^{to Ken Kesey & Ken Babbs}

Clumsy at first, fitting together
the years we have been apart,
and the ways.

But as the night
passed and the day came, the first
fine morning of April,

it came clear:
the world that has tried us
and showed us its joy

was our bond
when we said nothing.
And we allowed it to be

with us, the new green
shining.

          *

Our lives, half gone,
stay full of laughter.

Free-hearted men
have the world for words.

Though we have been
apart, we have been together.

          *

Trying to sleep, I cannot
take my mind away.
The bright day

shines in my head
like a coin
on the bed of a stream.

          *

You left
your welcome.
 

And a woman who held a babe against her bosom said, Speak to us of Children.
     And he said:
     Your children are not your children.
     They are the sons and daughters of Life’s longing for itself.
     They come through you but not from you,
     And though they are with you yet they belong not to you.

     You may give them your love but not your thoughts,
     For they have their own thoughts.
     You may house their bodies but not their souls,
     For their souls dwell in the house of tomorrow, which you cannot visit, not even in your dreams.
     You may strive to be like them, but seek not to make them like you.
     For life goes not backward nor tarries with yesterday.
     You are the bows from which your children as living arrows are sent forth.
     The archer sees the mark upon the path of the infinite, and He bends you with His might that His arrows may go swift and far.
     Let your bending in the archer’s hand be for gladness;
     For even as He loves the arrow that flies, so He loves also the bow that is stable.

(War Time)

There will come soft rains and the smell of the ground,
And swallows circling with their shimmering sound;

And frogs in the pools singing at night,
And wild plum trees in tremulous white,

Robins will wear their feathery fire
Whistling their whims on a low fence-wire;

And not one will know of the war, not one
Will care at last when it is done.

Not one would mind, neither bird nor tree
If mankind perished utterly;

And Spring herself, when she woke at dawn,
Would scarcely know that we were gone.

The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other’s welcome,

and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you

all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,

the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.

apricots & brown teeth in browner mouths nashing dates & a clementine’s underflesh under yellow nail & dates like auntie heads & the first time someone dried mango there was god & grandma’s Sunday only song & how the plums are better as plums dammit & i was wrong & a June’s worth of moons & the kiss stain of the berries & lord the prunes & the miracle of other people’s lives & none of my business & our hands sticky and a good empty & please please pass the bowl around again & the question of dried or ripe & the sex of grapes & too many dates & us us us us us & varied are the feast but so same the sound of love gorged & the women in the Y hijab a lily in the water & all of us who come from people who signed with x’s & yesterday made delicacy in the wrinkle of the fruit & at the end of my name begins the lot of us

I like being with you all night with closed eyes.
What luck—here you are
coming
along the stars!
I did a road trip
all over my mind and heart
and
there you were
kneeling by the roadside
with your little toolkit
fixing something.

Give me a world, you have taken the world I was.

Not, exactly, green:
closer to bronze
preserved in kind brine,

something retrieved
from a Greco-Roman wreck,
patinated and oddly

muscular. We cannot
know what his fantastic
legs were like—

though evidence
suggests eight
complexly folded

scuttling works
of armament, crowned
by the foreclaws’

gesture of menace
and power. A gull’s
gobbled the center,

leaving this chamber
—size of a demitasse—
open to reveal

a shocking, Giotto blue.
Though it smells
of seaweed and ruin,

this little traveling case
comes with such lavish lining!
Imagine breathing

surrounded by
the brilliant rinse
of summer’s firmament.

What color is
the underside of skin?
Not so bad, to die,

if we could be opened
into this—
if the smallest chambers

of ourselves,
similarly,
revealed some sky.

^{translated by Pierre Joris}

count what was bitter and kept you awake,
count me among them:

I searched for your eye, when you opened it and no one looked at you,
I spun that secret thread,
along which the dew you thought
slid down to the jars,
watched over by a saying that found its way to no one’s heart.

Only there did you wholly enter the name that is yours,
did you step sure-footed toward yourself,
did the hammers swing free in the belfry of your silence,
the overheard reach you,
the dead put its arm around you too,
and all three of you walked through the evening.

Make me bitter.
Count me among the almonds.

Zähle die Mandeln,

zähle, was bitter war und dich wachhielt,
zähl mich dazu:

Ich suchte dein Aug, als du’s aufschlugst und niemand dich ansah,
ich spann jenen heimlichen Faden,
an dem der Tau, den du dachtest,
hinunterglitt zu den Krügen,
die ein Spruch, der zu niemandes Herz fand, behütet.

Dort erst tratest du ganz in den Namen, der dein ist,
schrittest du sicheren Fußes zu dir,
schwangen die Hämmer frei im Glockenstuhl deines Schweigens,
stieß das Erlauschte zu dir,
legte das Tote den Arm auch um dich,
und ihr ginget selbdritt durch den Abend.

Mache mich bitter.

you’ve worked so hard
from the farm to the factory
in the county & the city

you’ve always paid on time
for peace of mind
—your body as collateral
so you may rest & retire
when the time came
—knowing you’ll be fine

but somehow
you still owe today
& you are all out of body 

Don’t call me immigrant
I am the New American 
striving in New America
as a New American
I am not your invader
not an animal
nor criminal
I am a just person
just striving 
in a New America

In New America I am
a full-time student 
overtime worker
volunteering in my free time
if I plan enough ahead for free time
if I can even afford the free time
if my free time is approved

I work hard in New America
3rd shift warehouse 
2nd shift my house
always on call
no days off
freelance for life
4 jobs a week
blue and white collar

Don’t call me immigrant
I am the New American 
surviving in New America
as a New American
I am not your invader
not an animal
nor criminal
I am a just person
just surviving
in a New America

This is New America
student loans for all
high rent 
higher utilities 
low pay
rising healthcare costs
the cost of living
—deadly
no living wage
living enraged 
my cousins encaged 
for wanting to live in
a safer part of
New America

Don’t call me immigrant
I am the New American 
living in New America
as a New American
I am not your invader
not an animal
nor criminal
I am a just person
just living
in a New America

Strong and proud
able to withstand 
the distance I have traveled
the distance from my family 
the distance between us
the distance of our dialects
the distance in our churches
the distance in our homes
the distance between my ancestors
and my grandchildren
the distance from the streets
to the dorm rooms
the distance from the field
to the corner office suite

Don’t call me immigrant
I am the New American 
dreaming of New America
as a New American
I am not your invader
not an animal
nor criminal
I am a just person
just dreaming 
of a New America

Old America
don’t be afraid
we are all America
North America
Central America
South America
We are all Americans
We all strive in Americas
We all survive in Americas
We all live in Americas
They are all the same America

We all dream of a greater America
I want you to be paid a living wage
live in affordable housing
without college debt
or medical debt
or credit card debt
or national debt
I want no more racism
I am speaking of a New America
I am part of New America
whether you like it or not
so join me, please

You have found me
hidden in a wheat field
within a husk of corn
growing for you

I am ready
pick me

Hold me in your hands
remove my skin
peel away my color
find that I am tender
soft and sweet

Eat of me
until there is nothing
and your mouths are empty
and your bellies filled

What is left
will live
as seed 
to grow 
again
brighter 
hardened
and less bitter

Click the icon above to listen to this audio poem.

^{An original poem written for the inaugural reading of Poet Laureate Tracy K. Smith at the Library of Congress.}

There’s a poem in this place—

in the footfalls in the halls

in the quiet beat of the seats.

It is here, at the curtain of day,

where America writes a lyric

you must whisper to say.

There’s a poem in this place—

in the heavy grace,

the lined face of this noble building,

collections burned and reborn twice.

There’s a poem in Boston’s Copley Square

where protest chants

tear through the air

like sheets of rain,

where love of the many

swallows hatred of the few.

There’s a poem in Charlottesville

where tiki torches string a ring of flame

tight round the wrist of night

where men so white they gleam blue—

seem like statues

where men heap that long wax burning

ever higher

where Heather Heyer

blooms forever in a meadow of resistance.

There’s a poem in the great sleeping giant

of Lake Michigan, defiantly raising

its big blue head to Milwaukee and Chicago—

a poem begun long ago, blazed into frozen soil,

strutting upward and aglow.

There’s a poem in Florida, in East Texas

where streets swell into a nexus

of rivers, cows afloat like mottled buoys in the brown,

where courage is now so common

that 23-year-old Jesus Contreras rescues people from floodwaters.

There’s a poem in Los Angeles

yawning wide as the Pacific tide

where a single mother swelters

in a windowless classroom, teaching

black and brown students in Watts

to spell out their thoughts

so her daughter might write

this poem for you.             

There's a lyric in California

where thousands of students march for blocks,

undocumented and unafraid;

where my friend Rosa finds the power to blossom

in deadlock, her spirit the bedrock of her community.

She knows hope is like a stubborn

ship gripping a dock,

a truth: that you can’t stop a dreamer

or knock down a dream.

How could this not be her city

su nación

our country

our America,

our American lyric to write—

a poem by the people, the poor,

the Protestant, the Muslim, the Jew,

the native, the immigrant,

the black, the brown, the blind, the brave,

the undocumented and undeterred,

the woman, the man, the nonbinary,

the white, the trans,

the ally to all of the above

and more?

Tyrants fear the poet.

Now that we know it

we can’t blow it.

We owe it

to show it

not slow it

although it

hurts to sew it

when the world

skirts below it.       

Hope—

we must bestow it

like a wick in the poet

so it can grow, lit,

bringing with it

stories to rewrite—

the story of a Texas city depleted but not defeated

a history written that need not be repeated

a nation composed but not yet completed.

There’s a poem in this place—

a poem in America

a poet in every American

who rewrites this nation, who tells

a story worthy of being told on this minnow of an earth

to breathe hope into a palimpsest of time—

a poet in every American

who sees that our poem penned

doesn’t mean our poem’s end.

There’s a place where this poem dwells—

it is here, it is now, in the yellow song of dawn’s bell

where we write an American lyric

we are just beginning to tell.

I’ve been thinking about the way, when you walk
down a crowded aisle, people pull in their legs
to let you by. Or how strangers still say “bless you”
when someone sneezes, a leftover
from the Bubonic plague. “Don’t die,” we are saying.
And sometimes, when you spill lemons
from your grocery bag, someone else will help you
pick them up. Mostly, we don’t want to harm each other.
We want to be handed our cup of coffee hot,
and to say thank you to the person handing it. To smile
at them and for them to smile back. For the waitress
to call us honey when she sets down the bowl of clam chowder,
and for the driver in the red pick-up truck to let us pass.
We have so little of each other, now. So far
from tribe and fire. Only these brief moments of exchange.
What if they are the true dwelling of the holy, these
fleeting temples we make together when we say, “Here,
have my seat,” “Go ahead—you first,” “I like your hat.”

^{translated from the Spanish by Ursula K. Le Guin}

Give me your hand and give me your love,
give me your hand and dance with me.
A single flower, and nothing more,
a single flower is all we'll be.

Keeping time in the dance together,
singing the tune together with me, 
grass in the wind, and nothing more,
grass in the wind is all we'll be.

I'm called Hope and you're called Rose:
but losing our names we'll both go free,
a dance on the hills, and nothing more,
a dance on the hills is all we'll be.

Dame La Mano 

Dame la mano y danzaremos;
dame la mano y me amarás.
Como una sola flor seremos,
como una flor, y nada más.

El mismo verso cantaremos,
al mismo paso bailarás.
Como una espiga ondularemos,
como una espiga, y nada más.

Te llamas Rosa y yo Esperanza;
pero tu nombre olvidarás,
porque seremos una danza
en la colina y nada más. 

try calling it hibernation.
Imagine the darkness is a cave
in which you will be nurtured
by doing absolutely nothing.
Hibernating animals don’t even dream.
It’s okay if you can’t imagine
Spring. Sleep through the alarm
of the world. Name your hopelessness
a quiet hollow, a place you go
to heal, a den you dug,
Sweetheart, instead
of a grave.

All of my pain is a spider 
I’ve learned not to crush 
with the heel of my shoe 

but to guide with a page 
of my journal 
into an empty glass. 

I ask questions about 
its life, its purpose 
as I walk careful 

out to the garden and rest 
it down on the earth. 
My pain—how happy 

it is to leave me 
whenever I treat it 
kind. 

I set out in the blue American
night, this stupid sparkler
raised in my fist. Electroshocked
dandelion. Smoke columns
over the sock factory giving the moon
that Inness blur. No we’re not
falling. Things are just floating back
where they belong. The brushstroke of seafoam
in the painter’s dream
as he lies in bed dying. Where
does it go? The sparkler lends
my hospital gown a county-fair
glow. I carry it across
the parking lot. Where her Toyota
idles in the wrong
century. Slipping it in
my mother’s mouth 
I tell her
she can go anywhere, be anyone
in this vast, possible land now
that she’s a ghost—the freest
thing I know.

once again i’ve brought my dead dog to the party.
not the box of ashes, but the pen-drawn sketch
my friend lenny made six days after she died.

or five. i saw it coming, the way mimsy went. 
the hard part was saying it, so i wrote it down: 
something small i love is leaving me.

now it’s late morning in abiquiu & i’m alone 
in the courtyard, rolling around on the flagstone
breathing, a drawing of mimsy in the shade,

a mug cooling at her side. i said i don’t drink coffee
or need a week to myself but look at me now, trying 
not to lie. so i listen: a shrill of pinyon jays

in a juniper trills me from ghost to cobalt sky. all winter 
i didn’t see them, not a single thrill of murmuration 
& though it’s a hideous sound—a jay’s call, like a

small computer dying slow—to live, to move like that:
seven siblings at my side, six at each of theirs, my god! 
not thinking where’s the threat but being

more than one, not less than any . . .
the nearly-noon shadows recede & soon 
mimsy’s in full sun, where i leave her, the light

too bright to stay, the shrill too clear. i say yes,
i’ve seen a rock wren & no, that is a fishless osprey circling
the steppe & tomorrow i might make a cairn of quartz

just to knock it down, slip a stone into my pocket, 
put nine postcards in the mail, or begin another poem 
for lenny i’ll try to finish when i’m home—

                         you had a friend once.
                         now she’s different.
                         we remember what we need.

It was like this:
you were happy, then you were sad,
then happy again, then not.

It went on.
You were innocent or you were guilty.
Actions were taken, or not.

At times you spoke, at other times you were silent.
Mostly, it seems you were silent—what could you say?

Now it is almost over.

Like a lover, your life bends down and kisses your life.

It does this not in forgiveness—
between you, there is nothing to forgive—
but with the simple nod of a baker at the moment
he sees the bread is finished with transformation.

Eating, too, is a thing now only for others.

It doesn’t matter what they will make of you
or your days: they will be wrong,
they will miss the wrong woman, miss the wrong man,
all the stories they tell will be tales of their own invention.

Your story was this: you were happy, then you were sad,
you slept, you awakened.
Sometimes you ate roasted chestnuts, sometimes persimmons.

—2002

^{translated from the Macedonian by the author}

When at evening I hear the voice of my dead mother,
I summon deer to my side—
they who understand all the languages of fear
without saying a word.

I would invite them into the courtyard of quiet changes
and ask them about the sins of the unborn,
about the distance between the blood
of two enemies after the war.

I would ask them to lock the silence—
secret of the open eyes.

ТИШИНАТА ОД ДРУГИ МЕСТА ДОАЃА

Кога навечер ќе го чујам гласот на мојата мртва мајка,
повикувам елени во својата соба —
оние кои никогаш не прозбориле,
а ги разбираат сите јазици на стравот.

Ќе ги поканам во дворот на тивките промени
и ќе ги прашам за гревовите на неродените,
за далечината помеѓу крвта
на двајца непријатели по војната.

Ќе ги замолам да ја закатанчат тишината — 
тајната на отворените очи.

The yellow flowers on the grave
make an arch, they lie 

on a black stone that lies on the ground
like a black door that will always

remain closed down into the earth,
into it is etched the name

of a great poet who believed
he had nothing more to say,

he threw himself into literal water
and everyone has done their mourning 

and been mourned over, and we all 
went on with our shopping, 

I stare at this photograph of that grave
and think you died like him, 

like all the others,
and the yellow flowers 

seem angry, they seem to want to refuse 
to be placed anywhere but in a vase 

next to the living, someday 
all of us will have our names 

etched where we cannot read them,
she who sealed her envelopes

full of poems about doubt with flowers 
called it her “granite lip,” I want mine 

to say Lucky Life, and what would 
a perfect elegy do? place the flowers 

back in the ground? take me 
where I can watch him sit eternally 

dreaming over his typewriter? 
then, at last, will I finally unlearn 

everything? and I admit that yes, 
while I could never leave 

everyone, here at last 
I understand these yellow flowers, 

the names, the black door 
he held open 

and you walked through.