To Yusef Komunyakaa

When I rise from the bank
the water's slow as shadow
in my steps, thick as blood.
The whole river's secretive,
still, dark as roux
cooled in the skillet, as rank,
as sweet, ancient as catfish,
ancienter. The moon's
sifted light clouds rumor
to lilies or daffodils,
an egret on the farther shore,
a hunger, a stare, a patience
I could recite. We have
waited all night, nights,
like a bridge for something
to rise, like water
for something to fall.

*

I know what Bogalusa means,
that tea of deadheads
and late-fallen leaves
no one left can read,
snuff-black pools that bathe
grandmothers' gums.
So many words one has
to know not to say.
So many names. The young,
unconvicted hand. The bricklayer.
The deputy. Names
of flowers and warblers and stars.
Last breaths of the disappeared.
I keep my hands folded,
my map blank
as next week's papers,
my ears clams
with mouths full of sand.

*

So many songs I can't sing
with my one poor tongue.
I need a jukebox for a throat
so the midnight's moan
translates what a wolf
once said to a girl in the trees,
so their branches confess
what the fog told them not
to see. I need the lisp
of a horn valved to spit
which is the sound of a shadow
forgetting what hanged it
in the dark. How do I explain
the way it slips the steam
like a shirt, how it slides
beneath the glass and does not
rise again, how the halflight
fingers the rails of the bridge,
how many things
no one's done?

*

Birds the color of history
talk in our sleep. Our salts
can't forget what water
told them, what stars
once telegraphed to the river
the trees have written
in themselves, what they say
to the wind, to the sawmill's
blades, to flame,
to bromine and mercury,
what they burn in the air.
Dreams walk us back
to the shore, pull the shirttail
from the milkweed, the cattail
from the reed, fold
the kerchiefs into herons,
questions for the shoals.

*

Night slips again
into its last, locked groove.
Mockingbirds stutter
the rasp of broken reeds.
I lean from the eaves
of moss and cypress,
the vestibules of the tung.
Cormorant, coelacanth, snake,
the world below is molten.
Dark iridescence,
the muscle gives back the bone.
The spine's fleer, the orbits'
gape, the ghost of a face
waking beneath my own.
Here, I bent so close
breath didn't know
which mouth to fill.

Copyright © 2013 by Jake Adam York. Used with permission of the estate. "Letter Written in Black Water and Pearl" comes from York's completed manuscript, Abide.


so it came to me to 
carry the abandoned 
mattress to the attic      

                         a month dead my father
		         waited hillside in the field 
 			 surrounding his house 

I was glad to see him
to remember when
the fathers seemed 

                          generic     related     a class
    			  of things as uniform as trees 
                          are when you don’t know
			
their names     a stand
of them across the field 
I want to say autumn

                           aspens     the late fathers 
                           blonde as early evening
 			   wind startles their eyes 
 
and makes of your name 
a sail      a boat above roots 
that rise to stem that rise 

		            to leaf his door and cornices    
                            his felt hat and mattress 
                            empty     it feels like forever
				
above the flickering field     
the fathers shrinking 
far beneath our feet



for Lisa Fishman

Copyright © 2013 by Brian Teare. Used with permission of the author. This poem appeared in Poem-A-Day on October 22, 2013. Browse the Poem-A-Day archive.

Not every day but most days that summer

I went calmly and quietly and climbed

to the sixth floor of the library and walked

not fast and not slow but with purpose

down the last row and reached

almost without looking to the same

place on the shelf and pulled out

the large book and carried it to a chair

that looks out toward the ridge, to a mountain

that is there, whether it is or it isn’t,

the mountain people love, maybe for this,

love and die with all their love,

trying, and I opened to the page

where I left off before, and sometimes the library

announced it was closing, sometimes I got hungry,

sometimes it looked like rain, and I’d close the book

and carry it again, with purpose, back to its exact

place on the shelf, and I’d walk down the stairs

and out of the building, and it was like

I’d left it ticking.

Copyright © 2017 Jill Osier. Used with permission of the author. This poem originally appeared in The Southern Review, Summer 2017.

I’ll tell you this: I am the only part of winter left.
It beckoned and I followed, past all reason,
followed it like the end of a broken train
through white woods, and I stayed, with simple tools,
set on trying to construct more of a season. It has taken
all of me to do it, and you would not believe the storms.
You would not believe how I sleep. From here anything
would sound like a cry. Everything looks like pieces of God.

Copyright © 2018 Jill Osier. Used with permission of the author. This poem originally appeared in The Southern Review, Winter 2018.

Soon the time when just roads and rivers
run dark in the white. Then they’ll be gone.
 
But during such days of path and vein
you’ll trace back how things became.
 
You’re standing in a curving lane of birches
with the word confidante. The birches
 
are hilled, coming toward you, going away,
and it’s with you, this word, the same as light
 
coming bright off the snow, or light being held
as blue shadow. All of this
 
not far off, but nothing’s even fallen yet,
the woods empty, done boning up.

Copyright © 2018 Jill Osier. Used with permission of the author. This poem originally appeared in The Southern Review, Winter 2018.