All frantic and drunk with new warmth, the bees
buzz and blur the holly bush.
Come see.
Don’t be afraid. Or do, but
everything worth admiring can sting or somber.
Fix your gaze upward and
give bats their due,
holy with quickness and echolocation:
in summer’s bleakest hum, the air
judders and mosquitoes blink out,
knifed into small quick mouths. Yes,
lurking in some unlucky bloodstreams
might be rabies or histoplasmosis, but almost
no one dies and you
owe the bats for your backyard serenity.
Praise the cassowary, its ultraviolet head, its
quills and purposeful claws. Only one
recorded human death, and if a boy
swung at you, wouldn’t you rage back? Or P.
terribilis, golden dart frog maligned by Latin,
underlauded and unsung, enough poison to
vex two elephants into death but ardent
with eggs and froglets, their protection a neon
xyston. And of course,
yes, humans. Remarkable how our
zeal for safety manifests: poison, rifle, vanishment.

Copyright © 2020 by Catherine Pierce. From Danger Days (Saturnalia, 2020). Used with the permission of the poet.

As a child I wanted as many letters
in my bloodstream as the planet Mercury
would allow and so traveled the city
on buses late afternoons and read all the billboards
high above the streets and byways,
on sides of factories and churches and never
heard the sermons of the displaced
or blustery talk of founding fathers, and saddened
when a route snaked through long tunnels,
and then eased when reemerged
out of the murder of light.

I could feel my veins thicken like the winnings
of a Powerball, and the mystery of women
lounging around a gray-bearded man in a silk
smoking jacket drinking a tumbler of cognac
was like the easeful glide of a narcotic dream.
My mouth puckered whenever lemon-colored
arches appeared five stories above the city
like golden gates to an unforeseen heaven.

As a rule, I never glanced at other commuters
or curators in loosened ties and tuxedos
who clutched brown-papered bottles
and nodded to a stillness as though murdered in a film.
Instead, I glimpsed myself looking out a window,
awed by Cartier timepieces and luxury cars
that asked was I hungry for speed
or ordered me to let my body drive.

I ate advertisements like sea waves eating a coastline,
and though my sense of self was as bruised as a moldy peach,
I learned to infrared my longings from the inside
and to tally my suspicions from a distance, and now,
when I read a newspaper, I flutter like a sparrow
at a birdfeeder, and when language spills out
of my skull like a massive cruise ship docked
and towering over a line of ramshackle huts
on an island whose blessed poor gaze up
as though a locker of dollars fell at their feet,
my brain closes and my veins burst
as if pollinating the white face of the moon.

Copyright © 2022 by Major Jackson. Originally published in Poem-a-Day on July 7, 2022, by the Academy of American Poets.

 

a short life such as this is fre

quented by bugs and leaves

this is a

a sweet little life

one on the wrong side

of the tracks from strife

where wildlife is

fixed

where the wild life

is a fix

of a strange light

bright but gray like today’s

bright but gray like Today is

how’s it fair

how’s it fair

weather only

holds me together

I don’t know these streets

I don’t know these streets

I always see this park

I always see this park

I don’t know this part

of me

is there love

a love

that is

unhuman

that’s what we’ll have some of

 

From Homes by Moheb Soliman. Copyright © 2021 by Moheb Soliman. Reprinted with the permission of Coffee House Press.