Is that Eric Garner worked
for some time for the Parks and Rec.
Horticultural Department, which means,
perhaps, that with his very large hands,
perhaps, in all likelihood,
he put gently into the earth
some plants which, most likely,
some of them, in all likelihood,
continue to grow, continue
to do what such plants do, like house
and feed small and necessary creatures,
like being pleasant to touch and smell,
like converting sunlight
into food, like making it easier
for us to breathe.

Copyright © 2015 by Ross Gay. Reprinted from Split This Rock’s The Quarry: A Social Justice Poetry Database.

All poetry is about hope.

A scarecrow walks into a bar.

An abandoned space station falls to earth.

When probing the monster’s brain,

you’re probably probing your own.

A beautiful woman becomes a ghost.

I hope I never miscalculate the dosage

that led to the infarction

of my lab rabbit again.

All poetry is a form of hope.

Not certain, just actual

like love and other traffic circles.

I cried on that airplane too,

midwest patchwork below

like a board game on which

mighty forces kick apart the avatars.

I always wanted to be the racecar

but usually ended up a thumbtack.

When I was young, sitting in a tree

counted as preparation and later

maybe a little whoopie in the morgue.

So go ahead, thaw the alien, break

the pentagram but watch out for

the institutional hood ornaments.

It’s not a museum, it’s a hive.

The blood may be fake

but the bleeding’s not.

Copyright © 2019 by Dean Young. Originally published in Poem-a-Day on July 22, 2019, by the Academy of American Poets.

the poem begins not where the knife enters

but where the blade twists.

Some wounds cannot be hushed

no matter the way one writes of blood

& what reflection arrives in its pooling.

The poem begins with pain as a mirror

inside of which I adjust a tie the way my father taught me

before my first funeral & so the poem begins

with old grief again at my neck. On the radio,

a singer born in a place where children watch the sky

for bombs is trying to sell me on love

as something akin to war.

I have no lie to offer as treacherous as this one.

I was most like the bullet when I viewed the body as a door.

I’m past that now. No one will bury their kin

when desire becomes a fugitive

between us. There will be no folded flag

at the doorstep. A person only gets to be called a widow once,

and then they are simply lonely. The bluest period.

Gratitude, not for love itself, but for the way it can end

without a house on fire.

This is how I plan to leave next.

Unceremonious as birth in a country overrun

by the ungrateful living. The poem begins with a chain

of well-meaning liars walking one by one

off the earth’s edge. That’s who died

and made me king. Who died and made you.

Copyright © 2019 by Hanif Abdurraqib. From A Fortune For Your Disaster (Tin House Books, 2019). Used with permission of the author and Tin House Books. 

—The "Miranda Rights," established 1966

You have the right to remain
anything you can and will be.

An attorney you cannot afford
will be provided to you.

You have silent will.
You can be against law.
You cannot afford one.

You remain silent. Anything you say
will be provided to you.

The right can and will be
against you. The right provided you.

Have anything you say be
right. Anything you say can be right.

Say you have the right attorney.
The right remain silent.

Be held. Court the one. Be provided.
You cannot be you.

Copyright © 2012 by Charles Jensen. Used with permission of the author.

“What is poetry which does not save nations or people?”
            – Czesław Milosz

Ask the question.
Not once but forty-nine times.
And, perhaps at the fiftieth,
you will make an answer.
Or perhaps not. Then
ask it again. This time
till seventy times seven. Ask
as you open the door
of every book of poems that you enter.
Ask it of every poem,
regardless of how beautiful,
that whispers: “Lie with me.”
Do not spare your newborn.
If the first cry, first line
is not a wailing for an answer,
abandon it. As for the stillborn,
turn the next blank white sheet over,
shroud it. Ask the clamouring procession
of all the poems of the ages –
each measured, white-haired epic,
every flouncing free verse debutante –
to state their names, where they have come from
and what their business is with you.
You live in the caesura of our times,
the sound of nations, persons, breaking around you.
If poetry can only save itself,
then who will hear it after it has fled
from the nations and the people that it could not save
even a remnant of for a remembering?

From Fault Lines. Copyright © 2012 by Kendel Hippolyte. Used with the permission of Peepal Tree Press.