The world is a beautiful place
to be born into
if you don’t mind happiness
not always being
so very much fun
if you don’t mind a touch of hell
now and then
just when everything is fine
because even in heaven
they don’t sing
all the time
The world is a beautiful place
to be born into
if you don’t mind some people dying
all the time
or maybe only starving
some of the time
which isn’t half so bad
if it isn’t you
Oh the world is a beautiful place
to be born into
if you don’t much mind
a few dead minds
in the higher places
or a bomb or two
now and then
in your upturned faces
or such other improprieties
as our Name Brand society
is prey to
with its men of distinction
and its men of extinction
and its priests
and other patrolmen
and its various segregations
and congressional investigations
and other constipations
that our fool flesh
is heir to
Yes the world is the best place of all
for a lot of such things as
making the fun scene
and making the love scene
and making the sad scene
and singing low songs of having
inspirations
and walking around
looking at everything
and smelling flowers
and goosing statues
and even thinking
and kissing people and
making babies and wearing pants
and waving hats and
dancing
and going swimming in rivers
on picnics
in the middle of the summer
and just generally
‘living it up’
Yes
but then right in the middle of it
comes the smiling
mortician
From A Coney Island of the Mind, copyright © 1955 by Lawrence Ferlinghetti. Reprinted by permission of New Directions Publishing Corp.
Wet Charles dropped by the homeboys
in his busted high-top burgundy Chucks, hand
out for a buck, or two, from us young bucks,
also rocking Chucks, trying to cop a couple ends
for a few gallons of gas or diapers for his newborn
daughter. Wet Charles could spin into splits. Quick
to say
he never begged, traded, or borrowed
anything he couldn’t first steal. The highest point
in many homes is the attic. The jester’s hat
jingles. The dope fiend’s pipe rings.
Is it the fire or the smoke that makes a comedian?
Even when I mad-dogged Charles, telling him
to kick rocks with them ashy-as-hell Chucks
I never actually looked into the stones
of his eyes. I had known him since childhood,
we all had, before he began chasing a rock
up and down a hill.
Stoned every day. Think of addiction as never being
able to find your phone. We were not embarrassed
by Charles but by what we might one day become.
The way bigger sand tiger shark embryos
feed on smaller embryos in the womb,
we served classmates we had joked with in gym.
Slanging dope smokes up your sense of humor.
We never understood why the police chuckled
“circumstances” as the reason for harassing us
when we stood in a circle smoking on the block.
Charles didn’t dozen about dope, just surged
in his circuit, looking for ways to get high.
Biking from the trolley to the Four Corners
of Death, the intersection of Euclid and Imperial:
Greene Cat Liquor, Réal taco shop, the gas station,
what was Huffman’s BBQ,
where the only constant were entrepreneurial
young men setting up corners in front of constantly
changing businesses with hastily painted front windows,
where the persistence of the C
in “Chicken Shack”
could still be seen on the glass door
of the new no contract cell phone store.
Archetypes have a way of worming into beauty.
The flaw is the small writing of a hero.
Through what crack did Orpheus
sneak a minute fire from hell?
The sweet chemical scent of someone smoking rock
in a broken light bulb is a plasticity I can’t forget.
I didn’t pay any mind to the moralism of Nancy Reagan’s
eggs or D.A.R.E. commercials in the eighties.
As we went most of those dampened days lighting
something, or other, listening to the mercurial philosophies
of Ice Cube, Wu-Tang, Spice-1,
or Sugar Free. We smoked water, or what a hip
toxicologist might nasally call angel dust.
You can be full of agua and not well.
If you’re not careful, time will find you a fiend.
I’m told
that rappers name themselves
now with Lil or Young followed
by randomly chosen abstractions: Lil e.g.
Young i.e.
Back in the stone age of hip-hop,
in the early nineties,
late eighties, so the stories go, rappers
went into the kitchen and whatever
they had milk and honey
of, voila, they had their stage name.
I was just another empty, scattered wrapper
on a sidewalk in the city.
That’s how I became Slim Jim.
Though, that was more about stealing
cars than beef.
We would spend summer evenings at the wooden
roller coaster in Pacific Beach, never going
on the ride but circling the beautiful
boardwalk that was only slightly less majestic
than the older homie’s
primer-painted Glasshouse
convertible with three tall
white walls and one ever altering spare.
Everything was so gorgeous in the back
seat of that Impala.
The moon was so brilliant in the sky.
It was quite the shiner.
I’d watch the women around my way
rub petroleum jelly on their forehead,
then their cheekbones, before a fight.
Taking off your golden earrings
does not make hearing
the truth any easier, but that water
made the bass and elasticated cadence
of “Pocket Full of Stones” even more
resonant as we waded the highways home
from the rollercoaster with a trunk full of
18” box speakers rattling our bodies:
six sixteen-year-olds in the cramped
back seat of a Datsun Wagon trying
to release our own trapped music.
Copyright © 2021 by David Tomas Martinez. Originally published in Poem-a-Day on December 10, 2021, by the Academy of American Poets.
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I'll be at the table
When company comes.
Nobody'll dare
Say to me,
“Eat in the kitchen,”
Then.
Besides,
They'll see how beautiful I am
And be ashamed—
I, too, am America.
From The Collected Poems of Langston Hughes, published by Knopf and Vintage Books. Copyright © 1994 by the Estate of Langston Hughes. All rights reserved. Used by permission of Harold Ober Associates Incorporated.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
From The Poems of Dylan Thomas, published by New Directions. Copyright © 1952, 1953 Dylan Thomas. Copyright © 1937, 1945, 1955, 1962, 1966, 1967 the Trustees for the Copyrights of Dylan Thomas. Copyright © 1938, 1939, 1943, 1946, 1971 New Directions Publishing Corp. Used with permission.
My friends are dead who were
the arches the pillars of my life
the structural relief when
the world gave none.
My friends who knew me as I knew them
their bodies folded into the ground or burnt to ash.
If I got on my knees
might I lift my life as a turtle carries her home?
Who if I cried out would hear me?
My friends—with whom I might have spoken of this—are gone.
Copyright © 2022 by Marie Howe. Originally published in Poem-a-Day on February 22, 2022, by the Academy of American Poets.