The world is a beautiful place
to be born into
if you don’t mind happiness
not always being
so very much fun
if you don’t mind a touch of hell
now and then
just when everything is fine
because even in heaven
they don’t sing
all the time
The world is a beautiful place
to be born into
if you don’t mind some people dying
all the time
or maybe only starving
some of the time
which isn’t half so bad
if it isn’t you
Oh the world is a beautiful place
to be born into
if you don’t much mind
a few dead minds
in the higher places
or a bomb or two
now and then
in your upturned faces
or such other improprieties
as our Name Brand society
is prey to
with its men of distinction
and its men of extinction
and its priests
and other patrolmen
and its various segregations
and congressional investigations
and other constipations
that our fool flesh
is heir to
Yes the world is the best place of all
for a lot of such things as
making the fun scene
and making the love scene
and making the sad scene
and singing low songs of having
inspirations
and walking around
looking at everything
and smelling flowers
and goosing statues
and even thinking
and kissing people and
making babies and wearing pants
and waving hats and
dancing
and going swimming in rivers
on picnics
in the middle of the summer
and just generally
‘living it up’
Yes
but then right in the middle of it
comes the smiling
mortician
From A Coney Island of the Mind, copyright © 1955 by Lawrence Ferlinghetti. Reprinted by permission of New Directions Publishing Corp.
Work out. Ten laps.
Chin ups. Look good.
Steam room. Dress warm.
Call home. Fresh air.
Eat right. Rest well.
Sweetheart. Safe sex.
Sore throat. Long flu.
Hard nodes. Beware.
Test blood. Count cells.
Reds thin. Whites low.
Dress warm. Eat well.
Short breath. Fatigue.
Night sweats. Dry cough.
Loose stools. Weight loss.
Get mad. Fight back.
Call home. Rest well.
Don’t cry. Take charge.
No sex. Eat right.
Call home. Talk slow.
Chin up. No air.
Arms wide. Nodes hard.
Cough dry. Hold on.
Mouth wide. Drink this.
Breathe in. Breathe out.
No air. Breathe in.
Breathe in. No air.
Black out. White rooms.
Head hot. Feet cold.
No work. Eat right.
CAT scan. Chin up.
Breathe in. Breathe out.
No air. No air.
Thin blood. Sore lungs.
Mouth dry. Mind gone.
Six months? Three weeks?
Can’t eat. No air.
Today? Tonight?
It waits. For me.
Sweet heart. Don’t stop.
Breathe in. Breathe out.
"Heartbeats" from Love's Instruments (Tia Chucha Press, 1995). Copyright © 1995 by Melvin Dixon. Used with the permission of the Estate of Melvin Dixon.
On Sunday I wrote the obituary. I paused
before accepting the job, which my brother
gave me because I’m a poet. But it turned out
to be the right thing to do: incident, incident,
life. Windfall, child, marriage. Or none of those.
Instead of focusing on the ghost
in the room, I arranged the data of existence
but left off the intimacies: the figs
and ease, reversals, bothers. Which is to say,
a certainty without the lightning
behavior, his fat thumbs, a nice roundness
to his bald head. How much we would miss.
I couldn’t put in reasons or arguments, so I put in
more periods. I slid sentences around
until his life flowed. Decisive, incredibly sound.
I put in what others remembered: dates,
degrees, versions of what you tell people
at parties. I built him a legend:
column-length, tight. Sort of true.
From Is Is Enough (Texas Review Press, 2026) by Lauren Camp. Used with the permission of The Permissions Company, LLC on behalf of Texas Review Press.
I wear my grandmother’s teeth on my wrist. She mostly
used her teeth for smiling. Hi gang! Big and open, her whole
arm scribing overhead in joy as we approached. Seems
almost caricature, but it was real. She was real. I miss her. I don’t
know how she stayed, after all her losses, so cheerful, alone.
Decades alone, widowed young, alone by choice
in her bed. The teeth I wear are not from her mouth, but
from a jaw older maybe even than humans: walrus, fossilized,
bought before I was born that time she and her husband
flew a small plane they could borrow cheap, thanks to
his job at Boeing—details, details, the small gold chain
that double-checks the bracelet’s clasp, how much security
the details give us—to Alaska. My goodness, the romance,
the time, their lucky, white, poor and upwardly mobile, just-
post-depression, educated selves. Those teeth of hers
I wear are not recently of ocean or ice, and absolutely not
of this new ocean, this new thin ice, but dug from earth
and browned by earth, the rest of their original life gone. The
nerves and blood, the soft gums, the sensitive, broad
mystacial pad and its seeking whiskers. My grandmother
wasn’t like a fossil, which is what some people get called
when they get old. In the care home where she lived
for a few years or months (time blurs), they said her smile hid
her decline. I think again about the pass politeness, rote
manners, can give—their grace or shroud. Inside my mouth,
all my teeth sit still in their sockets, minus little bits which, in some
cases, are filled with expensive compounds my grandmother’s
daughter could afford and which I did not tend or value
enough when their care became mine. I know how loose
teeth can be when a life hasn’t held them or when life’s flush
fades, when the flesh sags off. I’ve found so many seal jaws,
dolphin jaws, porpoise jaws on the beach, in dunes, and,
whether I pocket anything or not, I always wiggle them
in their ragged sockets, count the cusps, touch each point, which
tells me not what they said but who, as a species, they were.
Are. Hi, gang! So sweet, so eager to see even our shitty, selfish
teenage selves. Inside my mouth, there’s a whole lot
of impolite, but I know how to close my lips around it.
The teeth on my wrist from my grandmother might
be fragile. I don’t know and can’t unless I try to break
them. She was such a joyous force. She was such a joyous
force. It makes me afraid to pull the bracelet over the knob
of my wrist, to stretch the old elastic, because I have lost
so much joy already, which is entirely my fault. She seemed,
to me, to always be vibrant with care. The teeth are loose
on my wrist. Once, someone put her finger on the small
spur no one notices below the last knuckle of my hand and
that is why I bought a different bracelet that touches me
where she touched me, with the same, delicate precision.
I hardly ever wear the other bracelet, the teeth, which
are really little squares, like lozenges to ease a throat, and
haven’t I been sore-voiced? Hey, gang! Her arms waving
like she was guiding a plane to the gate. The way
she would love whoever saw her. Really. Whoever.
Copyright © 2026 by Elizabeth Bradfield. Originally published in Poem-a-Day on January 20, 2026, by the Academy of American Poets.
Like the dog who forgot
where he buried his bone
the old farmer forgot
where he buried the dog.
Excerpted from Dog Show by Billy Collins. Copyright © 2025 by Billy Collins. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Niece,
I remember when they cut your mother
and pulled your sister out, then you,
and how you cried and cried.
You never wanted to be here.
Right from the start.
I open Mama’s old prayer book
but the words billow like rain.
I wish you had loved
one thing enough to make you
want to stay; the orange sunsets,
your drooling dog, the fig tree
in the backyard, your twin sister’s mole,
Cheerios in cold milk.
Washing your body now,
twenty-four years of bones and flesh
laid out tall and stiff on this hard table,
is the cruelest task.
I stand here full of heartbeat.
Touching you is like dipping hands in a cold sea.
I soak a porous sponge in water scented
with rose, brush it against your neck,
along your arms, those long, thin legs.
There is a tampon still inside, the string
hanging out like the detonator of a bomb.
Darkness bends over itself to devour
what it will not hold—
the boy you loved watched you cry,
take a handful of pills,
and said nothing.
Copyright © 2022 Sholeh Wolpé. From Abacus of Loss: A Memoir in Verse (University of Arkansas Press, 2022). Used with the permission of The Permissions Company, LLC on behalf of University of Arkansas Press.
It is that my hands
are also my father’s hands,
and where the lines meet on the palm
both of us have met
and sat, each with his own silence
not speaking.
It is not that we are fighting
It is the shape of love we have come to.
He keeping to his script of being dead
and I, doing the pose of the living in retaliation.
It is the shape of love we have come to.
On my way to the train this morning,
I cut through a small field of elms
and birches and thought I saw from afar
a white cluster, a crown of egrets
that had landed on the ground.
But really it was a cemetery.
It was as though the gravestones were holding hands.
It was the kind of thing that would have made him laugh:
gravestones holding hands.
I say this to him as
he sits beside me
And yes, he laughs.
He reaches out his hands toward me.
I pretend to not see the hands
I keep to the pose of the living.
Poems excerpted from Death Does Not End at the Sea by Gbenga Adesina by permission of the University of Nebraska Press. Copyright © 2025 by the Board of Regents of the University of Nebraska.