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.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
From Homage to Clio by W. H. Auden, published by Random House. Copyright © 1960 W. H. Auden, renewed by the Estate of W. H. Auden. Used by permission of Curtis Brown, Ltd.
Translated from Portuguese by John Keene
I am a black renegade
I refuse the mirror daily
Which tries to massacre me inside
Which tries to deceive me with white lies
Which tries to discolor me with its rays of light
I am a black renegade
Determined to face the system
I drum up the black without a hitch
I bum-rush the stage
I am a black renegade
I advocate a necessary darkening
I unmask any racists in the closet
I shove my foot in the door and walk in
Originally published in the December 2018 issue of Words Without Borders. © Cristiane Sobral. By arrangement with the author. Translation © 2018 by John Keene. All rights reserved.
The train came with a police officer
on his gun. He shifts his weight
against the door. A flash back loads
the first time a service weapon was pulled in my face;
the second time it made me lay on the ground;
the third time it put my hands in the air; the fourth time
it pushed me against a wall; the fifth time
it told me it was just doing its job; the sixth time
it kicked my feet apart; the seventh time
it followed me home; the eighth time it grabbed my shirt collar.
Read the signs: it’s illegal to move
between cars.
Read the signs; my body knows
how Klan-rally a cop’s gun feels at eye level.
The ninth time the barrel cocked its head;
the tenth time, it told me it missed me
the last time; it said, burning black bodies is a tradition
it was raised on; the eleventh time the safety and trigger argued
through a range of black fiction. I could’ve been
any made-up one of us: Ricky or Wee-Bey
Mad Max or Tray; we all look the same under the right racism
anyway; the twelfth time it dared me to swing; the thirteenth time
I thought about it; the fourteenth time, I almost did it;
the fifteenth time, there were no cellphones; the sixteenth time
just covered badges; the seventeenth time
it searched me for the broken laws it thought I was;
the eighteenth time I assumed the position without anything
being said.
Copyright © 2020 by Jive Poetic. Originally published in Poem-a-Day on July 20, 2020 by the Academy of American Poets.
It's right next to a Polariod booth.
The instructions say the needles are small
and barely felt. The pictures, it explains,
have nudity, but no gratuitous nudity.
Special imaging equipment considers
the color value of your own skin
and calibrates your reactions
to words shouted in your headphones.
You know what words. Reading the instructions
brings some of these words to mind. You wonder
if this is part of the evaluation, if people
who are not racist think only of beautiful flowers,
or are beautiful flowers the very basis of racism?
Does everyone love the violet equally?
Does everyone think the tulip's been overdone?
You try to think of a brown flower.
There are some. You've seen them in catalogs.
They're called "chocolate." Black flowers, too,
with varieties named Nightwatch,
Black Pearl, a lily named Naomi Campbell.
Thinking of this makes you hopeful
the machine will know you're not a racist.
Or does remembering a black flower was named
Naomi Campbell mean you're a racist?
The inside of the booth is dimly lit with walls
that look as if they could swiftly close together.
Like a grape, you'd pop right out of your skin.
Copyright © 2015 by Karen Skolfield. Originally published in Split This Rock’s The Quarry: A Social Justice Poetry Database.