I understand what
a jump shot is,
certain mechanics

of the body, hand
positions, elbow
alignment, follow

through. Enough
player names to
mention around

the imaginary water-
cooler if I found
myself there. A body

at rest still needs
to hydrate. I cried
watching Bird

and Magic in that
documentary and
own a small collection

of expensive high-top
sneakers in various
colorways—used

exclusively to walk
my pets or to the
coffee shop for

an almond croissant.
Fresh to death. On
my mantle, four second

place trophies from
intramural wrestling
all before fifth grade.

Pitter patter sprawl.
I can’t remember
swimming. I mean,

I can’t swim. I can’t
drive. Sometimes
I miss a high five,

the pat on the ass.
I swung and missed
at tee-ball, golf. Traded

cards for the love
of the potential investment.
George Brett, I’ll always

love your name.
I appreciate highlights,
trick plays as much as

the next: The Statue
of Liberty, Flea Flickers,
The Changing Light

at Sandover. I was
born in the suburbs
of the city of brotherly

bullies, poor sports,
famous boo-ers and
stadium court houses.

I was the only boy
cut from my seventh
grade soccer team.

It’s in my blood to lose
at all games, even Uno,
especially Monopoly,

and when I do, I spit
into my palm or refuse
to shake hands.

Copyright © 2015 Brett Fletcher Lauer. Originally published in the Winter 2015 issue of Prairie Schooner. Used with permission of Prairie Schooner

   after practice: right foot
to left foot, stepping forward and back, 
   to right foot and left foot,
and left foot up to his thigh, holding 
   it on his thigh as he twists
around in a circle, until it rolls 
   down the inside of his leg,
like a tickle of sweat, not catching 
   and tapping on the soft
side of his foot, and juggling
   once, twice, three times,
hopping on one foot like a jump-roper 
   in the gym, now trapping
and holding the ball in midair, 
   balancing it on the instep
of his weak left foot, stepping forward 
   and forward and back, then
lifting it overhead until it hangs there; 
   and squaring off his body,
he keeps the ball aloft with a nudge 
   of his neck, heading it
from side to side, softer and softer, 
   like a dying refrain,
until the ball, slowing, balances 
   itself on his hairline,
the hot sun and sweat filling his eyes 
   as he jiggles this way
and that, then flicking it up gently, 
   hunching his shoulders
and tilting his head back, he traps it 
   in the hollow of his neck,
and bending at the waist, sees his shadow, 
   his dangling T-shirt, the bent
blades of brown grass in summer heat; 
   and relaxing, the ball slipping
down his back. . .and missing his foot.

   He wheels around, he marches 
over the ball, as if it were a rock
   he stumbled into, and pressing
his left foot against it, he pushes it
   against the inside of his right 
until it pops into the air, is heeled
   over his head—the rainbow!—
and settles on his extended thigh before
   rolling over his knee and down 
his shin, so he can juggle it again
   from his left foot to his right foot
—and right foot to left foot to thigh—
   as he wanders, on the last day
of summer, around the empty field.

From Motion: American Sports Poems, edited by Noah Blaustein. Copyright © 2001 by Christopher Merrill. Used with permission. All rights reserved.

Downhill I came, hungry, and yet not starved;
       Cold, yet had heat within me that was proof
       Against the North wind; tired, yet so that rest
       Had seemed the sweetest thing under a roof.

Then at the inn I had food, fire, and rest,
       Knowing how hungry, cold, and tired was I.
       All of the night was quite barred out except
       An owl’s cry, a most melancholy cry

Shaken out long and clear upon the hill,
       No merry note, nor cause of merriment,
       But one telling me plain what I escaped
       And others could not, that night, as in I went.

And salted was my food, and my repose,
       Salted and sobered, too, by the bird’s voice
       Speaking for all who lay under the stars,
       Soldiers and poor, unable to rejoice.

This poem is in the public domain.

Such glorious faith as fills your limpid eyes,
       Dear little friend of mine, I never knew.
All-innocent are you, and yet all-wise.
       (For heaven’s sake, stop worrying that shoe!)
You look about, and all you see is fair;
       This mighty globe was made for you alone.
Of all the thunderous ages, you’re the heir.
       (Get off the pillow with that dirty bone!)

A skeptic world you face with steady gaze;
       High in young pride you hold your noble head;
Gayly you meet the rush of roaring days.
       (Must you eat puppy biscuit on the bed?)
Lancelike your courage, gleaming swift and strong,
       Yours the white rapture of a wingèd soul,
Yours is a spirit like a May-day song.
       (God help you, if you break the goldfish bowl!)

“Whatever is, is good,” your gracious creed.
       You wear your joy of living like a crown.
Love lights your simplest act, your every deed.
       (Drop it, I tell you—put that kitten down!)
You are God’s kindliest gift of all,—a friend.
       Your shining loyalty unflecked by doubt,
You ask but leave to follow to the end.
       (Couldn’t you wait until I took you out?)

From Enough Rope (Boni & Liveright, 1926) by Dorothy Parker. This poem is in the public domain.

I told Alli I really wanted
to write a poem called “Dog Park.”

In bed she’s like you could make it
a New Yorker poem, where you
go to a dog park and then have some
huge epiphany. And then we
have a soft debate as to whether
a poem called “Dog Park”
needs a dog park in it or
not, or even a dog. I dunno.

But I do I know I don’t want
to get up out of bed, not now,
five milligrams of warm indica
coaxing me into its native land
of sleep, to write down Alli’s
idea for my poem “Dog Park”
and I tell her so and she says
get up, you’re a poet, and it’s
true, so I shuffle off this
warm, magnificent mattress,
firm as the back of a Golden
Retriever in the prime of life.

The blinds in the bedroom
are shut tight against the mean
lights of the Pacific East Mall
that moan all night and make
the nearby bedrooms bright.
But I get up, ugh, to write
down what might be the
beginning of a poem called
“Dog Park,” with or without a
dog park or even a dog. And
obviously you’d rather be
a cloud than a poet, Jesus.
Or the plastic tip of a vape pen
or the floating lint in the store
where they sell beds and sheets
and pillows and duvets or even
a grody hunk of sand on the
ground of a dog park, my
nightmare. But it will just
take a minute or two, and then
I can pee one last time with
impunity, double check the
door is locked, go back to bed,
wait for the next one.

Copyright © 2020 by Brandon Brown. Originally published in Poem-a-Day on December 29, 2020, by the Academy of American Poets.