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.