1

   In this country, we do not bury the dead. We enclose them like dolls in glass cases and decorate our houses with them.
   People, especially the cultivated ones from old families, live surrounded by multitudes of dignified dead. Our living rooms and parlors, even our dining rooms and our bedrooms, are filled with our ancestors in glass cases. When the rooms become too full, we use the cases for furniture.
   On top of where my twenty-five-year-old great-grandmother lies, beautiful and buried in flowers, we line up the evening soup bowls.

2

   We do not sing in chorus. When four people gather, we weave together four different melodies. This is what we call a relationship. Such encounters are always a sort of entanglement. When these entanglements come loose, we scatter in four directions, sometimes with relief, sometimes at wit's end.

3

   I wrote that we scatter in four directions, but I did not mean that we merely return home, scattering from one another like rays of light radiating from a single source.
   When there is no more need to be together, we scatter in four different directions, but none of us ever breaks the horizon with our tread.
   Because people are afraid at the thought of their feet leaving the earth, we turn around one step before reaching the horizon. After thirty years, those faces we wished to see never again enter our fields of vision.

4

   In this country, everyone fears midday. In the daytime, the dead are too dead. Bathed in the sharp view of the sun, our skin crawls, and we shudder.
   When the nights, vast and deaf, vast and blind, descend with size great enough to fill the distances between us, we remove our corsets and breathe with relief. When we lie down to sleep at the bottom of the darkness, we are nearly as content as the corpses around us.

5

   The sight of fresh new leaves scares us. Who is to say that those small buds raising their faces upon the branches are not our own nipples? Who is to say that the soft, double blades of grass stretching from the wet earth are not the slightly parted lips of a boy?

6

   In the springtime, when green begins to invade our world, there is no place for us to take refuge outside, and so we hide in the deepest, darkest recesses of our houses. Sometimes we crane our necks from where we hide between our dead brothers, and we gaze at the green hemisphere swelling before our eyes. We are troubled by many fevers; we live with thermometers tucked under our arms.
   Do you know what it means to be a woman, especially to be a woman in this country, during the spring?
   When I was fifteen, becoming a woman frightened me. When I was eighteen, being a woman struck me as loathsome. Now, how old am I? I have become too much of a woman. I can no longer return to being human; that age is gone forever. My head is small, my neck long, and my hair terribly heavy.

7

   We can smile extremely well. So affable are our smiles that they are always mistaken for the real thing. Nonetheless, if by some chance our smiles should go awry, we fall into a terrible state. Our jaws slacken, and our faces disintegrate into so many parts.
   When this happens, we cover our faces with our handkerchiefs and withdraw. Shutting ourseleves alone in a room, we wait quietly until our natural grimace returns.

8

   During our meals, sometimes a black, glistening insect will dart diagonally across the table. People know perfectly well where this giant insect comes from. When it dashes between the salad and the loaf of bread, people fall silent for a moment, then continue as if nothing had happened.
   The insect has no name. That is because nobody has ever dared talk about it.

9

   Three times each day, all of the big buildings sound sirens. The elementary schools, theaters, and even the police stations raise a long wail like that of a chained beast suffering from terrible tedium.
   No matter where one is in this country, one cannot escape this sound—not even if one is making love, not even if one peering into the depths of a telescope.
   Yes, there are many telescopes in this country. There is always a splendid telescope at each major intersection in town. People here like to see things outside of their own country. Every day many people, while looking through the lens of one of these telescopes, are struck by stray cars and killed.

10

   When the faint aroma of the tide wafts upon the wind into town, people remember that this country lies by the sea. This sea, however, is not there for us to navigate; it is there to shut us in. The waves are not there to carry us; they continue their eternal movement so we will give up all hope.
   Like the waves that roll slowly from the shore, we sigh heavily. We throw our heads back, then hang them in resignation. We crumple to the ground, our skirts fanning over the dunes...

11

   Ignorant of all this, trading ships laden with unknown products, move into the harbor. People speak in unknown languages; unknown faces appear and disappear. Ah, how many times have I closed my eyes and covered my ears against the wail of the sirens while sending my heart from the harbor on board one of those ships?

From The Forest of Eyes by Tada Chimako, translated by Jeffrey Angles. Copyright © 2010 by Tada Chimako and Jeffrey Angles. Used by permission of University of California Press. All rights reserved.

The deed is done, O Kings: the blood is shed:
   The sword is broken:—broken, too, the Cross.
But she, the mother eternal of the dead,
   Though sorrow-laden, smiles at the loss.

You go down grimed with the blood and smoke of wars;
   Your armies scattered and your banners furled;
She comes down covered with the dust of stars,
   And gives her life again to build the world.

From A Chant of Mystics (James T. White & Co., 1921) by Ameen Rihani. This poem is in the public domain.

I went down to the river,
I set down on the bank.
I tried to think but couldn't,
So I jumped in and sank.

I came up once and hollered!
I came up twice and cried!
If that water hadn't a-been so cold
I might've sunk and died.

     But it was      Cold in that water!      It was cold!

I took the elevator
Sixteen floors above the ground.
I thought about my baby
And thought I would jump down.

I stood there and I hollered!
I stood there and I cried!
If it hadn't a-been so high
I might've jumped and died.

     But it was      High up there!      It was high!

So since I'm still here livin',
I guess I will live on.
I could've died for love—
But for livin' I was born

Though you may hear me holler,
And you may see me cry—
I'll be dogged, sweet baby,
If you gonna see me die.

     Life is fine!      Fine as wine!      Life is fine!

From The Collected Poems of Langston Hughes, published by Alfred A. Knopf, Inc. Copyright © 1994 the Estate of Langston Hughes. Used with permission.

For my people everywhere singing their slave songs
     repeatedly: their dirges and their ditties and their blues 
     and jubilees, praying their prayers nightly to an
     unknown god, bending their knees humbly to an
     unseen power;

For my people lending their strength to the years, to the 
    gone years and the now years and the maybe years,
    washing ironing cooking scrubbing sewing mending
    hoeing plowing digging planting pruning patching
    dragging along never gaining never reaping never
    knowing and never understanding;

For my playmates in the clay and dust and sand of Alabama
    backyards playing baptizing and preaching and doctor
    and jail and soldier and school and mama and cooking
    and playhouse and concert and store and hair and Miss
    Choomby and company;

For the cramped bewildered years we went to school to learn 
    to know the reasons why and the answers to and the
    people who and the places where and the days when, in
    memory of the bitter hours when we discovered we
    were black and poor and small and different and nobody
    cared and nobody wondered and nobody understood;

For the boys and girls who grew in spite of these things to
    be man and woman, to laugh and dance and sing and
    play and drink their wine and religion and success, to
    marry their playmates and bear children and then die
    of consumption and anemia and lynching;

For my people thronging 47th Street in Chicago and Lenox
    Avenue in New York and Rampart Street in New
    Orleans, lost disinherited dispossessed and happy
    people filling the cabarets and taverns and other
    people’s pockets needing bread and shoes and milk and
    land and money and something—something all our own;

For my people walking blindly spreading joy, losing time
     being lazy, sleeping when hungry, shouting when
     burdened, drinking when hopeless, tied, and shackled
     and tangled among ourselves by the unseen creatures
     who tower over us omnisciently and laugh;

For my people blundering and groping and floundering in
     the dark of churches and schools and clubs and
     societies, associations and councils and committees and 
     conventions, distressed and disturbed and deceived and
     devoured by money-hungry glory-craving leeches,
     preyed on by facile force of state and fad and novelty, by
     false prophet and holy believer;

For my people standing staring trying to fashion a better way
    from confusion, from hypocrisy and misunderstanding,
    trying to fashion a world that will hold all the people,
    all the faces, all the adams and eves and their countless
    generations;

Let a new earth rise. Let another world be born. Let a
    bloody peace be written in the sky. Let a second
    generation full of courage issue forth; let a people
    loving freedom come to growth. Let a beauty full of
    healing and a strength of final clenching be the pulsing
    in our spirits and our blood. Let the martial songs
    be written, let the dirges disappear. Let a race of men now 
    rise and take control.

From This Is My Century: New and Collected Poems (University of Georgia Press, 1989). Copyright © 1989 by Margaret Walker. Used with permission of the University of Georgia Press.

Two evils, monstrous either one apart,
Possessed me, and were long and loath at going:
A cry of Absence, Absence, in the heart,
And in the wood the furious winter blowing.

Think not, when fire was bright upon my bricks
And past the tight boards hardly a wind could enter,
I glowed like them, the simple burning sticks,
Far from my cause, my proper heat, my center.

Better to walk forth in the murderous air
And wash my wound in the snows; that would be healing,
Because my heart would throb less painful there,
Being caked with cold, and past the smart of feeling.

Which would you choose, and for what boot in gold,
The absence, or the absence and the cold?

This poem is in the public domain. Published in Poem-a-Day on January 8, 2023, by the Academy of American Poets.