We noticed participation has decreased, though whether due to layoffs or malaise we can’t be sure. While the survey is anonymous, if you filled the comment boxes with These questions suck or Stop wasting my time, we probably know who you are, especially if you mentioned your division, duties and job description, and even more so if you signed your name. We’re sorry you’re suffering, but we doubt work caused your divorce. We’re also dismayed by demands for better leadership. While you’re welcome to select Somewhat or Not at all in response to Do you find management effective?, we’d like you to imagine how that makes us feel. Perhaps it was insensitive to ask which of your coworkers are seeking other jobs, but we really need an estimate. If you left that question blank, it’s not too late to pass some names along. The news isn’t all bad. Even with increased co-pays and deductibles, our health plan is a hit, especially for those with anxiety, depression and insomnia. Although we can’t eliminate long waits when contacting HR, you can now turn off the music while on hold. Widespread raises are impossible, but we’ve found funds for better toilet paper, ice cream once a month. In the coming weeks, a new task force will form to brainstorm future questionnaires as well as cost-effective ways to ease— if not eradicate—your pain. (Though we’re aware of some survey fatigue, this instrument was too expensive not to use.) The next window for feedback opens soon. We’ll keep asking what you think until your answers change.
Copyright © 2017 Carrie Shipers. Used with permission of the author. This poem originally appeared in The Southern Review, Spring 2017.
Not because of the hours or the pay, which could be worse. Not because of my commute into this office park, or that no one else appreciates that phrase as much as I do. Not the dim unholy hum of energy-efficient lights, recycled air with hints of garlic and scorched wool, the break room fridge with its mysterious stains, open bottle of rosé no one will drink or claim. Not the thousand bloodless paper cuts, copier that jams in high humidity, the legion e-mails labeled Urgent, their emoticons and useless FYIs. Not the spreadsheets and reports that are assigned, written, revised and never spoken of. Not the tedium of meetings at which nothing is discussed, managers who barely learned my name before they disappeared. Not because of everything that doesn’t function—water fountains, window blinds, the entire marketing department. Not even because of office politics, the gossip and jockeying, spats over power we don’t have. Because the work I love is what I spend the least time doing. Because I jerk awake at 4:00 am, my fists already clenched, have stopped feeling concern for coworkers upset by bad reviews, sick pets or family cancer. Because every shift in policy makes my life slightly worse, and I can’t find the line between caring too much and total apathy. Because ever since I started here I’ve been assured things will improve, but I’m afraid that staying means becoming bitter and entrenched, unhappy but unable to move on.
Copyright © 2017 Carrie Shipers. Used with permission of the author. This poem originally appeared in The Southern Review, Spring 2017.
Let the seats be plentiful and padded. Let the magazines be recent or let the book I’ve brought last until we can leave. Let the TV on its bolted stand be off, muted, or showing something I can ignore— weather, gameshows, CNN. Let the room be mostly empty—no one shouting, sobbing, asking about my husband’s health. Let everyone be strangers except the staff. Let the walls be freshly painted, soothing to behold. Let my husband be there for a physical or routine checkup. Let no one comment on my clothes or unwashed hair, how I can sit so calmly while he has staples or a catheter removed, his lungs or heart or kidneys tested, an infected wound debrided. Under no circumstances let me be called into the back by a nurse who touches my arm, says I’m sorry but— Let my husband walk out whistling before I’ve finished my book, looked at my watch too many times. Let the news be good or benign, his next appointment not for months. When the waiting is over, let us walk outside feeling better, or at least no worse, than we did before.
Copyright © 2011 Carrie Shipers. Originally published in New England Review Volume 32, Number 4. Used with permission of the author.
Put down that bag of potato chips, that white bread, that bottle of pop.
Turn off that cellphone, computer, and remote control.
Open the door, then close it behind you.
Take a breath offered by friendly winds. They travel the earth gathering essences of plants to clean.
Give it back with gratitude.
If you sing it will give your spirit lift to fly to the stars’ ears and back.
Acknowledge this earth who has cared for you since you were a dream planting itself precisely within your parents’ desire.
Let your moccasin feet take you to the encampment of the guardians who have known you before time, who will be there after time. They sit before the fire that has been there without time.
Let the earth stabilize your postcolonial insecure jitters.
Be respectful of the small insects, birds and animal people who accompany you.
Ask their forgiveness for the harm we humans have brought down upon them.
Don’t worry.
The heart knows the way though there may be high-rises, interstates, checkpoints, armed soldiers, massacres, wars, and those who will despise you because they despise themselves.
The journey might take you a few hours, a day, a year, a few years, a hundred, a thousand or even more.
Watch your mind. Without training it might run away and leave your heart for the immense human feast set by the thieves of time.
Do not hold regrets.
When you find your way to the circle, to the fire kept burning by the keepers of your soul, you will be welcomed.
You must clean yourself with cedar, sage, or other healing plant.
Cut the ties you have to failure and shame.
Let go the pain you are holding in your mind, your shoulders, your heart, all the way to your feet. Let go the pain of your ancestors to make way for those who are heading in our direction.
Ask for forgiveness.
Call upon the help of those who love you. These helpers take many forms: animal, element, bird, angel, saint, stone, or ancestor.
Call your spirit back. It may be caught in corners and creases of shame, judgment, and human abuse.
You must call in a way that your spirit will want to return.
Speak to it as you would to a beloved child.
Welcome your spirit back from its wandering. It may return in pieces, in tatters. Gather them together. They will be happy to be found after being lost for so long.
Your spirit will need to sleep awhile after it is bathed and given clean clothes.
Now you can have a party. Invite everyone you know who loves and supports you. Keep room for those who have no place else to go.
Make a giveaway, and remember, keep the speeches short.
Then, you must do this: help the next person find their way through the dark.
Reprinted from Conflict Resolution for Holy Beings by Joy Harjo. Copyright © 2015 by Joy Harjo. Used with permission of the publisher, W. W. Norton & Company, Inc. All rights reserved.
Life is short, though I keep this from my children.
Life is short, and I’ve shortened mine
in a thousand delicious, ill-advised ways,
a thousand deliciously ill-advised ways
I’ll keep from my children. The world is at least
fifty percent terrible, and that’s a conservative
estimate, though I keep this from my children.
For every bird there is a stone thrown at a bird.
For every loved child, a child broken, bagged,
sunk in a lake. Life is short and the world
is at least half terrible, and for every kind
stranger, there is one who would break you,
though I keep this from my children. I am trying
to sell them the world. Any decent realtor,
walking you through a real shithole, chirps on
about good bones: This place could be beautiful,
right? You could make this place beautiful.
This poem originally appeared in Waxwing, Issue 10, in June 2016. Used with permission of the author.
After the birthing of bombs of forks and fear,
the frantic automatic weapons unleashed,
the spray of bullets into a crowd holding hands,
that brute sky opening in a slate metal maw
that swallows only the unsayable in each of us, what’s
left? Even the hidden nowhere river is poisoned
orange and acidic by a coal mine. How can
you not fear humanity, want to lick the creek
bottom dry to suck the deadly water up into
your own lungs, like venom? Reader, I want to
say, Don’t die. Even when silvery fish after fish
comes back belly up, and the country plummets
into a crepitating crater of hatred, isn’t there still
something singing? The truth is: I don't know.
But sometimes, I swear I hear it, the wound closing
like a rusted-over garage door, and I can still move
my living limbs into the world without too much
pain, can still marvel at how the dog runs straight
toward the pickup trucks break-necking down
the road, because she thinks she loves them,
because she’s sure, without a doubt, that the loud
roaring things will love her back, her soft small self
alive with desire to share her goddamn enthusiasm,
until I yank the leash back to save her because
I want her to survive forever. Don’t die, I say,
and we decide to walk for a bit longer, starlings
high and fevered above us, winter coming to lay
her cold corpse down upon this little plot of earth.
Perhaps, we are always hurtling our body towards
the thing that will obliterate us, begging for love
from the speeding passage of time, and so maybe
like the dog obedient at my heels, we can walk together
peacefully, at least until the next truck comes.
Copyright © 2016 by Ada Limón. Originally published in Poem-a-Day on January 1, 2016, by the Academy of American Poets.
Remember the sky that you were born under,
know each of the star’s stories.
Remember the moon, know who she is.
Remember the sun’s birth at dawn, that is the
strongest point of time. Remember sundown
and the giving away to night.
Remember your birth, how your mother struggled
to give you form and breath. You are evidence of
her life, and her mother’s, and hers.
Remember your father. He is your life, also.
Remember the earth whose skin you are:
red earth, black earth, yellow earth, white earth
brown earth, we are earth.
Remember the plants, trees, animal life who all have their
tribes, their families, their histories, too. Talk to them,
listen to them. They are alive poems.
Remember the wind. Remember her voice. She knows the
origin of this universe.
Remember you are all people and all people
are you.
Remember you are this universe and this
universe is you.
Remember all is in motion, is growing, is you.
Remember language comes from this.
Remember the dance language is, that life is.
Remember.
“Remember.” Copyright © 1983 by Joy Harjo from She Had Some Horses by Joy Harjo. Used by permission of W. W. Norton & Company, Inc.
We tell beginnings: for the flesh and the answer,
or the look, the lake in the eye that knows,
for the despair that flows down in widest rivers,
cloud of home; and also the green tree of grace,
all in the leaf, in the love that gives us ourselves.
The word of nourishment passes through the women,
soldiers and orchards rooted in constellations,
white towers, eyes of children:
saying in time of war What shall we feed?
I cannot say the end.
Nourish beginnings, let us nourish beginnings.
Not all things are blest, but the
seeds of all things are blest.
The blessing is in the seed.
This moment, this seed, this wave of the sea, this look, this instant of love.
Years over wars and an imagining of peace. Or the expiation journey
toward peace which is many wishes flaming together,
fierce pure life, the many-living home.
Love that gives us ourselves, in the world known to all
new techniques for the healing of the wound,
and the unknown world. One life, or the faring stars.
From Birds, Beasts, and Seas, edited by Jeffrey Yang, published by New Directions. Copyright © 2011. Used by permission of the publisher. All rights reserved.
This salt-stain spot marks the place where men lay down their heads, back to the bench, and hoist nothing that need be lifted but some burden they've chosen this time: more reps, more weight, the upward shove of it leaving, collectively, this sign of where we've been: shroud-stain, negative flashed onto the vinyl where we push something unyielding skyward, gaining some power at least over flesh, which goads with desire, and terrifies with frailty. Who could say who's added his heat to the nimbus of our intent, here where we make ourselves: something difficult lifted, pressed or curled, Power over beauty, power over power! Though there's something more tender, beneath our vanity, our will to become objects of desire: we sweat the mark of our presence onto the cloth. Here is some halo the living made together.
From Source by Mark Doty, published by HarperCollins. Copyright © 2002 by Mark Doty. Reprinted by permission of HarperCollins. All rights reserved.
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 neighbors are watching teevee again
& the pale blue of Montana morning
licks the long wall of the bedroom
silently, each block of gauzy cerulean
a panel in a widescreen comic that will last
until dawn bleaches it bare. Even
as I linger on the lip of sleep in this porch
rocker, in this quilted haven—the headboard
pardoned of splinters, the clouds growing
squally above the bureau—something new
& tender has stitched itself satisfied
inside of you. Your belly swells in time
with the pendulum of the longcase
my father made himself & my mother
must have known this eery glow
of stucco sky when she sewed
the pinwheels that tilt when we exhale
in unison. I have not known worry
since the last time Montana ether appeared
in panorama through the window
& I woke remembering our children
might someday soon grow beyond themselves
& into men: her body into his, or her body
into his arms, a concordance that more
than once has been mistaken for else:
a mountain silhouetted in the distance
or merely the wallpapered shadow
of a secret self who has yet to find
their way from the mercy of the womb.
Originally printed in The South Carolina Review. Copyright © 2017 by Meg Day. Used with the permission of the author.
For a while it was easy as inventing an oak tree:
start from the top and worry your way down the trunk.
Or a new continent, emerging green and deserted after
years on water, the simple rapture of the higheway going coast
to coast with more America than any of us ever wanted.
I guess you could say I love this city like I love prickly pears,
which is to say, not very much, or only when I'm starving.
My friend sends me photographs of the plane crash
in Curaçao and says they're opening a restaurant there,
people eating among the dead, which I find gruesome,
but she says isn't Manhattan built on a slave cemetary,
and every time I'm in an airport I see all the unmade beds,
the houseplants too shriveled to save. I'm afraid of sleep this week.
Next week it'll be something else: mosquitoes, black holes,
the snap of fireworks from one rooftop to another.
It's like how I liked about getting sober: it was hard.
I'd pretend it was a road trip, that I'd be drinking again
on Saturday, and the Mondays and Wednesdays would tick by
until it was Saturday, and I'd lie to myself again,
it's too humid to drink today, I'll drink tomorrow,
and tomorrow would be my mother's birthday, then
Monday would arrive like an artless, triling wife.
This is how a year passed, with hundreds of lies,
like that midnight walk in the French countryside dark,
my sister giggling nervously, no streetlamp for miles,
one footstep after the other, and the only way out ahead.
from The Twenty-Ninth Year: Poems by Hala Alyan. Copyright © 2019 by Hala Alyan. Used by permission by Houghton Mifflin Harcourt. All rights reserved.
Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.
Before you learn the tender gravity of kindness
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.
Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing.
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.
Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to gaze at bread,
only kindness that raises its head
from the crowd of the world to say
It is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend.
From Words Under the Words: Selected Poems. Copyright © 1995 by Naomi Shihab Nye. Reprinted with the permission of the author.
In the room almost filled with our bed,
the small bedroom, the king-sized bed high up
and on casters so sometimes we would roll,
in the room in the corner of the corner
apartment on top of a hill so the bed would roll,
we felt as if we might break off and drift,
float, and become our own continent.
When your mother first entered our apartment
she went straight to that room and libated our bed
with water from your homeland. Soon she saw
in my cheeks the fire and poppy stain,
and soon thereafter on that bed came the boy.
Then months, then the morning I cracked first one
then two then three eggs in a white bowl
and all had double yolks, and your mother
(now our mother) read the signs. Signs everywhere,
signs rampant, a season of signs and a vial
of white dirt brought across three continents
to the enormous white bed that rolled
and now held three, and soon held four,
four on the bed, two boys, one man, and me,
our mother reading all signs and blessing our bed,
blessing our bed filled with babies, blessing our bed
through her frailty, blessing us and our bed,
blessing us and our bed.
She began to dream
of childhood flowers, her long-gone parents.
I told her my dream in a waiting room:
a photographer photographed women,
said her portraits revealed their truest selves.
She snapped my picture, peeled back the paper,
and there was my son’s face, my first son, my self.
Mamma loved that dream so I told it again.
And soon she crossed over to her parents,
sisters, one son (War took that son.
We destroy one another), and women came
by twos and tens wrapped in her same fine white
bearing huge pans of stew, round breads, homemade wines,
and men came in suits with their ravaged faces
and together they cried and cried and cried
and keened and cried and the sound
was a live hive swelling and growing,
all the water in the world, all the salt, all the wails,
and the sound grew too big for the building and finally
lifted what needed to be lifted from the casket and we quieted
and watched it waft up and away like feather, like ash.
Daughter, she said, when her journey began, You are a mother now,
and you have to take care of the world.
From Crave Radiance: New and Selected Poems 1990–2010 (Graywolf Press, 2010). Copyright © 2010 by Elizabeth Alexander. Used with the permission of The Permissions Company, Inc., on behalf of Graywolf Press.