eyes
opened beyond open as if such force would unlock me
to the other side where daylight gave reason
for him to redress.

                                          When he put on his shirt,
after I asked him to keep it off, to keep putting off
the night’s usual end, his face changed beneath
the shirt: surprise to grin, to how even the body
of another’s desire can be a cloak behind which
to change one’s power, to find it.

2.
                                                                 In the first place
he slept, he opened the tight heat of me that had been
the only haven he thought to give a name:

Is-it-mine? Why-you-running? Don’t-run-from-it—as though
through questions doubt would find its way away from me,
as though telling me what to do told me who I was.

“It’s all empty, empty,” 
he said to himself.
“The sex and drugs. The violence, especially.”
So he went down into the world to exercise his virtue,

thinking maybe that would help.
He taught a little kid to build a kite.
He found a cure, 
and then he found a cure 

for his cure.
He gave a woman at the mercy of the weather 
his umbrella, even though 
icy rain fell and he had pneumonia.
He settled a revolution in Spain.

Nothing worked.
The world happens, the world changes,
the world, it is written here, 
in the next line,
is only its own membrane—

and, oh yes, your compassionate nature,
your compassion for our kind.

dew grass a fire shine
mountain a lung
pine cone the bone
tsunami rock hawk jaw
gravity a fall all consuming
a song chirp for sunlight
spine daggers cracking
the sky an ocean paused in its crashing
creature shake trip whistle
rustle nut squirrel swish
stump thunder or thump
thump a swallowing
you beautiful urchin
you rot mound of moss. 

What is the point of travel
For a DeafBlind person
Other than the food the people the shops
And all that

*
 
Part one young
Question mother father
Know right name
Work some day

*

The mutant four-fingered carrot
Is in the pot and growing
Sweeter as it relaxes
Its grip

*

When we say good morning
In Japanese Sign Language
We pull down a string
To greet each other in a new light

As from dark orchard leaves, from quiet scripts
where each shape sends its tendril reaching—
circle and line, the swaddled bud, the petiole 
sprung, an envelope tendered.
					
By a window, the infant 
turns, rooting
toward the breast,
                     sun-lit, 
the mother humming.
(Those far things, sources 
of power and
regret,
cliffs and waves, 
continue
at a distance.)
					
           Here you’ll find
a name scrawled in the bark—
last words, left to chance
and strangers.
            There, the black ant, burdened 
by a crumb, and the weight
of her lacquered armor,
crossing—climbing,
switching, doubling 
back—gnarl and crevice and 
cul de sac.
					
            Pinch-waisted, 
driven on, and trembling,
does she have a notion 
of her own, or is it 
only species 
memory—so
fearless, so abstract?
					
because it is winter everywhere, 
            I spin my cocoon
            I dig my heart a grave
					
Indifferent, a blossom 
drifting, the knob swelling, 
the leaf turned to
shadow: filigree, smudged. 
The petiole now brittle in 
the first cold nights.
                        The burden, relieved, 
weighs all the more
from the guilt 
of its release.
					
Too light, too light, like a sudden 
waking, the sun in your eyes: 
you cannot see for it.			
				
How long will we live 
in this leaf-strewn place, 
thinking we belong
to the sky?

* bring us to dark knots the black
eyes along white aspen skin to scrape
with a rock on surface where I press
I carve the initials of all and **
*** bring us to a returning no
an urning a vessel of corpse
ash in the active state of being
held by two hands positioned
gripping the sides to tip
and scatter my night dream
of an acquaintance who
presented me a ledger opened
to a page handwritten in pencil
dates names and meetings ****
***** I said I don’t want to
see it I don’t want to know
if my father betrayed me
as the words left
my dream mouth I woke I shook
to the bone a hot line notched
from heart to elbow throbbing
vein-ache in my body how
I’d replaced another man’s name
-a man I once loved I mean to say-
with the word father in a flash
the sleeping eye ripped me
from denial I’m not so complex
see my mind unclothed
is a crying newborn
predictable
aspen leaves in untimed
wind-filled rhythm my mother
turned eighty what at that age is left
to surprise though
                                        suddenly

the tone here shifts to listen
she said I don’t know if I ever said
when I was pregnant with you
I found out he’d cheated
I threw ****** into the yard
I locked him out
pregnant with you I cried
and I cried so long and hard
I thought I was going to
die yes she said it a heavy bass line
beneath aspen music and timbre
I sit on the patio to smoke I think
at night always at night maybe
cause I was born / at night or
my name means night God bless
my mother she believed
my name meant pure
spirit so it may be the darkest
hours are when I’m purest
when I am I          I am fluid
a clear stream over rock or
*******
as poetry goes ********
I think about a baby in utero I can’t help
but wonder what the baby knows
a study says babies and toddlers
remember
through impression not specifics
I rummage the syllables and stress
of each line in *********
impression is a mark
on the surface
caused by pressure or
a quick undetailed sketch or
the imitation
of someone / I
carried her nine months
beneath my own skin her small toes
relaxed her eyes shut
within me her fingertips
pressed into palms she made
                                                                    a fist
                                                                    or was it

a symbol
for the Sun what rising
what of battle my child knows
scares me to the pure
the one I           I burn in question

*            may all the grief
**          may all
***        the loss
****                  all your misdeeds
*****                love of my soul
******              all his things
******* spit in a cup
********          night is a womb
*********        the definition

I crawled into bed and closed my eyes and not long after heard the small hooves of the horses, the tiny ones that gallop in our dreams, or are they the dreams of our children, galloping through the black ruins. Everything we do is against the crippling light. To hear them cry at night is to know they are alive. When they are scared they come galloping down the long hall calling your name. Tonight, it is our oldest daughter, the red mare with her fiery mane, she snuggles in between us and falls back to sleep in your arms, to that secret place inside her, she barely moves, crossing over the river, through a grove of alders, through the black ruins, she is the one who once whispered, the grass it knows everything.

^{—Issa Rae}

Everybody Black is my hometown team. Everybody Black 
dropped the hottest album of the year, easy. Everybody Black 
is in this show, so I’m watching. Everybody Black is in this movie, 
so I’m watching. Everybody Black wore it better, tell the truth. 
Everybody Black’s new book was beautiful. How you don’t 
know about Everybody Black?! Everybody Black mad 
underrated. Everybody Black remind me of someone I know. 
I love seeing Everybody Black succeed. I hope Everybody Black 
get elected. Everybody Black deserves the promotion more than 
anybody. I want Everybody Black to find somebody special. 
Everybody Black is good peoples. Everybody Black been through 
some things. Everybody Black don’t get the credit they’re due. I met 
Everybody Black once and they were super chill and down-to-earth. 
I believe in Everybody Black. There’s something about Everybody Black.

        bieng tran is a unique kinde off organe / i am speeching

        materialie / i am speeching abot hereditie / a tran

        entres thru the hole / the hole glomes inn the linden / a

        tran entres eather lik a mothe / wile tran preceds esense

        / her forme is contingent on the feeld / the maner sits

        cis with inn a feeld / wee speeche inn 2 the eather / wile

        the mothe bloomes / the mothe bloomes inn the yuca

Light drifts across the ceiling
as if we are under water

—whoever would approach you
you changed the comer

You holding on to the front of my coat
with both hands, the last time I saw you

—I felt your death coming close
—the change in your red lips

You gave me your hand.
You pulled me out of the ground.

given his showing up to teach at the U 
disheveled, jittery cigarette and cigarette and probably 
the drink, losing the very way there 
over river, river of all song, all American story 
which starts way north of St. Paul quiet or undone 
wandering south, not 
enraged mostly, something stranger. 
That’s one epic shard of John Berryman anyway.

Notorious. And par for the course in a classroom
destined, struck-by-lightning 
in sacred retrospect, the kind those long-ago students 
now can’t believe themselves 
so accidentally chosen, grateful though one 
probably claimed the poet absolutely 
bonkers then, out of his tree toward the end, 
so went the parlance. Wasn’t he 
always late—Give them back, Weirdo!—with those
brilliant papers they eked out, small dim-lit 
hours when a big fat beer would’ve 
been nice. Really nice. 
Fuck him, I hear that kid most definitely 
blurting were he young right now 
though the others—  From the get-go their
startle and reverence. But not even that malcontent 
did the damning I can’t believe 
they gave him tenure. 

Here’s where I think something else, think
of course it’s the Dream Songs that rattled him until—
as grandparents used to say—he couldn’t 
see straight. Like Dickinson’s bits of shock and light 
did her in between naps and those letters to
some vague beloved unattainable. Or Plath, her 
meticulous crushing fog. Maybe closer to Milton working 
his blindness—literally blind rage, if you want 
to talk rage—into pages soaked through with triumphant 
failure and rhyme, always 
that high orchestration, that alpha/omega big voice thing.  
And Satan, after all, as wise guy
and looming because for chrissake, Jack, get an interesting 
character in there! Someone must have
lobbed that right. 

All along, Berryman: how those Dream Songs surely
loosened a bolt or a wheel in his orderly
scholar-head, must have come at him 
like Michael the Archangel, 77 days of winged flash 
searing him to genius, some kind of
whack-a-mole version. Maybe like Gabriel
cutting that starry celebrity deal 
for a most dubious conception in the desert, near a fig tree, 
no proper human mechanics required. At last 
Berryman’s rage wasn’t rage 
but sorrow turned back on itself. With teeth. 

Henry my hero of crankiness and feigned indifference,
unspeakable industry, exhaustion 
and grief, half funny-crazy, half who-knows-what-
that-line-means. A henry whole 
universe of Henry, of 
there ought to be a law against Henry—pause 
and pause—Mister Bones: there is.  
Will be! Was! Not to say poetry’s
worth it or the most healthy fascination for the sane.
I’m just, I mean—is this love?  

There’s break, as in lucky, as in 
shatter. There’s smitten and there’s smite.

          which do you love more
a feather or a rock

                                                     to be good is to be ‘natural’
                                                              I mean to appear

              you are not good
you are holding up though

                                                              you are holding up
                                                     you are getting a drink of water

                    you are eating
          you are concealing your identities

                                                     this is like a riotous wilderness
                                                              but more like a persistent dread

                              your ferocity, almost mycological

                                           mythological

                    I said mycological

                                                     oh god

	                    oh my god
                                         
                                                     your laughter has undertones
                                                                      of oak and berries
and martial law
            conceived, as it were, in a garden

You must not think that what I have 
accomplished through you

could have been accomplished by any other means.

Each of us is to himself
indelible. I had to become that which could not

be, by time, from human memory, erased.

I had to burn my hungry, unappeasable
furious spirit

so inconsolably into you

you would without cease
write to bring me rest.

Bring us rest. Guilt is fecund. I knew

nothing I made
myself had enough steel in it to survive.

I tried: I made beautiful
paintings, beautiful poems. Fluff. Garbage.

The inextricability of love and hate?

If I had merely made you
love me you could not have saved me.

I have waited all my life to find me find you
perched around my black neck in repose

songing of me in repose                   	    your black legs         	
songing of me in repose

your black legs a dangle around me      I have waited
to find you find your black toes  to find them

sundering at the base   your black toes your black toe-
nails hale and bright 	   your black feet a straddle around me

around my black waist a straddle I finding I
was born I was born who operated

in the white was born who was born
who operated in the white chapel

who found your black thighs in repose
songing to each other in repose
                                            	           across

my chest      	    an extended black for blocks
a neighborhood song in repose

your crotch an extended black
at my neck   	  your black groin a straddle

around me in repose 	   what life what
there it is there               I had been looked at

there o lord sucked His black
thorax which spanned as a fracture
                                            spanned as I

who grow up in you there as a fracture find
your black breast o lord quiescing

atop my head your other black
breast o lord hale and bright around me o lord

a pendulum o lord to my black ear
my black ear that finds you songing

of me in repose in your stature
toppling to one side of my one side

find your black shoulders a gaping
around me    	death your body armless

around me    	death none can
skirt it in your mother's way o lord

is finding black  fingers there your black
neck is finding          	  lord is rising past

the cumulus-line an extended black
o lord is an extended black o lord

is thinking of self and thinking of self is
finding you there so that when I entered I entered
                                            	           the pulpit I entered.

A rose by any other name   could be Miguel   or Tiffany   Could be
David or Vashti   Why not Aya   which means beautiful flower   but
also verse and miracle   and a bird   that flies away quickly   You see
where this is going   That is   you could look at a rose   and call it
You See Where This Is Going   or I Knew This Would Happen   or even
Why Wasn’t I Told   I'm told of a man   who does portraits for money
on the beach   He paints them with one arm   the other he left behind
in a war   and so he tucks a rose into his cuff   always yellow   and people
stare at it   pinned to his shoulder   while he works   Call the rose
Panos   because I think that's his name   or call it   A Chair By The Sea
Point from the window   to the garden   and say   Look   a bed
of Painter’s Hands   And this is a good place   to remember the rose
already has many names   because   language is old and can't agree
with itself   In Albania you say Trëndafil   In Somalia say Kacay
In American poetry   it's the flower you must never name   And now
you see where this is going   out the window   across water
to a rose shaped island   that can't exist but   you’re counting on
to be there   unmapped   unmentioned till now   The green place
you imagine hiding   when the world finds out   you're not
who you've said

On balconies, sunlight. On poplars, sunlight on our lips.
Today no one is shooting.
A girl cuts her hair with imaginary scissors—
the scissors in sunlight, her hair in sunlight.
Another girl steals a pair of shoes from a sleeping soldier, skewered with light.
As soldier wakes and looks at us looking at them
what do they see?
Tonight they shot fifty women at Lerna St.,
I sit down to write and tell you what I know:
a child learns the world by putting it in her mouth,
a girl becomes a woman and a woman, earth.
Body, they blame you for all things and they
seek in the body what does not live in the body.

The joke is orange. which has never been funny.

For awhile I didn’t sleep on my bright side.

Many airplanes make it through sky.

The joke is present. dented and devil.

For awhile, yellow spots on the wall.

Obama on water skis, the hair in his armpits, free.

I thought the CIA was operative.

Across the alley, a woman named Mildred.

Above the clouds in a plane, a waistline of sliced white.

I don’t sound like TED Talk, or smart prose on Facebook.

These clouds are not God.

I keep thinking about Coltrane; how little he talked.

This is so little; I give so little.

Sometimes when I say something to white people, they say “I’m sorry?”

During Vietnam, Bob Kaufman stopped talking.

The CIA was very good at killing Panthers.

Mildred in a housecoat, calling across the fence, over her yard.

If I were grading this, I’d be muttering curses.

The joke is a color. a color for prison.

Is it me, or is the sentence, as structure, arrogant?

All snow, in here, this writing, departure.

All miles are valuable. all extension. all stretch.

I savor the air with both fingers, and tongue.

Mildred asks about the beats coming from my car.

I forgot to bring the poem comparing you to a garden.

Someone tell me what to say to my senators.

No one smokes here; in the rain, I duck away and smell piss.

I thought the CIA was. the constitution.

I feel like he left us, for water skis, for kitesurfing.

The sun will not always be so gracious.

From the garden poem, one line stands out.

Frank Ocean’s “Nights” is a study in the monostich.

Pace is not breathing, on and off. off.

Mildred never heard of Jneiro Jarel.

I’m afraid one day I’ll find myself remembering this air.

The last time I saw my mother, she begged for fried chicken.

My father still sitting there upright, a little high. 

Melissa McCarthy could get it.

Sometimes, I forget how to touch.

In a parking garage, I wait for the toothache.

I watch what I say all the time now.

She said she loved my touch, she used the word love.

In 1984, I’d never been in the sky.

My mother walked a laundry cart a mile a day for groceries.

Betsy DeVos is confirmed. with a broken tie.

Mildred’s five goes way up, and my five reaches.

1. 	It bejins in Berlin
	
	A Historical Case
	Study 
	In Disappearance + Cultural Theft:
	Exhibit YZ:

	Brinj back to me Nefertiti 
      Her 
	Bust

Take her
From behind 
	the vitrine 
	
	For I know where to find her missinj eye
	
	Then put a woman in charje of all antiquities. 
	She-law: just because somethinj is beautiful 
	doesnt mean it was meant to be consumed; just because there are
 	tourists doesnt make it an attraction. 

2. 	everywhere anytxme atm her
	vxolatxon: guaranteed.  sxlence bought             or your settlement
 	money back. objectxfactxon xn the mxrror xs closer than xt appears.
	please mxnd the wage gap. cautxon: not chxld resxstant to open hold 	
	down 	and turn away squee geez use daxly, mornxng, and nxght
 	supported by an aroma of certified organxc heavens:

	for every gxrl who grows 
	xnto a woman
	who knows
	the best threat’s: 
	one she never 
	has to make
	
	she sublxmates your sublxmxnal
	even your affectxon has been xnfected


3. this poem cant go on without hex i mean 
	hex 
	heeee x
	hex
hex and hex
		hex 		hej heq hez hex

she was stolen bought sold lost put undex buxied alive at bixth she was dxagged in blue bxa duxing a xevolution with vixginity tests she waits then she doesnt she sh sh sh shh she left you she the best thing that happened to you then she lilililililiiii she intifada she moves with two kinds of gxace she ups the ante aging by candid defiant elegance she foxgets but nevex foxgives 

She-language complex 
she complex she so complex she complex got complex complex

4. she spends her time anxious because she knows she is better than 
you rang to say she died from being tired of your everything she knows she is fiyne; gorgeous but she hates it when she infuriates and when she jigs and is kind she minds her own business except when she is new and nervous though she is origin previous and impervious she wont stay quiet she is razor sharp and super tired she undarks, vets, wanes, and xeroxes; yaks and zzzzs the day she dreams 

5. Me tooa B  Me toob Me tooc R  Me tood Me tooe I  Me toof N  Me toog G  

Me tooh                 them 

Me tooi B  Me tooj A  Me took C Me tool K  Mem too Men too Me tooo 

Meep 

too                 Meq too 

Mer too Me too Me too Meu too Mev too Mew too Mex too Mey too Mez too 

            Me     ((too)) Me                               ((((((((((((too))))))))))))

I begin
to talk to violets.
Tears fall into my soup
and I drink them.
Sooner or later
everyone donates something.
I carry wood, stone, and
hay in my head.
The eyes of the violets
grow very wide.
At the end of the day
I reglue the broken foot
of the china shepherd
who has put up with me.
Next door, in the house
of the clock-repairer,
a hundred clocks tick
at once. He and his wife
go about their business
sleeping peacefully at night.

I do think of them
from time to time—
just now sucking the pulp

of a tangerine
the taste of which
is mostly texture,

in this spin-drunk season
that seems to forget
—us. —itself.

At the job I lost,
their husk carcasses
with the locust bean’s

cracked brown pods
rustled on the brick steps
leading into the white-walled

hours of computer screen;
their compressed toil
missing from the hives

they left agape in the backyard
of the next-door neighbor
who, recently divorced,

had brought us the jars
of honey I spooned into teas
I sipped in the break room

and watched at the window
as he continued to tend
the needle palm and hydrangea.

In the age of loss there is
the dream of loss
in which, of course, I

am alive at the center—
immobile but no one’s queen—
enveloped (beloved) in bees,

swathed in their wings’
wistful enterprise. They pry
the evolved thin eyelids

behind which I replay
the landscape as last I knew it
(crow feathers netting redder suns),

their empire’s droning edge
mindless in the spirals of
my obsolescing ears.

Beneath my feet
what kind of earth
I’m terrified to break

into sprint across to free
myself, to free them
from the myth they make

of me and then bury
below their dance
of manufactory;

what kind of future
they could die for if
punching into me their stings—

what future without risking
the same; and while, in either body
the buzzards of hunger conspire,

what kind of new
dread animal,
this shape we take?

There are poets with history and poets without history, Tsvetsaeva claimed living 
through the ruin of Russia.  
 
Karina says disavow every time I see her. We, the daughters between countries, 
wear our mean mothers like scarves around our necks.
 
Every visit, mine recounts all the wrongs done against her
 
ring sent for polishing returned with a lesser diamond, Years of never rest and,
she looks at me, of nothing to be proud of.
 
I am covered in welts and empty pockets so large sobs escape me in the backroom of 
my Landlord's fabric shop. He moves to wipe my tears
 
as if I’m his daughter 
or I’m no one’s daughter.
 
It’s true, I let him take my hand, I am a girl who needs something. I slow cook bone
grief, use a weak voice.
 
My mother calls me the girl with holes in her hands, every time I lose something.
 
All Russian daughters were snowflakes once, and in their hair a ribbon long
as their body knotted and knotted and knotted into a large translucent bow.
 
It happens, teachers said, that a child between countries will refuse to speak. 
A girl with a hole in her throat, every day I opened the translation book.
 
Silent, I took my shoes off when I came home, I 
put my house clothes on.
 
We had no songs, few rituals. On Yom Kippur, we lit a candle for the dead
and no one knew a prayer.
 
We kept the candle lit, that’s all.

The wave always returns, and always returns a different wave.
I was small. I built a self outside my self because a child needs shelter.
 
Not even you knew I was strange,
I ate the food my family ate, I answered to my name.

Do you remember our earnestness our sincerity
in first grade when we learned to sing America

The Beautiful along with the Star-Spangled Banner
and say the Pledge of Allegiance to America

We put our hands over our first grade hearts
we felt proud to be citizens of America

I said One Nation Invisible until corrected
maybe I was right about America

School days school days dear old Golden Rule Days
when we learned how to behave in America

What to wear, how to smoke, how to despise our parents
who didn’t understand us or America

Only later learning the Banner and the Beautiful
live on opposite sides of the street in America

Only later discovering the Nation is divisible
by money by power by color by gender by sex America

We comprehend it now this land is two lands
one triumphant bully one still hopeful America

Imagining amber waves of grain blowing in the wind
purple mountains and no homeless in America

Sometimes I still put my hand tenderly on my heart
somehow or other still carried away by America

There were always such beautiful shadows in your work,
Though many now dodge their taxes with your art. Rarely
As it seems, life involves death with every decision, which is
Why I miss the non-Euclidean idiom we used to argue over
Everything in the dictionary of what not to do. Somewhere
In a mix between Beaches and Häxan I have these weird
Memories of you sleeping when there’s no way I was there
To see you sleeping—a crystal ball above your bed lets
Tensors, in a tension of tenses, tongue-tie time and divine
Your urge to fearlessly abandon yourself to love as you
Understand love, where paradox gives way to paradox
And awareness is congratulated with awareness of how
This multiverse, in vast tribulation, ushers us on in unison
As one of many big bangs begins again to light the way.

"Save your hands,” my mother says,
seeing me untwist a jar's tight cap—

just the way she used to tell me
not to let boys fool around, or feel

my breasts: "keep them fresh
for marriage,” as if they were a pair

of actual fruit. I scoffed
to think they could bruise, scuff,

soften, rot, wither. I look down now
at my knuckly thumbs, my index finger

permanently askew in the same classic
crook as hers, called a swan's neck,

as if snapped, it's that pronounced.
Even as I type, wondering how long

I'll be able to—each joint in my left hand
needing to be hoisted, prodded, into place,

one knuckle like a clock's dial clicking
as it's turned to open, bend or unbend.

I balk at the idea that we can overuse
ourselves, must parcel out and pace

our energies so as not to run out of any
necessary component while still alive—

the definition of "necessary” necessarily
suffering change over time. 

The only certainty is uncertainty, I thought
I knew, so ignored whatever she said

about boys and sex: her version of
a story never mine. It made me laugh,

the way she made up traditions, that we
didn't kiss boys until a certain age, we

didn't fool around. What we? What part of me
was she? No part I could put my finger on.

How odd, then, one day, to find her
half-napping in her room, talking first

to herself and then to me, about a boy
she used to know, her friend's brother,

who she kissed, she said, just because 
he wanted her to. "Now why would I do that,”

she mused, distraught anew and freshly
stung by the self-betrayal. So much 

I still want to do with my hands—
type, play, cook, caress, swipe, re-trace.

More than the fuchsia funnels breaking out
of the crabapple tree, more than the neighbor’s
almost obscene display of cherry limbs shoving
their cotton candy-colored blossoms to the slate
sky of Spring rains, it’s the greening of the trees
that really gets to me. When all the shock of white
and taffy, the world’s baubles and trinkets, leave
the pavement strewn with the confetti of aftermath,
the leaves come. Patient, plodding, a green skin
growing over whatever winter did to us, a return
to the strange idea of continuous living despite
the mess of us, the hurt, the empty. Fine then,
I’ll take it, the tree seems to say, a new slick leaf
unfurling like a fist to an open palm, I’ll take it all.

The Blue Dress—died on August 6,
2015, along with the little blue flowers,
all silent. Once the petals looked up.
Now small pieces of dust. I wonder
whether they burned the dress or just
the body? I wonder who lifted her up
into the fire? I wonder if her hair
brushed his cheek before it grew into a
bonfire? I wonder what sound the body
made as it burned? They dyed her hair
for the funeral, too black. She looked
like a comic character. I waited for the
next comic panel, to see the speech
bubble and what she might say. But her
words never came and we were left
with the stillness of blown glass. The
irreversibility of rain. And millions of
little blue flowers. Imagination is having
to live in a dead person’s future. Grief is
wearing a dead person’s dress forever.

My mother is taking 
me to the store 
because it’s hot out and I’m sick and want a popsicle. All the other kids
are at school sitting 
in rows of small desks, looking 
out the window. 
She is wearing one of those pantsuits 

with shoulder pads 
and carrying a purse with a checkbook. We are holding hands, standing in 
front of the big automatic doors 
which silently swing open 
so we can 
walk in together, so we can 
step out of the heat and step 

into a world of fluorescent light and cool, cool air. 
Then, as if a part of the heat 
had suddenly broken off, 
had become its own power, a man 
places his arm around her 
shoulders but also around her neck 
and she lets go of my hand and pushes me 
away. Pushes me toward 

the safety of the checkout line. Then the man begins to yell. 
And then the man begins to cry. 
The pyramid 
of canned beans in front of me 
is so perfect 
I can’t imagine anyone needing beans 
bad enough 
to destroy it. The man is walking my mother 

down one aisle and then another aisle 
and then another 
like a father dragging
his daughter toward a wedding he cannot find. 
Everyone is 
standing so still. All you can hear
is my mom pleading
and the sound of the air conditioner like Shhhhhhhhhh.

he said describing the fantasy novel he was reading 
as they walked the drizzled streets she was listening 
& laughing & realized she’d been walking through one city 
or another next to this man for more than twenty years 
longer of course than their kids were old 
their smart alecky sons who hadn’t yet met the person 
with whom they might walk through rain discussing 
ridiculous books with great sincerity & pleasure             
Seriously he said I can’t stop reading it but when they went upstairs 
to the good bed in the good hotel he did stop reading 
& found a place where her shoulder met her neck 
& touched it until her mind finally went away for a while 
& they became bedraggled & he went out like a light 
but not even the good bed at the good hotel after good sex 
could put her to sleep not the meditation app or the long online essay 
about the White Supremacy of Conceptual Poetry 
she missed her dead mother & her middle-aged cousin 
who’d died the summer before she wondered if miles away 
her youngest was whimpering was her oldest awake texting 
was her middle son worrying she wanted the husband 
to tell her the plot again but didn’t want to wake him 
he lay over the covers on his back his breath audible & regular 
folded hands rising & falling peaceful & fearless as if she’d 
never once meant him harm as if she’d always loved 
this warm animal as if this were not the same summer she’d said 
If that’s really how you feel this isn’t going to last & he hadn’t said 
anything anger sadness doubt & disappointment was a wave 
that slapped them down & under so many people had died 
& life felt shorter than how long they’d been together they had 
through so many omissions & commissions hurt & been hurt 
it was that same summer but she was alive & awake he was 
asleep & alive they were weak but still there

The diagnosis was god, twice a day until the spirit
untangles itself. I took a trip into unscripted
days past, teenagers submit to the window an open
facing yawn. A walnut fell into the grave
of my loved one and stayed there beating patient
like a word. I was still unmoved by disbelief watching
my father mumble the pledge and hot white stars
he can’t remember. Nobody got hurt, some un-
fulfilled potential exits the room. Enter, knowledge.
Men came to dispel ambiguity and raced 
my intention to a hard boiling over. Each new decade
we stayed was a misinterpretation
of genre. We showed our teeth over the years to those
who would listen. In the face of the absent subject 
I felt my desire go flaccid. The leaves fell dutifully one
by one from their limbs. But I wrote to you against
all odds. Money. Paperwork. Love’s heavy
open door. Critique. Indignity. Vision and often
enough time.

Say your body’s
life-size trip clock
starts in schlep

on the down slope.
Then the long hand
slaloms you steep

as your face tocks
the take of nine-to-five.
It’s just your timing

and mindset that’s semi-
rattled, and everyone
comes to the skit a little

pusillanimous to begin.
What is a kind of
smudgy justice:

the ancestors’ DNA
in full wig effect,
frizzy edges crimped,

oblivious to wind.
Are you really inside
that mirror slice?

Pacing over past
junkets still, a hybrid
hallucination got

stock-carded into
a being strange to be,
like that griffen

who slips so casual
onto someone else’s
map of laughing tropic

locales. Friend, look hard.
Mix. Step out. The center
bit by bit gets beiged.

You are one hundred
percent half-and-half.
In the hemi is the how.

For Amy Lowell

We walked through garden closes
Languidly, with dragging Sunday feet,
And passed down a long pleached alley,
And could remember, as one remembers in a fairy tale,
Ladies in brocade, and lovers, and musk.
We surprised tall dahlias
That shrugged and turned scarlet faces to the breeze.

Further still we sauntered under old trees that bended with such a dignity
But hardly acknowledged our passing
Until at last—(and it was like a gift,
A treasure lifted from a dream of the past)
We came to a pond banded in lindens.

The bank curved under its crown of forget-me-nots;
They shone like blue jewels from the further shore.
And they were free! I could have had them all
To gather and to carry in my arms!
But I took only a few,
Seven blue gems,
To set in the gold of my memory. 

Silence isn’t stillness, agitation has me in its grip

remember reading       Greeks were like us

restless            underneath and again underneath

water wearing away               crevices          the itch

of canyons             skin I didn’t outgrow as

the doctor promised     burns hot and stinging

allergic to what I bring to it            allergic to

what I’m thinking     how much older 

the underpass is     filled to overflowing

blue-tented absence                corners with the leftover

plastic and cardboard     happens so fast        it isn’t

even my heart that’s              broken, 

time stealing               & leaking the blue cold

what it would have been to be        Greek

no cortisone     a body       historians

also thought women leaky        restless        for  what

out of one’s own        skin      a future they never

knew  who’d have thought        a daily  underpass 

so many leftovers     pizza  fries           near the  parking

what skin did we come wrapped in

                              I forgave myself for having had a youth.
					            —Thom Gunn

At the Fashion
Square mall,
back
of Waldenbooks,

I saw my younger self
haunting
the magazine rack.
Ripping out pages

of Blueboy,
tucking them 
in a Trapper
Keeper.

Turn back.
His eyes met mine,
animal
and brittle,

a form
of gratitude
that a man
kept his stare.

Any man.
I half-smiled
some admission,
and though

he couldn’t
see it coming,
I excused him
his acid jeans;

two Swatch
watches,
two guards.
He, I,

must have been
nineteen:
sex was “safer”
then—

scribbles
on the mall
men’s room stall;
malaise

of saxophone
and PSAs.
How
did I

even
learn how to live
in 1991?
Landlocked,

cock-blocked,
Spanish moss
festering.
I forgive him.

Your songs
        	are the impossible ruins
        	that keep the hours on turn.
        	Keep awe bare like
sound at night.
The candle burn. Ice
melts and wax. The dirt
on your mind. Engines roll
in clutter. Clank cool
and electrify the room.
We always
become mysterious—
birds at the end of each evening.
Whoever does the telling stops
time like a crescendo. We hit
blue notes so the edges
of your honey jars rattle laughter
against our teeth.
Rhythm breaks
like need or the knowledge
a mouth organ has
about breath and tone, blood
and gravity and balance—
all those sweet sounds
that can make even
windows shatter.

meaning that the moon will pass over the sun and blank it out.
in that moment the corona will appear to become brighter.
it “appears” because it does not actually become brighter; it “appears” to be so
in that moment grasses will whisper and the stars will turn red, blue, green
and maybe even speak—what will they say? SETI will pick up a message
from beyond newly discovered possibly planetary bodies.
there will be a low beeping and crunching sound that seems to emanate
from all over, but most likely from three blocks away where men are
directing a bulldozer to tear up the street and it sounds so omnipresent,
we were all talking about it this morning. it is small yet momentous,
how molecules jostle one another to carry the sound of their jostling
over often enormous distances.

                                                                    in that moment of eclipse
the phone rings, have you seen it, are you seeing it, I finally understand
what we’re doing, in this moment of glowing darkness I understand
what I put in the water I drink the water and if together
we are all getting hot we are making it hot and I must find
my way to the water from the bed through all the squares of darkness
and back again through treachery of light

QUANTUM STATE OF THE CONFLICT DIAMOND
           STILL THROWING FIRE FROM THE PAGES OF YOUR NOTEBOOKS ¹

At the harbor, in the smallest hour of this
(Death stuff for sure), this softly tendered now, the Youngest Day,
this silvery clarion blast:	   I have no distance.

Free flow if you can through your very own little
reckoning:  10 yrs. ago today, as of this attosecond:  this area is not me.  
For I am sick unto death of your single deranged sense,  

so much light leaking away @2  minutes_  to_  midnight,
that I feel outside my body just before the 	factory steam whistle 
has blasted all 3 of us away.  

                                                                     As of that blooming, 
2 minutes from here, 10 years away, you’re my only witness.
& I’m yours, seconds from this drowned quantum (I feel
fragmented) in which we’ve been entangled for years,

seconds, days ago, forever.  All I did 	was sink into my own brain
which sucks the orange pregnant moonlight out of our wept corners,	
body inanimate, damp, dead—

continue to bleed us into these saturated rooms.
For I feel foreclosed.  I feel you collapsed on the quiver, on the dive, on the sink.
I feel edited but I don’t have the access code.

For you tug at my trigger-finger just so.
                                                               For the second shift of bodies
has been long underway . . . 

¹ It’s Sunday night, Feb. 12, 1994             It’s been zero degrees all weekend. I’ve been having a lot of strange fantasies about buying a .38 special at a pawn shop. I’ll cut out the middle of some secret old book where it can be hidden.

       3. (Jeong Seon’s Album of Mount Geumgang)

Jeong Seon began his career
        in the low-ranking position
                of adjunct professor
                                            of administrative      iconography.
                              Breaking with convention,
        he diligently studied the birth of a brushstroke
                                                                                  by gazing at
               the surviving itinerary      of an unrealistic river, at the
     rippling rapport of vegetation and rain.
He preferred to observe and preserve
                   the essential concerns of a superfluous calligraphy
and thus did not succeed
in his civil exams.
                                     When he was thirty-six years old,
       at the
                   northern border of poetry and astronomy,
    Jeong Seon
              repeatedly painted         a series of eccentric circles
                        and so gained access
to the crystal bridge
                                between ink and atmosphere.
His artist name became
                   Magistrate of Waterfalls, and
Jeong was said to have annotated
                                the nine-bend stream of time.

Analysis of Jeong’s preeminent painting,
   The Four Horsemen at Big Dipper Pavilion
reveals
                wished for figures    in revolutionary mansions—
a remembrance external to its style.
       Particularly noteworthy
                              is a spiked      and turquoise perspective
                  and a diagonal
dismemberment of silk.
                The painting was able to route
Jeong’s identity around
              a dominant focal point,     along wavy and uncertain patterns,
                               and finally
              through environmental conditions of blue.
                                              One can grasp
his aesthetics of juxtaposition
                        as long as one is covered in mist, or enriched
by hemp-fiber clouds, but
      not lost
         horizontally       in the heart of the sea.

In Transmitting the Vertical Immensity of Coniferous Light, characteristic
       of his more mature style,
Jeong’s command of     a
                   rhythmically surging semicircle
evokes the overwhelming
                                    articulation of
          how a higher philosophical plane could be
so astounded    by the mundane.

            Here, the twelve thousand pillars of basalt
do not overwhelm the composition;
      rather, they commemorate
              that sunrise is a landscape’s subsidiary entryway    into the     
           verdant flow of the visible.

           A yangban painter once
    wrote:
               “According to where he sits, Jeong Seon
           resembles a rugged jar-shaped diamond,
an arrangement    of Mi dots,
                           or a panoramic dichotomy in detail.
        Now at age seventy-two he is
         much more than an amplification         of the massiveness   of soil.”

  
    One especially
beautiful example of Jeong’s expansive style
            is today known as
                   A Documentary Record of Aristocratic Time Travel,
which illustrates
                                        the reinterpreted bodies
of     a great-great-grandfather
                  and his great-great-grandchild
         listening to the collision        of dark energy.
Jeong’s strong lines here
           impart a wide-angle awe
       that connects the flow of        inner color
                    to outer air,    a sense that even hawks could survive
in our world
                         of dissimilar forms.
Literati writing under a predated    nom de plume
       compiled ninety-six poems about the painting
             and published them in the Album of
Liquid Astonishment.
                   By the time the colophon was    written,
the appended poems
          had been vicariously     exaggerating
      their own images
                                 —as if they were looking
             through the zoom lens of a camera
                                at a human eye.

Shiitake, velvet foot, hen of the woods, wood 
ear, cloud ear, slippery jack, brown wreaths

of Polish borowik dried and hanging 
in the stalls of a Krakow market—all these

were years away from the room where I lay 
once, studying the contours of your sex

as if it were some subterranean species 
I’d never encounter again. Because I hadn’t

yet tasted oyster—not even portobello— 
when I thought mushroom, I meant the common white

or button, the ones my mother bought for salads 
or served in butter beside my father’s steak.

First taste of love, or toxic look-alike, 
there was your stalk and cap, the earth and dark,

our hunger, wonder, and need. Even now, 
I can’t identify exactly what

we were, or why, some twenty years later,
learning you lay dying—were in fact

already dead, suspended by machines if not
 belief—I thought first of your living flesh,

the size and shape of you. My amanita 
phalloides, that room was to exist forever,

as a field guide or mossy path, even 
if as we foraged, we did not once look back.

The worst pain I’ve ever felt
was looking at you, reach for me
through a video screen and I couldn’t
touch you; right then, I knew
what it felt like to die, a living
death—

the gone did not go so that we’d endure
plucking grapes from the potato salad
we did not stretch Frankie Beverly’s voice
like a tent across this humble meadow
of amber folk sipping gold sun through skin
rejoicing over their continued breath
just for you to invite anyone in
able to pause the bloody legacy
and distract your eyes with a flimsy act
you break all the unwritten covenants
forged in the saved language of unmarked graves
those called to eat are those who starved with us
and not those whose mouths still water
when watching the grill’s flame lick Uncle’s arm

And on the first day
god made
something up.
Then everything came along:

seconds, sex and
beasts and breaths and rabies;
hunger, healing,
lust and lust’s rejections;
swarming things that swarm
inside the dirt;
girth and grind
and grit and shit and all shit’s functions;
rings inside the treetrunk
and branches broken by the snow;
pigs’ hearts and stars,
mystery, suspense and stingrays;
insects, blood
and interests and death;
eventually, us,
with all our viruses, laments and curiosities;
all our songs and made-up stories;
and our songs about the stories we’ve forgotten;
and all that we’ve forgotten we’ve forgotten;

and to hold it all together god made time
and those rhyming seasons
that display decay.

My brother, wanting to off himself,
Took rope into a summer park.
 
Rope, plus a knife
For cutting it: a serrated hawkbill,
 
Cushioned grip, with two-inch
Curved, ignoble blade
 
The manufacturers in their cruelty call
A lightweight
 
Meadowlark. Cruel because the meadowlark
Is calm. They’re calm
 
This morning. Sure, they shaggle the corn a bit,
But otherwise, when they’re done,
 
They perch on the fence in the golden sun,
Heads down as if they’re sleeping.

When did I know that I’d have to carry it around
in order to have it when I need it, say in a pocket,

the dark itself not dark enough but needing to be
added to, handful by handful if necessary, until

the way my mother would sit all night in a room
without the lights, smoking, until she disappeared?

Where would she go, because I would go there.
In the morning, nothing but a blanket and all her

absence and the feeling in the air of happiness.
And so much loneliness, a kind of purity of being

and emptiness, no one you are or could ever be,
my mother like another me in another life, gone

where I will go, night now likely dark enough
I can be alone as I’ve never been alone before.

And after the black boy is
strangled by police, after

the protests where the man,
his Rottweiler on an iron leash yells,

let's go mash up dis city;
and another crowd bulks,

the parents of the murdered
beg us not to become

the monsters some think
we already are—even when

the barista shakes her head
at the banners, says actually,

police be killing whites too.
Look how scary it is

to be here and know
if we die someone

will make a sound
like her before earth

is tipped over us.
Who hasn’t had enough?

Enough burning
bins, pushing

shopping trolleys
into static and sirens?

Who isn’t chanting
enough, enough,

enough, throwing spells,
the rebellious

holding what they can
in front of a supermarket

or police stations
or voting booths—I am

kind to the man
sitting next to me

in C.L.R James Library, even if
his breathing disturbs me.

Can we disagree graciously
I am tired of people

not knowing the volume
of their power. Who doesn’t

deserve
some silence at night?

Ojhas are [medicine men, “the ones next to God,” religious ministers or priests who deal with the daily struggles of the village people]; this dynamic allows the village ojha to control the circulation of rumors, and he is the village member who has the power to trap daayans (witches). In some trials, the ojha reads grains of rice, burn marks on branches, and disturbances in the sand around his residence, for signs of a daayan.

certain beliefs precede his name & yet
he goes by many : dewar, bhagat,

priest. passive ear, the kind

of listener you’d give
your own face.

+

first, the village must [agree
that spirits exist]—some benevolent,
some deserving of fear. everyone

wants their universe
to have reason. so it must be
a woman who stole your portion

of rice, woman who smeared
your doorstep’s rangoli, woman
who looked sideways at your child.

+

give him your gossip & the ojha conjures
herbs to [appease the evil] : her raving,
innocent mouth. & by that token
what is truth. the other rumors,

too, could corroborate—that bullets
pass through, his body barely
there but for the holy
in his hands.

+

he chants her name with fingers
pushed into his ears. just the sound
of her bangles
undoes : a single woman

on a plot of land, unbecoming.
he reads her guilt [in grains
of rice, in the light of a lamp,
using a cup which moves

and identifies]. makes a circle
around himself. white sand
between him &
the world. it’s the dead hour.

now, he shouts, arms covered
in ants, sing.

We pay to enter the dirty
pen. We buy small bags of feed
to feed the well-fed animals. We are
guests in their home, our feet
on their sawdust floor. We pretend
not to notice the stench. Theirs
is a predictable life. Better,
I guess, than the slaughter,
is the many-handed god. Me?
I’m going to leave here, eat
a body that was once untouched,
and fed, then gutted and delivered
to my table. Afterwards, I’ll wash
off what of this I can. If I dream
it will be of the smallest goat,
who despite her job, flinched
from most of the hands. Though
she let me touch her, she would not
eat from my palm. In my dream,
she’ll die of old age
and not boredom.

No matter the rush of undertow
everything else is still
here. I scrawl your name 
at the bottom of the river
I sing it and it sings me 
back. What I’d give for a name 
so keen     it whittles
the valleys of my neck. I’m forever drenched 
in this night, and you 
no longer exist. The river catches 
the sky’s black, ink 
meant to preserve a memory. I stay
because it’s easy. Here. I relive 
what you did to me, find myself again 
in the water—swollen and sullen 
as a bruise. I trace 
and retrace, graffiti 
every river’s bank, drown 
into ecstasy

instead of moving on with my life. 
I wear what you did to me 
like gills, a new way to breathe. 
I jump into the river
for days. I forget I have lungs at all.

i.           

I’ve pulled from my throat birdsong like tin-
sheeted lullaby [its vicious cold        its hoax of wings]
the rest of us forest folk       dark angels chafing rabbits-
foot for luck     thrum-necked     wear the face of
nothing       we’ve changed       the Zodiac & I
have refused a little planet little sum for struggle & sailed
ourselves summerlong & arbitrary as a moon grave
across a vastness        [we’ve left the child-
ren]      Named the place penni-
less motherhood      Named the place country
of mothers      Named the place anywhere but death by self-

ii.           

infliction is a god of many faces      many nothings     
I’m afraid I’ll never be whole     I’m afraid
the rope from the hardware store [screws for nails]
will teach itself to knot      I’ve looked up noose I’ve
learned to twine but these babies now
halfway pruned through the clean bathwater of childhood
I promised a god I would take to the ledge
& show the pinstripes the pinkening strobe-
lights maybe angels chiseled at creation
into the rock [around my neck] the rock in the river
I would never let them see        I would never let them

iii.

break & spend a whole life backing away from that slip—
Let us fly & believe [in the wreck] their perfect hope-
sealed bodies the only parachutes we need

my roommate one year in college
would say of my smallness 
that any man who found me attractive
had a trace of the pedophilic  


& i would shrink                    newly girled
twenty-one with my eyebrows
plucked to grownup arches             sprouting
back every three weeks  
in sharp little shoots             already men         
have tried to steal me


in their taxis   corral me into alleyways
of the new city            already
the demand  for my name              though
no one ever asks how old i am


though no one ever did      i feel creaking
& ancient in the repetition
of it all   i feel my girlhood gone for
generations    my entire
line of blood crowded with exhausted
women            their unlined faces 


frozen in time            with only a thickness
about the waist          a small shoot
of gray to belie the years


i make up names to hand
to strangers at parties  
i trim years from my age & share without
being asked    that i am
fifteen              seventeen      & no one blinks  
no one             stops wanting       


i am disappeared      like all the girls
before me    around me 
all the girls to come             


everyone thinks
i am a little girl & still
they hunt me               still they show their teeth        
i am so tired i am
one thousand  years old          one thousand
years older when touched

after a bottle of chianti
              Don’t mistake me, I’ve pondered this before.
              But tonight I’m serious.
              One bottle and the end is certain.
              Tomorrow: Lawyer. Boxes. Road map. More wine.

while walking the dog
              Paris won’t even notice.
              I’ll feed the pup, pack a quick bag,
              take out the trash, and slip away into the night.
              Home to Sparta. Or Santa Monica.
              An island off the southernmost tip of Peru.
              Disappear. Like fog from a mirror.

while paying the bills
              Guess I’ll have to give up that whole new career plan.
              Academic dreams. House-and-yard dreams.
              Stay on like this a few more years. Or forever.
              Face the bottomless nights in solitude.
              Wither. Drink. Write poems about dead ends.
              Drink more. Work. Pay rent.
              End.

when Paris comes home drunk
              Call Clytemnestra. Make a plan.
              Move a few things into Clym’s spare room,
              storage for the rest. Set up arbitration.
              File what needs to be filed.
              Head to Athens. Or back to Crown Heights.
              Maybe find a roommate in Fort Greene.
              All I know is out out out.
              Sure, I can blame the past or the scotch
              or my own smartmouth or my worst rage,
              but blame is a word. I need a weapon.

when Menelaus writes a letter
              As if.

from the ocean floor
              Bathtub. Ocean. Whichever. All this water.
              Yes, Paris pulled me from the ruby tub.
              Menelaus fed me to the river a year before that.
              Metaphorical, and not at all.
              O, a girl and her water. Such romance.
              Gaudy. And gauche.
              How do I leave what cared enough to keep me?
              What of those goddamn ships?
              That ridiculous horse? All those men?
              Now, wretched little me. All this dizzy sadness.
              How many kings to tame one woman? Silence her?
              How many to put her under?

     My neighbor to the left had a stroke a couple years ago. It didn’t look 
     like he was going to make it, and then he made it. I’m watching him 
     now from my window as he makes his slow way across his yard 
     with some tree branches that fell in last night’s storm. Three steps.  
     Wait. Three steps. It’s a hard slog. Watching, I want to pitch in.  
     And we do, at such times, wanting to help. But on the other hand, 
     it’s good to be as physical as possible in recovery. Maybe this is part 
     of his rehab. Maybe this is doctor’s orders: DO YARDWORK.  
     And here comes his wife across the yard anyway, to give a hand 
     with a large branch. She’s able to quickly overtake him, and she folds 
     into the process smoothly, no words between them that I can make out.  
     It’s another part of what makes us human, weighing the theory of mind, 
     watching each other struggle or perform, anticipating each other’s 
     thoughts, as the abject hovers uncannily in the background, threatening 
     to break through the fragile borders of the self. “What’s it like to be 
     a bat?” we ask. The bats don’t respond. How usually, our lives 
     unfold at the periphery of catastrophes happening to others. I’m 
     reading, while my neighbor struggles, that the squirrel population 
     in New England is in the midst of an unprecedented boom. A recent 
     abundance of acorns is the reason for this surge in squirrel populations, 
     most particularly in New Hampshire. They’re everywhere, being 
     squirrely, squirreling acorns away. We call it “Squirrelnado” because 
     it’s all around us, circling, and dangerous, and kind of funny. Language 
     springs from the land, and through our imagination we become 
     human. They’re back in the house now. We name the things we see, 
     or they name themselves into our experience, whichever, and then 
     we use those names for things we don’t understand, what we can’t 
     express. Wind becomes spirit becomes ghost. Mountain becomes 
     god. The land springs up before us. It shakes us and pushes us over.  

When, at the end, the children wanted
to add glitter to their valentines, I said no.

I said nope, no, no glitter, and then,
when they started to fuss, I found myself

saying something my brother’s football coach
used to bark from the sidelines when one

of his players showed signs of being
human: oh come on now, suck it up.

That’s what I said to my children.
Suck what up? my daughter asked,

and, because she is so young, I told her
I didn’t know and never mind, and she took

that for an answer. My children are so young
when I turn off the radio as the news turns

to counting the dead or naming the act,
they aren’t even suspicious. My children

are so young they cannot imagine a world
like the one they live in. Their God is still

a real God, a whole God, a God made wholly
of actions. And I think they think I work

for that God. And I know they will someday soon
see everything and they will know about

everything and they will no longer take
never mind for an answer. The valentines

would’ve been better with glitter, and my son
hurt himself on an envelope, and then, much

later, when we were eating dinner, my daughter
realized she’d forgotten one of the three

Henrys in her class. How can there be three Henrys
in one class? I said, and she said, Because there are.

And so, before bed we took everything out
again—paper and pens and stamps and scissors—

and she sat at the table with her freshly washed hair
parted smartly down the middle and wrote

WILL YOU BE MINE, HENRY T.? and she did it
so carefully, I could hardly stand to watch.

Things feel partial. My love for things is partial. Mikel on his last legs, covered
in KS lesions demanded that I see the beauty of a mass of chrysanthemums. Look,
he demanded. I lied that I could see the beauty there but all I saw was a smear
of yellow flowers. I wanted to leave that place. I wanted to leave him to die
without me. And soon that’s what I did. Even the molecule I allowed myself to feel
of our last goodbye made me scream. What would have happened if I’d opened
my heart all the way as I was told to do if I wanted Jesus to live inside one of its
dank chambers? Whitman told me to unscrew the locks from the doors and the doors
themselves from the jambs. Let love come streaming in like when the St. Joe flooded
Save-A-Lot and drove it out of business. The only store in town. Don’t put my ashes
in the river Mikel said. Put them in a tributary. I did. I put them in a tributary without
touching them. Now I want to chalk my fingerprints with them but it’s too late.
I want to hold them like he held me and touched my upper lip and called it cupid’s
cusp, a phrase that made me wince. I felt love all the way then, and never since.

Love makes you feel alive 
Johnny my animal you have no idea
How beautiful you are to me in the morning
When it is 5 a.m. and I am lonely
Everyone is dying around me
I eat spinach bread to keep my sanity, I am
Like Lisa in the mental unit with my father
I am Muriel who throws tables
I play blackjack with the clowns
Oh yes I do all that for a salad
Your black hair is better than a piece of fate
I find in the sky when I am looking
45,000 miles above the earth
For things that make it all worthwhile
I do this for you but you will never know
How dear you are to me
You chop leaves in your house in New York City
Dream of glamorous women and even too they are great
No one will ever love you like I do that is certain
Because I know the inside of your face
Is a solid block of coal and then it too 
Something that is warm like warm snow
I hold the insides of you in my palm
And they are warm snow, melting even
With the flurries glutted out of the morning
When I get on the plane the stewardess tells me to let loose 
My heart, the man next to me was the same man as last week
Whoever those postmodernists are that say
There is no universal have never spent any time with an animal
I have played tennis with so many animals
I can't count the times I have let them win
Their snouts that were wet with health
Dripping in the sun, then we went and took a swim
Just me and the otters, I held them so close
I felt the bump of ghosts as I held them.
There is no poem that will bring back the dead
There is no poem that I could ever say that will
Arise the dead in their slumber, their faces gone
There is no poem or song I could sing to you
That would make me seem more beautiful
If there were such songs I would sing them
O they would hear me singing from here until dawn

And then (at some point) as you step more vigilantly into the middle of your life, you begin to realize that they are all dead. Or more honestly (it takes even more years), you begin to realize that—perhaps—they are not all supposed to be dead. Or. You still remember. You can still feel yourself there. Standing. Knee-deep. In cement. A particular square on the sidewalk. There were dandelions. That odd, eternal sun. When a dear friend, your sister’s best-best friend—drives by—stops her car in the middle of the street. And then tells you. Screams out of her car window. And says it: your first beloved—that boy for whom you were slowly unfolding yourself from inside outward—that boy, whom you had yet to kiss, but would one day soon kiss certainly—that monumental boy, who smiled at you differently—that boy—had just been shot and killed. By strangers. Just for fun.

You are fourteen. And it is the beginning—it is the very first day—when the World confirms that new gleam of suspicion layered on the surface of the dark violet lake inside, that, Yes, slaughter is normal.

Slowly, over the years, you train yourself not to want this—you—a body in your bed with whom you can have a real conversation—a body with whom you can walk anywhere, talk anywhere, hear anywhere. At some point, you gave up expecting to be understood. English was too many red languages at once. And History was just a very small one—a ledger, and always in the black. You took out your sheerest sword. Your tongue: a sheath of arrows.

Perhaps, not by coincidence—once you began to trip around fifty’s maypole—you and your sister find together the courage to do the math: of all the boys whom you had known as children, at least eighty-percent were all either missing, in jail, or dead. Blood on the streets, bullets in the walls, the police always flying overhead. In your head. You thought it normal. When boys disappeared, were shot, killed, cuffed or thrown onto a black and white hood for simply walking down the sidewalk. Or asking merely: What have I done? Normal. As expected as the orange poppies, your quiet state flower, blossoming on the side of the streets year-round.

And then. Finally. You and I. Our bodies. Together. For a few hours: Time loves me. Every minute a gift so tender, each second announces itself. And then, just as quickly, equally: every second is stolen—erased—washed away—you. I understand, somehow, it will be another four years until I see you again. We walk through the night, arm and arm, across the wet sidewalk, and—besides my son—I am the happiest I have ever been with another person. But it is a silence. A happiness that rare. Unexpected. Quiet. And I wait. And wait. And no one shoots you afterward. Or. Maybe this night was God’s way of saying to me—finally: Yes, I do realize you exist. And this one night—just this one night—is all the complete happiness you can ever expect from Me.

Translated by Carolyn Forché

You who saw the vast oceans
and the peaks of the mountains,
who communed with all the sailors of the world
and you who saw Christ eat the bread of his last supper among the young
and the elders,
you who saw the executioner of Europe
with his ax soaked with blood,
You stepped on the scaffold
and the fields in which mothers cried to their dead children.

Tell me if it is still
possible to announce triumphant justice
and deliver the lessons of the new world.

I’m going to kiss your lips,
they are cold and taste like the word America.

When James Baldwin & Audre Lorde each lend
Stevie Wonder an eyeball, he immediately contends
With gravity, falling either to his knees or flat on
His luminous face. I’ve heard several versions
Of the story. In this one Audre Lorde dons
Immaculate French loafers, turtlenecked ballgown,
And afro halo. An eye-sized ruby glimmers on
A pinky ring that’s a hair too big for Jimmy Baldwin’s
Pinky. He’s blue with beauty. They’re accustomed
To being followed, but now, the eye-patch twins
Will be especially scary to white people. Looking upon
Them, Wonder’s head purples with plural visions
Of blackness, gavels, grapples, purrs, pens. Ten to one
Odds God also prefers to be referred to as They & Them.

apricots & brown teeth in browner mouths nashing dates & a clementine’s underflesh under yellow nail & dates like auntie heads & the first time someone dried mango there was god & grandma’s Sunday only song & how the plums are better as plums dammit & i was wrong & a June’s worth of moons & the kiss stain of the berries & lord the prunes & the miracle of other people’s lives & none of my business & our hands sticky and a good empty & please please pass the bowl around again & the question of dried or ripe & the sex of grapes & too many dates & us us us us us & varied are the feast but so same the sound of love gorged & the women in the Y hijab a lily in the water & all of us who come from people who signed with x’s & yesterday made delicacy in the wrinkle of the fruit & at the end of my name begins the lot of us

my father is tying concertina wire
around his garden which is
now all but ruined by
squirrels deer and worst
of all rabbits with cucumber
seeds stuck to their
tails     I am an apex predator my father is
an apex predator god makes
us in pairs      my mother searches the lawn
for four-leaf clovers pinning them
to a scrapbook pinning
moments to time she gives each clover
a name Buck Comes Onto Porch and
Hospital Note From Kaveh    while
she makes tea inside I search
the house for a lighter and can’t
even find matches       what I miss most
about winter is the brightness of
winter summer’s all foggy and
wet       my mother hovers in
the kitchen like a strange tune       she is out
of saffron and has no money
for more        she weeps over her
bleach-white rice until my
father comes in cracks an egg
over the plate bursts
the yolk says see says yellow       my mother
smiles so big and sad she wrinkles into
the future where my eyes
are yellow again maybe from the yolk
maybe something else       my fur is coming in
so thick my mother would squeal
with pride if she could see it     when she
was pregnant I kicked so hard so
often she could barely
sleep        staying up all
night she thought she must
be full of bunnies

Even this freckle testifies to the strength
of second thoughts. My family

is a poem, the clear expression of
mixed feelings, and your emergent

system at five years old fires
like the shoal of neon tetra kept

in the depths of a ten gallon
darkness. As for infinity, it’s there,

haggling with contradiction,
asking each question but one.

You will find for a while there
you held the exquisite to daylight

before setting it down on the baize,
conquering.

Sometimes it will feel like
the entire body consists of flames;

and sometimes concrete;
sometimes collapsing like a waterfall

or steady as a lake of evening lapping,
the midges clouding the surface.

Sometimes it will feel like air
just before the air itself

turns to snow. The solution is
a solution, by which I mean

lots of things dissolving to one.

so I count my hopes: the bumblebees
are making a comeback, one snug tight
in a purple flower I passed to get to you;

your favorite color is purple but Prince’s
was orange & we both find this hard to believe;
today the park is green, we take grass for granted

the leaves chuckle around us; behind
your head a butterfly rests on a tree; it’s been
there our whole conversation; by my old apartment

was a butterfly sanctuary where I would read
& two little girls would sit next to me; you caught
a butterfly once but didn’t know what to feed it

so you trapped it in a jar & gave it to a girl
you liked. I asked if it died. you say you like
to think it lived a long life. yes, it lived a long life.

is like a house
          with a brain inside. Another place
where eating
          and thinking
                     tango and spar—

At night
           you lean out, releasing
thought balloons.
           On the roof
                      someone stands ready

                      with a pin—

Write about walking into the building
as a new teacher. Write yourself hopeful.
Write a row of empty desks. Write the face
of a student you’ve almost forgotten;
he’s worn a Derek Jeter jersey all year.
Do not conjecture about the adults
he goes home to, or the place he calls home. 
Write about how he came to you for help
each October morning his sophomore year.
Write about teaching Othello to him;
write Wherein of antres vast and deserts idle, 
rough quarries, rocks and hills whose heads touch heaven. 
Write about reading his obituary
five years after he graduated. Write
a poem containing the words “common”
“core,” “differentiate,” and “overdose.”
Write the names of the ones you will never
forget: “Jenna,” “Tiberious,” “Heaven,”
“Megan,” “Tanya,” “Kingsley” “Ashley,” “David.”
Write Mari with “Nobody’s Baby” tattooed
in cursive on her neck, spitting sixteen bars
in the backrow, as little white Mike beatboxed
“Candy Shop” and the whole class exploded.
Write about Zuly and Nely, sisters
from Guatemala, upon whom a thousand
strange new English words rained down on like hail
each period, and who wrote the story
of their long journey on la bestia
through Mexico, for you, in handwriting
made heavy by the aquís and ayers
ached in their knuckles, hidden by their smiles.
Write an ode to loose-leaf. Write elegies
on the nub nose of a pink eraser.
Carve your devotion from a no. 2
pencil. Write the uncounted hours you spent
fretting about the ones who cursed you out
for keeping order, who slammed classroom doors,
who screamed “you are not my father,” whose pain
unraveled and broke you, whose pain you knew.
Write how all this added up to a life.  
 

The night sounds like a murder
of magpies and we’re replacing our cabinet knobs
because we can’t change the world, but we can
change our hardware. America breaks my heart
some days, and some days it breaks itself in two.
I watched a woman have a breakdown in the mall
today and when the security guard tried to help her
what I could see was all of us
peeking from her purse as she threw it
across the floor into Forever 21. And yes,
the walls felt like another way to hold us in
and when she finally stopped crying,
I heard her say to the fluorescent lighting, Some days
the sky is too bright. And like that we were her
flock in our black coats and white sweaters,
some of us reaching our wings to her
and some of us flying away.

And so I sat at a tall table
in an Ohio hotel,
eating delivery:
cheese bread

with garlic butter, only it was
not butter, but partially
hydrogenated soy
bean oil

and regular soybean oil and it
came in a little tub like
creamer that’s also not
dairy.

America in 2019
means a poem will have to
contain dairy that is,
in fact,

not dairy. On Instagram: a man
has bought a ten foot by four
foot photo of a bridge
he lives

beside, bridge he can see just outside
his window, window which serves
as a ten foot by four
foot frame.

My materialist mind, I can’t
shake it. Within a perfect
little tub of garlic
butter,

a relief of workers, of sickles,
fields of soy. We were tanners
pushed to the edge of the
city

once, by the stench, the bubble of vats
of flesh and loosening skin,
back when the city pulled,
leather

bucket by leather bucket, its own
water from wells. Then we worked
the cafeterias
at the

petroleum offices of the
British. Then, revolution—

Simple.

            for my grandfather

We don’t have heirlooms. Haven’t owned things long enough. We’re hoarding us
in our stories.                         Like October 26—the Oklahoma Quick
Stop gas at 90¢ and, in 158 more days,

Passion of the Christ in a wildlife
refuge with Rabbits foot and Black
Capped birds—when Edgar Whetstone shoots

himself. Like August 4, 1919. Like Ada Willis births
the boy conceived with Boy gone somewhere. Like her prayers and circa 10
years past and Mr. Charlie saying, Edgar reads (you call that 
       clean?)

but please, girl, coloreds don’t become
doctors. Like Edgar trashed his books.
Like served, discharged. Like funeral

director close to doctor as it got.                  Formaldehyde wrecked him
like Time to get up out the South Detroit inspect dynamics burn
a house down torch the county jail.             Like now, October. Like I found,

searching the internet, one shot
of the asylum’s blurry hall
empty but for an organ’s pipes.

I saw Edgar deluding hymns rousing the two of us in Rock
of Ages followed by Philippians 1:21—to die
is gain. No way to prove the claim, you die in dream, you die for 
       real.

Our family still hanged from trees.
Like if they ever fall, no one
will hear it someday for a while.

How-to
with a wolf head
in it: magic
 
says rub
tooth to your gum, sleep
with cheek
matted to your
 
sweat—first you
must kill it.
Post
 
a letter of carved
wood that sings
like howl.
 
What happens after
the cast—where
to dispose
of used up
 
fur coil
and red.
 
Kept saying
new when I had
 
looked for nothing.
There’s a whole
 
word for wind
in France,
northeast and dry;
 
I have not been
given one
to say how
 
canvas cuts
a tree’s bottom
and top
with grey poplars.
 
My stretch of cells
still repeating.
 
The nuns
made my body
a holy cathedral,
impenetrable—yet
 
a temple is a widest
entrance; place
of herded into.
 
Still have
a wolf and it’s still
breathing. From its mouth
crawls another.
 
Then from that,
it happens again; throat
combed by teeth.
 
It became
we and I was
 
a portrait
with many hearts in it.