^{for Sakia Gunn}

Sakia, if you had the weapon of your last name,

I would not know you. This steady scrape

against paper to transport fecund lament, never.

If in your hands the pearl-handled gun

my stepfather kept in the broom closet—

I'd give you the aim I practiced at twelve.

“Home is where the heart is” marks an

average man’s forehead and the trashcan

is somewhere near his jewels.

If you brought me roses in high school,

wrapped in newspaper to protect me from thorns,

I would take them, and wash ink from my fingers

in the jeans and jersey flood of your girlboy body.

Let me be your girl.

4-evah 2 eternity onto my back.

Your finger's ballpoint end, again and again

practices the heart over i, and into the morning

we stash whispers where over thread, thread crosses.

I promise

I have impeccable aim.

Pulling a trigger loosens mustangs

in your veins. Piss into my mortar—an old war

recipe makes bullets complete. Let your shower

wash an asshole from the streets.

If blood quickly betrays its avenues

for Newark's sidewalks, his shirt tires of its thirst....

If his buddy drives him to the hospital

or leaves him to watch the night unspool—

what a Jacob's Ladder he makes...

If you're shocked your life requires this exchange,

come into my arms, Sakia. Come into my arms.

Click on the icon above to listen to this audio poem.

^{para mi abuela en la isla}

A hurricane destroyed your sense of home
and all you wanted was to pack your bags
in dead of night, still waving mental flags,
forgetting the nation is a syndrome.
All that’s left of the sea in you is foam,
the coastline's broken voice and all its crags.
You hear the governor admit some snags
were hit, nada, mere blips in the biome,
nothing that private equity can’t fix
once speculators pour into San Juan
to harvest the bad seed of an idea.
She tells you Santa Clara in ’56
had nothing on the brutal San Ciprián,
and yes, your abuela’s named María.

Thoughts of Katrina and the Superdome,
el Caribe mapped with blood and sandbags,
displaced, diasporic, Spanglish hashtags,
a phantom tab you keep on Google Chrome,
days of hunger and dreams of honeycomb.
Are souls reborn or worn thin like old rags?
The locust tree still stands although it sags,
austere sharks sequence the island’s genome
and parrots squawk survival politics
whose only power grid is the damp dawn.
There is no other way, no panacea.
Throw stuff at empire’s walls and see what sticks
or tear down the walls you were standing on?
Why don’t you run that question by María?

Beyond the indigenous chromosome,
your gut genealogy’s in chains and gags,
paraded through the colonies’ main drags
and left to die. So when you write your tome
please note: each word must be a catacomb,
must be a sepulcher and must be a
cradle in some sort of aporía
where bodies draw on song as guns are drawn,
resilient, silent h in huracán.
Your ache-song booms ashore. Ashé, María.

This is not how it begins
but how you understand it.
 
I walk many kilometers and
find myself to be the same—
 
the same moon hovering over
the same, bleached sky,
 
and when the officer calls me
it is a name I do not recognize,
a self I do not recognize.
 
We are asked to kneel, or
stand still, depending on which land
we embroider our feet with—
 
this one is copious with black blood
or so I am told.
 
Someone calls me by the skin
I did not know I had
and to this I think—language,
 
there must be a language
that contains us all
that contains all of this.
 
How to disassemble
the sorrow of beginnings,
 
how to let go, and not,
how to crouch beneath other bodies
how to stop breathing, how not to.
 
Our fathers are not elders here;
they are long-bearded men
shoving taxi cabs and sprawled
in small valet parking lots—
 
at their sight, my body dims its light
(a desiccated grape)
and murmur, Igziabher Yistilign—
our pride, raw-purple again.
 
We begin like this: all of us
walking in solitude
walking a desert earth and
unforgiving bodies. We cross lines
we dare not speak of; we learn and
unlearn things quickly, or intentionally slow
(because, that, we can control)
and give ourselves new names
because these selves must be new
to forget the old blue.
 
But, sometimes, we also begin like this:
on a cold, cold night
memorizing escape routes
kissing the foreheads of small children
hiding accat in our pockets,
a rosary for safekeeping.
 
Or, married off to men thirty years our elders
big house, big job, big, striking hands.
 
Or, thinking of the mouths to feed.
 
At times
we begin in silence;
 
water making its way into our bodies—
rain, or tears, or black and red seas
until we are ripe with longing.

I thought I could stop 
time by taking apart 
the clock. Minute hand. Hour hand.

Nothing can keep. Nothing 
is kept. Only kept track of. I felt

passing seconds 
accumulate like dead calves 
in a thunderstorm

of the mind no longer a mind 
but a page torn 
from the dictionary with the definition of self

effaced. I couldn’t face it: the world moving

on as if nothing happened. 
Everyone I knew got up. Got dressed. 
Went to work. Went home.

There were parties. Ecstasy. 
Hennessy. Dancing 
around each other. Bluntness. Blunts

rolled to keep 
thought after thought 
from roiling

like wind across water— 
coercing shapelessness into shape.

I put on my best face. 
I was glamour. I was grammar.

Yet my best couldn’t best my beast.

I, too, had been taken apart. 
I didn’t want to be 
fixed. I wanted everything dismantled and useless

like me. Case. Wheel. Hands. Dial. Face.

This path our people walked
one hundred two hundred              endless years
since the tall grass opened for us
and we breathed the incense that sun on prairie
                                                             offers to sky

Peace offering with each breath
each footstep           out of woods
to grasslands plotted with history
removal   remediation                     restoration

Peace flag of fringed prairie orchid
green glow within white froth
calling a moth who nightly
seeks the now-rare scent                 invisible to us

invisible history of this place
where our great-grandfather         a boy
beside two priests and 900 warriors
gaze intent in an 1870 photo         
                                                             his garments white as orchids

Peace flag                                           white banner with red cross
crowned with thorns                       held by a boy              
at the elbow of a priest   
beside Ojibwe warriors                   beside Dakota warriors

Peace offered after smoke and dance
and Ojibwe gifts of elaborate beaded garments
thrown back in refusal  
by Dakota Warriors                         torn with grief  
                                                             since their brother’s murder

This is the path our people ran
through white flags of prairie plants
Ojibwe calling Dakota back
to sign one last and unbroken treaty

Peace offering with each breath
each footstep                out of woods
to grasslands plotted with history
removal   remediation                     restoration

Two Dakota    held up as great men
humbled themselves
to an offer of peace
before a long walk south

before our people entered the trail
walking west and north
                                                           where you walk now
where we seek the source

the now-rare scent
invisible as history
history the tall grass opens for us
                                                            Breathe the incense of sun on prairie
                                                            Offer peace to the sky

^{The Crisis Magazine, June 1967}

On the cover, Negro men playing checkers
in the park. Some wear hats, while others wear
waves in their hair. Either way, they’re all clean
and their strategy brims as sharp as their 
suits. Within these pages, they’re playing chess,

protecting future children, as they wear
ties, dress shirts, shined shoes—looking clean
and ready for business or for battle. And their
plan? No longer will textbooks be used as chess
pieces to keep Negro children in check.

Sound familiar? Schools will be pushed to clean
bookshelves of the white-washed lessons of their
past. The NAACP opens minds like games of chess,
and all excuses for hiding a country’s checkered
past will be dismissed. Despite segregation’s wear

and tear from school boards, and the fear of their
white parents, henchmen, bullies—all just chess
pieces, really, but jumping laws like checkers
when life is more complex—books remain where
the mind cannot hide. Either you come clean

and admit your ignorance, or be a pawn on the chess
board of intellect, banning books. They think check-
mate! But when I see Crisis in a library archive where
we still argue to be seen, I lose patience. Kleenex,
please, for Karens clutching their pearls! I pray their

white kids are reading Langston Hughes in a public library: √.
But one state over, bookshelves have no Black authors, cleaned
out. Our books remain under attack, Kings in a game of chess.

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