Some one else
Some where else
That place is here,
In my home,
We are here.
I am brown,
Like cookies Feather tells me, and I like to think it’s perfectly
cooked Pueblo cookies.
My kids are something else,
9 different shades of brown,
My grandkids are something else,
4 brown eyes, 2 blue eyes,
Definitely something else, as I watch them be rowdy, be loving,
be here in this world.
We are here
On this earth
In this time and place
In our homes,
On our lands,
In the cities,
With our families, laughing loudly, cooking together, protecting
We are something else
With our songs
We pray with corn meal,
Burn some sage, make sure to acknowledge the four directions,
as the sun comes up.
We are the something else,
Who were here,
To greet Christopher Columbus
We were born from
Crawled out of the center,
Of our mother’s womb, we are important, we are strong.
We are something else,
We are Pueblo people, Plains people, Forest People, Desert
people, Nomadic people, Cliff dwellers, Ocean fishers, Lake and
river fishers, hunters, medicine collectors, horse riders, artists,
speakers, lawyers, doctors, teachers, we are human beings.
We are something else,
We are Native People,
Indigenous to this land.
We are a proud,
Copyright © 2020 by Rainy Dawn Ortiz. Originally published with the Shelter in Poems initiative on poets.org.
The periodic pleasure
of small happenings
is upon us—
behind the stalls
at the farmer’s market
snow glinting in heaps,
a cardinal its chest
puffed out, bloodshod
above the piles of awnings,
you picking up a sweet potato
turning to me ‘This too?’—
query of tenderness
under the blown red wing.
Remember the brazen world?
Let’s find a room
with a window onto elms
strung with sunlight,
a cafe with polished cups,
darling coffee they call it,
may our bed be stoked
with fresh cut rosemary
and glinting thyme,
all herbs in due season
tucked under wild sheets:
fit for the conjugation of joy.
Copyright © 2015 by Meena Alexander. Originally published in Poem-a-Day on September 15, 2015, by the Academy of American Poets.
won’t you celebrate with me
what i have shaped into
a kind of life? i had no model.
born in babylon
both nonwhite and woman
what did i see to be except myself?
i made it up
here on this bridge between
starshine and clay,
my one hand holding tight
my other hand; come celebrate
with me that everyday
something has tried to kill me
and has failed.
Lucille Clifton, “won’t you celebrate with me” from Collected Poems of Lucille Clifton. Copyright © 1991 by Lucille Clifton. Reprinted with the permission of The Permissions Company, Inc., on behalf of BOA Editions, Ltd., boaeditions.org.
these are my people & I find
them on the street & shadow
through any wild all wild
my people my people
a dance of strangers in my blood
the old woman’s sari dissolving to wind
bindi a new moon on her forehead
I claim her my kin & sew
the star of her to my breast
the toddler dangling from stroller
hair a fountain of dandelion seed
at the bakery I claim them too
the Sikh uncle at the airport
who apologizes for the pat
down the Muslim man who abandons
his car at the traffic light drops
to his knees at the call of the Azan
& the Muslim man who drinks
good whiskey at the start of maghrib
the lone khala at the park
pairing her kurta with crocs
my people my people I can’t be lost
when I see you my compass
is brown & gold & blood
my compass a Muslim teenager
snapback & high-tops gracing
the subway platform
Mashallah I claim them all
my country is made
in my people’s image
if they come for you they
come for me too in the dead
of winter a flock of
aunties step out on the sand
their dupattas turn to ocean
a colony of uncles grind their palms
& a thousand jasmines bell the air
my people I follow you like constellations
we hear glass smashing the street
& the nights opening dark
our names this country’s wood
for the fire my people my people
the long years we’ve survived the long
years yet to come I see you map
my sky the light your lantern long
ahead & I follow I follow
Copyright © 2017 by Fatimah Asghar. Originally published in Poetry (March, 2017). Used with the permission of the poet.
A man leaves the world
and the streets he lived on
grow a little shorter.
One more window dark
in this city, the figs on his branches
will soften for birds.
If we stand quietly enough evenings
there grows a whole company of us
standing quietly together.
overhead loud grackles are claiming their trees
and the sky which sews and sews, tirelessly sewing,
drops her purple hem.
Each thing in its time, in its place,
it would be nice to think the same about people.
Some people do. They sleep completely,
waking refreshed. Others live in two worlds,
the lost and remembered.
They sleep twice, once for the one who is gone,
once for themselves. They dream thickly,
dream double, they wake from a dream
into another one, they walk the short streets
calling out names, and then they answer.
From Words Under the Words: Selected Poems by Naomi Shihab Nye. Published by Far Corner. Reprinted with permission of the author. Copyright © 1995 Naomi Shihab Nye.
I call for you cultivation of strength in the dark.
in the vertigo cold.
in the hot paralysis.
Under the wolves and coyotes of particular silences.
Where it is dry.
Where it is dry.
I call for you
cultivation of victory Over
long blows that you want to give and blows you are going to get.
what wants to crumble you down, to sicken
you. I call for you
cultivation of strength to heal and enhance
in the non-cheering dark,
in the many many mornings-after;
in the chalk and choke.
From To Disembark (Third World Press, 1981). Copyright © 1981 by Gwendolyn Brooks. Reprinted by consent of Brooks Permissions.
but love does not, Menelle Sebastien.
Of all the afflictions
all the sums & paradoxes,
& gravitons that add up
to more minus
I promise that love
is often as inconsiderate as it is just
because actual love,
is a wave function
that isn’t restricted
in any one place
at one time.
No, love must
be a superposition
with a measurement problem,
but don’t worry,
I won’t get into alternative
realities & how a single judgement
from one can so easily
she’s sizing up— & yet,
when experts speak of capturing
vastness at such a small scale,
I can only see the passenger
flitting into living
& every blue whale
sinking into the great
& all the threats each are facing,
all these gigantic things
within the size
of a subatomic being
that is the proton,
which is not fundamental
ought to be—
& maybe it does all
to a single hush.
Like how we try to escape
what makes us human by trying
to make sense of what made us
when I think on the proton,
I only observe love
in which we bias & sway & touch
But like I said,
I won’t get into it
like the quark’s fate
& all the possible quantum trickery
lying in wait.
I don’t believe hope dies
just because old measurements got it
wrong & there are no secret lives
between protons & muons
that cause the former to change
silencing all the music
that drives us
rather than discovery.
Maybe just thank
since, for now, there’s an answer,
even if it feels like a dead end—
because I’d bet everything,
that at least something began
over this: jounce,
butterfly & cower ::
over & oeuvre,
each other’s spoils,
Copyright © 2020 by Rosebud Ben-Oni. Originally published in Poem-a-Day on September 24, 2020, by the Academy of American Poets.
“Because it is so dense, scientists calculate the carbon must be crystalline, so a large part of this strange world will effectively be diamond.”
Like the universe’s largest engagement ring, it twirls
and sparkles its way through infinity.
The citizens of the new world know about luxury.
They can live for a thousand years.
Their hearts are little clocks
with silver pendulums pulsing inside,
Eyes like onyx, teeth like pearl.
But it’s not always easy. They know hunger.
They starve. A field made of diamond
is impossible to plow; shovels crumble and fold
like paper animals. So frequent is famine,
that when two people get married,
one gives the other a locket filled with dirt.
That’s the rare thing, the treasured thing, there.
It takes decades to save for,
but the ground beneath them glows,
and people find a way.
On Earth, when my wife is sleeping,
I like to look out at the sky.
I like to watch TV shows about supernovas,
and contemplate things that are endless
like the heavens and, maybe, love.
I can drink coffee and eat apples whenever I want.
Things grow everywhere, and so much is possible,
but on the news tonight: a debate about who
can love each other forever and who cannot.
There was a time when it would’ve been illegal
for my wife to be my wife. Her skin,
my household of privilege. Sometimes,
I wish I could move to another planet.
Sometimes, I wonder what worlds are out there.
I turn off the TV because the news rarely makes
the right decision on its own. But even as the room
goes blacker than the gaps between galaxies,
I can hear the echoes: who is allowed to hold
the ones they wish to hold, who can reach
into the night, who can press his or her
own ear against another’s chest and listen
to a heartbeat telling stories in the dark.
Matthew Olzmann, “Astronomers Locate a New Planet” from Contradictions in the Design. Copyright © 2016 by Matthew Olzmann. Used with the permission of Alice James Books, www.alicejamesbooks.org.
I needed, for months after he died, to remember our rooms—
some lit by the trivial, others ample
with an obscurity that comforted us: it hid our own darkness.
So for months, duteous, I remembered:
rooms where friends lingered, rooms with our beds,
with our books, rooms with curtains I sewed
from bright cottons. I remembered tables of laughter,
a chipped bowl in early light, black
branches by a window, bowing toward night, & those rooms,
too, in which we came together
to be away from all. And sometimes from ourselves:
I remembered that, also.
But tonight—as I stand in the doorway to his room
& stare at dusk settled there—
what I remember best is how, to throw my arms around his neck,
I needed to stand on the tip of my toes.
Copyright © 2015 by Laure-Anne Bosselaar. Originally published in Poem-a-Day on June 25, 2015, by the Academy of American Poets.
For my people everywhere singing their slave songs
repeatedly: their dirges and their ditties and their blues
and jubilees, praying their prayers nightly to an
unknown god, bending their knees humbly to an
For my people lending their strength to the years, to the
gone years and the now years and the maybe years,
washing ironing cooking scrubbing sewing mending
hoeing plowing digging planting pruning patching
dragging along never gaining never reaping never
knowing and never understanding;
For my playmates in the clay and dust and sand of Alabama
backyards playing baptizing and preaching and doctor
and jail and soldier and school and mama and cooking
and playhouse and concert and store and hair and Miss
Choomby and company;
For the cramped bewildered years we went to school to learn
to know the reasons why and the answers to and the
people who and the places where and the days when, in
memory of the bitter hours when we discovered we
were black and poor and small and different and nobody
cared and nobody wondered and nobody understood;
For the boys and girls who grew in spite of these things to
be man and woman, to laugh and dance and sing and
play and drink their wine and religion and success, to
marry their playmates and bear children and then die
of consumption and anemia and lynching;
For my people thronging 47th Street in Chicago and Lenox
Avenue in New York and Rampart Street in New
Orleans, lost disinherited dispossessed and happy
people filling the cabarets and taverns and other
people’s pockets needing bread and shoes and milk and
land and money and something—something all our own;
For my people walking blindly spreading joy, losing time
being lazy, sleeping when hungry, shouting when
burdened, drinking when hopeless, tied, and shackled
and tangled among ourselves by the unseen creatures
who tower over us omnisciently and laugh;
For my people blundering and groping and floundering in
the dark of churches and schools and clubs and
societies, associations and councils and committees and
conventions, distressed and disturbed and deceived and
devoured by money-hungry glory-craving leeches,
preyed on by facile force of state and fad and novelty, by
false prophet and holy believer;
For my people standing staring trying to fashion a better way
from confusion, from hypocrisy and misunderstanding,
trying to fashion a world that will hold all the people,
all the faces, all the adams and eves and their countless
Let a new earth rise. Let another world be born. Let a
bloody peace be written in the sky. Let a second
generation full of courage issue forth; let a people
loving freedom come to growth. Let a beauty full of
healing and a strength of final clenching be the pulsing
in our spirits and our blood. Let the martial songs
be written, let the dirges disappear. Let a race of men now
rise and take control.
From This Is My Century: New and Collected Poems (University of Georgia Press, 1989). Copyright © 1989 by Margaret Walker. Used with permission of the University of Georgia Press.
Loud laughers in the hands of Fate—
Nurses of babies,
Loaders of ships,
Comedians in vaudeville
And band-men in circuses—
God! What dancers!
God! What singers!
Singers and dancers,
Dancers and laughers.
Loud-mouthed laughers in the hands of Fate.
This poem is in the public domain. Published in Poem-a-Day on June 20, 2020 by the Academy of American Poets.
Cell by cell the baby made herself, the cells
Made cells. That is to say
The baby is made largely of milk. Lying in her father’s arms, the little seed eyes
Moving, trying to see, smiling for us
To see, she will make a household
To her need of these rooms—Sara, little seed,
Little violent, diligent seed. Come let us look at the world
Glittering: this seed will speak,
Max, words! There will be no other words in the world
But those our children speak. What will she make of a world
Do you suppose, Max, of which she is made.
“Sara in Her Father’s Arms” by George Oppen, from NEW COLLECTED POEMS, copyright © 1962 by George Oppen. Reprinted by permission of New Directions Publishing Corp.
Long before she lost it drift-
S unanchored wanted to merge
And the body of the singer become
The body of the instrument
Talk to the drum find it hum
Study its vowels she made her vow
To sound slowly syllable by
Syllable she pronounced words
In Uzbek word unmoored word
Pure sound oh river long had I
Been long seasons invaded
By your current devoured your tongue
Of water those years time bent
My one voice spoke
From The Voice of Sheila Chandra (Alice James Books, 2020). Copyright © 2020 Kazim Ali. Used with permission of the author.
It was your birthday, we had drunk and dined
Half of the night with our old friend
Who'd showed us in the end
To a bed I reached in one drunk stride.
Already I lay snug,
And drowsy with the wine dozed on one side.
I dozed, I slept. My sleep broke on a hug,
Suddenly, from behind,
In which the full lengths of our bodies pressed:
Your instep to my heel,
My shoulder-blades against your chest.
It was not sex, but I could feel
The whole strength of your body set,
Or braced, to mine,
And locking me to you
As if we were still twenty-two
When our grand passion had not yet
My quick sleep had deleted all
Of intervening time and place.
I only knew
The stay of your secure firm dry embrace.
From Selected Poems by Thom Gunn. Copyright © 2009 by Thom Gunn. Used by permission of Farrar, Straus and Giroux, LLC, www.fsgbooks.com. All rights reserved.
for the Geechee Gullah Ring Shouters
One of the women greeted me.
I love you, she said. She didn’t
Know me, but I believed her,
And a terrible new ache
Rolled over in my chest,
Like in a room where the drapes
Have been swept back. I love you,
I love you, as she continued
Down the hall past other strangers,
Each feeling pierced suddenly
By pillars of heavy light.
I love you, throughout
The performance, in every
Handclap, every stomp.
I love you in the rusted iron
Chains someone was made
To drag until love let them be
Unclasped and left empty
In the center of the ring.
I love you in the water
Where they pretended to wade,
Singing that old blood-deep song
That dragged us to those banks
And cast us in. I love you,
The angles of it scraping at
Each throat, shouldering past
The swirling dust motes
In those beams of light
That whatever we now knew
We could let ourselves feel, knew
To climb. O Woods—O Dogs—
O Tree—O Gun—O Girl, run—
O Miraculous Many Gone—
O Lord—O Lord—O Lord—
Is this love the trouble you promised?
From Wade in the Water (Graywolf Press, 2018). Copyright © 2018 by Tracy K. Smith. Used with the permission of Graywolf Press.
Thank you for these tiny
particles of ocean salt,
for the infinite,
For algae spores
and fungus spores,
bonded by vital
mutual genetic cooperation,
from equator to pole.
My hand, my arm,
make sweeping circles.
Dust climbs the ladder of light.
For this infernal, endless chore,
for these eternal seeds of rain:
Thank you. For dust.
From Magnificat, published by Louisiana State University Press. Copyright © 1994 by Marilyn Nelson. All rights reserved. Used with permission.
Who does a job well, and very well—
These are the artists, those curious
We are cobblers of the song
And barkers of the carnival word,
We are tailors of the light
And framers of the earth.
We fish among the elements
And hunt the elusive green in gray and blue.
We drink forbidden waters
And eat an invisible food.
In this time of electronic-mail and facsimile
Conversation, we send as our voice
The poem, the bridge, the circuit, the cure
Whose electricity is made from dreams,
Whose song is sung in the colors yet unnamed
Drawn from the solitary études of the soul
And given up in tender to the world.
How easy to spend a day writing a poem,
How hard to spend a life writing a thousand.
A poem, a bridge, a story, a circuit,
Cures, laws, bowls—
The warp and weave and waft of iron
And paper and light and salt:
We labor for a lifetime
But take every day off.
Who knows what to make of us?
We are not the ribcage, but the legs;
We are not the steering wheel, but the headlamps.
We gather happily, if not often. We can’t
Sit still. We hurry off. Good-bye to us,
Hello to us, a tip of the hat
To us, as we go about
The drumming of our stars.
From A Small Story about the Sky, published by Copper Canyon Press. Copyright © 2015 by Alberto Ríos.
The world begins at a kitchen table. No matter what, we must eat to live.
The gifts of earth are brought and prepared, set on the table. So it has been since creation, and it will go on.
We chase chickens or dogs away from it. Babies teethe at the corners. They scrape their knees under it.
It is here that children are given instructions on what it means to be human. We make men at it, we make women.
At this table we gossip, recall enemies and the ghosts of lovers.
Our dreams drink coffee with us as they put their arms around our children. They laugh with us at our poor falling-down selves and as we put ourselves back together once again at the table.
This table has been a house in the rain, an umbrella in the sun.
Wars have begun and ended at this table. It is a place to hide in the shadow of terror. A place to celebrate the terrible victory.
We have given birth on this table, and have prepared our parents for burial here.
At this table we sing with joy, with sorrow. We pray of suffering and remorse. We give thanks.
Perhaps the world will end at the kitchen table, while we are laughing and crying, eating of the last sweet bite.
From The Woman Who Fell From the Sky (W. W. Norton, 1994) by Joy Harjo. Copyright © 1994 by Joy Harjo. Used with permission of the author.