The Backyard Mermaid slumps across the birdbath, tired of fighting birds for seeds and lard. She hates those fluffed-up feathery fish imitations, but her hatred of the cat goes fathoms deeper. That beast is always twining about her tail, looking to take a little nip of what it considers a giant fish. Its breath smells of possible friends. She collects every baseball or tennis ball that flies into her domain to throw at the creature, but it advances undeterred, even purring. To add further insult to injury it has a proper name, Furball, stamped on a silver tag on its collar. She didn’t even know she had a name until one day she heard the human explaining to another one, “Oh that’s just the backyard mermaid.” Backyard Mermaid she murmured, as if in prayer. On days when there’s no sprinkler to comb through her curls, no rain pouring in glorious torrents from the gutters, no dew in the grass for her to nuzzle with her nose, not even a mud puddle in the kiddie pool, she wonders how much longer she can bear this life. The front yard thud of the newspaper every morning. Singing songs to the unresponsive push mower in the garage. Wriggling under fence after fence to reach the house four down which has an aquarium in the back window. She wants to get lost in that sad glowing square of blue. Don’t you?
Copyright © 2011 by Matthea Harvey. Poem and image used by permission of the author.
As I’m walking on West Cliff Drive, a man runs
toward me pushing one of those jogging strollers
with shock absorbers so the baby can keep sleeping,
which this baby is. I can just get a glimpse
of its almost translucent eyelids. The father is young,
a jungle of indigo and carnelian tattooed
from knuckle to jaw, leafy vines and blossoms,
saints and symbols. Thick wooden plugs pierce
his lobes and his sunglasses testify
to the radiance haloed around him. I’m so jealous.
As I often am. It’s a kind of obsession.
I want him to have been my child’s father.
I want to have married a man who wanted
to be in a body, who wanted to live in it so much
that he marked it up like a book, underlining,
highlighting, writing in the margins, I was here.
Not like my dead ex-husband, who was always
fighting against the flesh, who sat for hours
on his zafu chanting om and then went out
and broke his hand punching the car.
I imagine when this galloping man gets home
he’s going to want to have sex with his wife,
who slept in late, and then he’ll eat
barbecued ribs and let the baby teethe on a bone
while he drinks a cold dark beer. I can’t stop
wishing my daughter had had a father like that.
I can’t stop wishing I’d had that life. Oh, I know
it’s a miracle to have a life. Any life at all.
It took eight years for my parents to conceive me.
First there was the war and then just waiting.
And my mother’s bones so narrow, she had to be slit
and I airlifted. That anyone is born,
each precarious success from sperm and egg
to zygote, embryo, infant, is a wonder.
And here I am, alive.
Almost seventy years and nothing has killed me.
Not the car I totalled running a stop sign
or the spirochete that screwed into my blood.
Not the tree that fell in the forest exactly
where I was standing—my best friend shoving me
backward so I fell on my ass as it crashed.
I’m alive.
And I gave birth to a child.
So she didn’t get a father who’d sling her
onto his shoulder. And so much else she didn’t get.
I’ve cried most of my life over that.
And now there’s everything that we can’t talk about.
We love—but cannot take
too much of each other.
Yet she is the one who, when I asked her to kill me
if I no longer had my mind—
we were on our way into Ross,
shopping for dresses. That’s something
she likes and they all look adorable on her—
she’s the only one
who didn’t hesitate or refuse
or waver or flinch.
As we strode across the parking lot
she said, O.K., but when’s the cutoff?
That’s what I need to know.
Originally published in The New Yorker. Copyright © 2017 by Ellen Bass. Used with the permission of the poet.
It’s neither red
nor sweet.
It doesn’t melt
or turn over,
break or harden,
so it can’t feel
pain,
yearning,
regret.
It doesn’t have
a tip to spin on,
it isn’t even
shapely—
just a thick clutch
of muscle,
lopsided,
mute. Still,
I feel it inside
its cage sounding
a dull tattoo:
I want, I want—
but I can’t open it:
there’s no key.
I can’t wear it
on my sleeve,
or tell you from
the bottom of it
how I feel. Here,
it’s all yours, now—
but you’ll have
to take me,
too.
Copyright © 2017 Rita Dove. Used with permission of the author.
O my luve's like a red, red rose,
That's newly sprung in June;
O my luve's like the melodie
That's sweetly played in tune.
As fair art thou, my bonnie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a' the seas gang dry.
Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun:
O I will love thee still, my dear,
While the sands o' life shall run.
And fare thee weel, my only luve,
And fare thee weel awhile!
And I will come again, my luve,
Though it were ten thousand mile.
New Delhi, 1965
I took the train from Patiala, left the girls with Ayah, and lied, I'm with Faye and Daisy. Had to say what he'd approve of. Go then, Kiran said, crushing large rupees in my hand. Have I been here a week? I've slept so long I can't remember who was with me last night in bed, that figure leaning against the door? Did he leave me this gold bangle? I can feel its heft around my wrist, knobs and crests, a design from the high Mogul period of Aurangazeb. I have come to Delhi to remember our ancient past—so little, a bangle, what else? When it slid over my hand, I opened myself like a book and you hear its private pulsing. In the quiet he said, Put your hand here to save your place. I put my hand there, and he pressed it. He sat with me a minute, and he went away, left something to hinge me in the wind of myself, to calm my legs. Empire is large land and I can't touch it. A smile is a root my mother said don't bother. I am small. I married a dark talent from a small world. Until he asked me to drop my shawl and slid his finger on my shoulder, let me taste our leisure. I read him. I peeled back lies. I had harped on grandeur, but the Taj Mahal and Rome are a fantasy. What's left is my darkness. He spoke to me of skin and I touched it. Until he asked me to drop my shawl and slid his finger on my shoulder, let me taste our leisure. It required my defiance of the small world. He asked would you, and I said I would. I read him. I drank up my history and peeled back the glossy lies. I had harped on former grandeur, but the Taj Mahal and Rome are a fantasy. What's left is my darkness. He spoke to me simply of skin and I touched it. For so many years I kept my mantra: they are great and I am small. I've slept. I've tasted my own milk. I'll raise my girls, then I'll be back to taste the morning.
This poem first appeared in Callaloo, Fall 1999. © 1999 by Reetika Vazirani. All rights reserved. Used with permission.
If ever two were one, then surely we.
If ever man were loved by wife, then thee;
If ever wife was happy in a man,
Compare with me ye women if you can.
I prize thy love more than whole mines of gold,
Or all the riches that the East doth hold.
My love is such that rivers cannot quench,
Nor ought but love from thee give recompense.
Thy love is such I can no way repay;
The heavens reward thee manifold, I pray.
Then while we live, in love let’s so persever,
That when we live no more we may live ever.
This poem is in the public domain.
They’re both convinced
that a sudden passion joined them.
Such certainty is beautiful,
but uncertainty is more beautiful still.
Since they’d never met before, they’re sure
that there’d been nothing between them.
But what’s the word from the streets, staircases, hallways—
perhaps they’ve passed by each other a million times?
I want to ask them
if they don’t remember—
a moment face to face
in some revolving door?
perhaps a “sorry” muttered in a crowd?
a curt “wrong number” caught in the receiver?—
but I know the answer.
No, they don’t remember.
They’d be amazed to hear
that Chance has been toying with them
now for years.
Not quite ready yet
to become their Destiny,
it pushed them close, drove them apart,
it barred their path,
stifling a laugh,
and then leaped aside.
There were signs and signals,
even if they couldn’t read them yet.
Perhaps three years ago
or just last Tuesday
a certain leaf fluttered
from one shoulder to another?
Something was dropped and then picked up.
Who knows, maybe the ball that vanished
into childhood’s thicket?
There were doorknobs and doorbells
where one touch had covered another
beforehand.
Suitcases checked and standing side by side.
One night, perhaps, the same dream,
grown hazy by morning.
Every beginning
is only a sequel, after all,
and the book of events
is always open halfway through.
"Love at First Sight" from MAP: Collected and Last Poems by Wislawa Szymborska, translated from Polish by Clare Cavanagh and Stanislaw Baranczak. Copyright © 2015 by The Wislawa Szymborska Foundation. English copyright © 2015 by Houghton Mifflin Harcourt Publishing Company. Used by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.
I had the passion
but not the stamina
nor the discipline,
no one knew how
to discipline me so
they just let me be,
Let me play along,
let me think I was
somebody, I could
be somebody, even
without the no-how.
Never cared one bit
when my bow didn’t
match the rest of the
orchestra, I could get
their notes right but
always a little beyond,
sawing my bow across
the strings, cuttin it up
even if I wasn’t valuable
even if I lacked respect
for rules of European
thought and composure.
A crescendo of trying
to be somebody,
a decrescendo of trying
to belong, I played along
o yes, I play along.
Copyright © 2020 by Nikki Wallschlaeger. Originally published in Poem-a-Day on January 28, 2020, by the Academy of American Poets.
translated from the Spanish by Yvette Siegert
Summer, I am leaving. And how they pain me,
These meek hands of your afternoons.
You arrive devout; you arrive old; and now
You will find my soul with no one in it.
Oh, summer. You pass through my balconies
With your great rosary of amethyst and gold
Like a tragic bishop who travels far
To find and bless the broken
Rings of two dead lovers.
Summer, I am leaving. And there in September,
You will find a rose I’ve left especially in your care,
For you to tend to with holy water
On all the days of sin and tombs.
If, from all the sobbing, the mausoleum
Should spread its marble wings in the light of faith,
Lift up your voice and pray to God
The light stays dead forever.
Everything is late already.
You will find my soul with no one in it.
There now, summer, no more sobbing. The rose in
That furrow will die but bloom and bloom again.
Verano
Verano, ya me voy. Y me dan pena
las manitas sumisas de tus tardes.
Llegas devotamente; llegas viejo;
y ya no encontrarás en mi alma a nadie.
Verano! y pasarás por mis balcones
con gran rosario de amatistas y oros,
como un obispo triste que llegara
de lejos a buscar y bendecir
los rotos aros de unos muertos novios.
Verano, ya me voy. Allá, en setiembre
tengo una rosa que te encargo mucho;
la regarás de agua bendita todos
los días de pecado y de sepulcro.
Si a fuerza de llorar el mausoleo,
con luz de fe su mármol aletea,
levanta en alto tu responso, y pide
a Dios que siga para siempre muerta.
Todo ha de ser ya tarde;
y tú no encontrarás en mi alma a nadie.
Ya no llores, Verano! En aquel surco
muere una rosa que renace mucho. . .
From Los heraldos negros (Editorial Losada, S. A., 1918) by César Vallejo. Translated from the Spanish by Yvette Siegert. This poem is in the public domain.
In life there is no pleasure
To love and youth unknown,
For love is life’s one treasure,
And love and life are one.
In youth there is one sorrow
To love and life well known,
For beauty fades to-morrow
When youth from love has flown.
But love is like the shower
That waters gardens dry,
And brings to earth a flower
That blooms, but cannot die.
From Manila: A Collection of Verse (Imp. Paredes, Inc., 1926) by Luis Dato. This poem is in the public domain.