After the earth finally touches the sun, and the long explosion stops suddenly like a heart run down, the world might seem white and quiet to something that watches it in the sky at night, so something might feel small, and feel nearly human pain. But it won't happen again: the long nights wasted alone, what's done in doorways in the dark by the young, and what could have been for some. Think of all the lovers and the friends! Who does not gather his portion of them to himself. at least in his mind? Sex eased through everyone, even when slipping into death as into a beloved's skin, and prying out again to find the body slumped, muscles slack. and bones begun their turn to dust. Then no one minds when one lover holds another, like an unloaded sack. But the truth enters at the end of life. It enters like oxygen into every cell and the madness it feeds there in some is only a lucid metaphor for something long burned to nothing, like a star. How do you get under your desire? How do you peel away each desire like ponderous clothes, one at a time, until what's underneath is known? We knew genitals as small things and we were ashamed they led us around, even if the hill where we'd lie down was the same hill the universe unfolded upon all night, as we watched the stars, when for once our breathing seemed to blend. Each time, from that sweet pressure of hands, or the great relief of the mouth, a person can be led out of himself Isn't it lonely in the body? The myth says we ooze about as spirits until there's a body made to take us, and only flesh is created by sex. That's why we enter sex so relentlessly, toward the pleasure that comes when we push down far enough to nudge the spirit rising to release, and the pleasure is pleasure of pure spirit, for a moment all together again. So sex returns us to beginning, and we moan. Pure sex becomes specific and concrete in a caress of breast or slope of waist: it flies through itself like light, it sails on nothing like a wing, when someone's there to be touched, when there's nothing wrong. So the actual is touched in sex, like a breast through cloth: the actual rising plump and real, the mind darting about it like a tongue. This is where I wanted to be all along: up in the world, in touch with myself. . . Sex, invisible priestess of a good God, I think without you I might just spin off. I know there's no keeping you close, as you flick by underneath a sentence on a train, or transform the last thought of an old nun, or withdraw for one moment alone. Who tells you what to do or ties you down! I'd give up the rest to suck your dark lips. I'd give up the rest to fix you exact in the universe, at the wildest edge where there's no such thing as shape. What a shame I am, if reaching the right person in a dim room, sex holds itself apart from us like an angel in an afterlife, and, with the ideas no one has even dreamed, it wails its odd music for pure mind. After there's nothing, after the big blow-up of the whole shebang, what voice from what throat will tell me who I am? Each throat on which I would have quietly set my lips will be ripped like a cheap sleeve or blown apart like the stopped-up barrel of a gun. What was inside them all the time I wanted always to rest my mouth upon? I thought most everything stuck dartlike in the half-dome of my brain, and hung there like fake stars in a planetarium. It's true that things there changed into names, that even the people I loved were a bunch of signs, so I felt most often alone. This is a way to stay alive and nothing to bemoan. We know the first time we extend an arm: the body reaches so far for so long. We grow and love to grow, then stop, then lie down. I wanted to bear inside me this tender outcome. I wanted to know if it made sex happen: does it show up surely in touch and talk? does it leak from the mind, as heat from the skin? I wanted my touching intelligent, like a beautiful song.
From New and Selected Poems by Michael Ryan. Copyright © 2004 by Michael Ryan. Reprinted by permission of Houghton Mifflin Company. All rights reserved.
How desire is a thing I might die for. Longing a well,
a long dark throat. Enter any body
of water and you give yourself up
to be swallowed. Even the stones
know that. I have writhed
against you as if against the black
bottom of a deep pool. I have emerged
from your grip breathless
and slicked. How easily
I could forget you
as separate, so essential
you feel to me now. You
beneath me like my own
blue shadow. You silent as the moon
drifts like a petal
across your skin, my mouth
to your lip—you a spring
I return to, unquenchable, and drink.
Copyright © 2021 by Leila Chatti. Originally published in Poem-a-Day on January 14, 2021, by the Academy of American Poets.
There will be no stars—the poem has had enough of them. I think we can agree
we no longer believe there is anyone in any poem who is just now realizing
they are dead, so let’s stop talking about it. The skies of this poem
are teeming with winged things, and not a single innominate bird.
You’re welcome. Here, no monarchs, no moths, no cicadas doing whatever
they do in the trees. If this poem is in summer, punctuating the blue—forgive me,
I forgot, there is no blue in this poem—you’ll find the occasional
pelecinid wasp, proposals vaporized and exorbitant, angels looking
as they should. If winter, unsentimental sleet. This poem does not take place
at dawn or dusk or noon or the witching hour or the crescendoing moment
of our own remarkable birth, it is 2:53 in this poem, a Tuesday, and everyone in it is still
at work. This poem has no children; it is trying
to be taken seriously. This poem has no shards, no kittens, no myths or fairy tales,
no pomegranates or rainbows, no ex-boyfriends or manifest lovers, no mothers—God,
no mothers—no God, about which the poem must admit
it’s relieved, there is no heart in this poem, no bodily secretions, no body
referred to as the body, no one
dies or is dead in this poem, everyone in this poem is alive and pretty
okay with it. This poem will not use the word beautiful for it resists
calling a thing what it is. So what
if I’d like to tell you how I walked last night, glad, truly glad, for the first time
in a year, to be breathing, in the cold dark, to see them. The stars, I mean. Oh hell, before
something stops me—I nearly wept on the sidewalk at the sight of them all.
Copyright © 2019 by Leila Chatti. Originally published in Poem-a-Day on May 29, 2019, by the Academy of American Poets.
I will swing my lasso of headlights
across your front porch,
let it drop like a rope of knotted light
at your feet.
While I put the car in park,
you will tie and tighten the loop
of light around your waist —
and I will be there with the other end
wrapped three times
around my hips horned with loneliness.
Reel me in across the glow-throbbing sea
of greenthread, bluestem prickly poppy,
the white inflorescence of yucca bells,
up the dust-lit stairs into your arms.
If you say to me, This is not your new house
but I am your new home,
I will enter the door of your throat,
hang my last lariat in the hallway,
build my altar of best books on your bedside table,
turn the lamp on and off, on and off, on and off.
I will lie down in you.
Eat my meals at the red table of your heart.
Each steaming bowl will be, Just right.
I will eat it all up,
break all your chairs to pieces.
If I try running off into the deep-purpling scrub brush,
you will remind me,
There is nowhere to go if you are already here,
and pat your hand on your lap lighted
by the topazion lux of the moon through the window,
say, Here, Love, sit here — when I do,
I will say, And here I still am.
Until then, Where are you? What is your address?
I am hurting. I am riding the night
on a full tank of gas and my headlights
are reaching out for something.
“If I Should Come Upon Your House Lonely in the West Texas Desert” originally appeared in The New York Times Magazine (April 1, 2021). Used with permission of the poet.
A golden age of love songs and we still
can't get it right. Does your kiss really taste
like butter cream? To me, the moon's bright face
was neither like a pizza pie nor full;
the Beguine began, but my eyelid twitched.
"No more I love you's," someone else assured
us, pouring out her heart, in love (of course)—
what bothers me the most is that high-pitched,
undone whine of "Why am I so alone?"
Such rueful misery is closer to
the truth, but once you turn the lamp down low,
you must admit that he is still the one,
and baby, baby he makes you so dumb
you sing in the shower at the top of your lungs.
Copyright © 2012 by Rafael Campo. Used with permission of the author.
I never thought I’d keep a record of my pain
or happiness
like candles lighting the entire soft lace
of the air
around the full length of your hair/a shower
organized by God
in brown and auburn
undulations luminous like particles
of flame
But now I do
retrieve an afternoon of apricots
and water interspersed with cigarettes
and sand and rocks
we walked across:
How easily you held
my hand
beside the low tide
of the world
Now I do
relive an evening of retreat
a bridge I left behind
where all the solid heat
of lust and tender trembling
lay as cruel and as kind
as passion spins its infinite
tergiversations in between the bitter
and the sweet
Alone and longing for you
now I do
Copyright © 2017 by the June M. Jordan Literary Estate. Used with the permission of the June M. Jordan Literary Estate, www.junejordan.com.
Epithalamion? Not too long back
I was being ironic about “wives.”
It’s very well to say, creation thrives
on contradiction, but that’s a fast track
shifted precipitately into. Tacky,
some might say, and look mildly appalled. On
the whole, it’s one I’m likely to be called on.
Explain yourself or face the music, Hack.
No law books frame terms of this covenant.
It’s choice that’s asymptotic to a goal,
which means that we must choose, and choose, and choose
momently, daily. This moment my whole
trajectory’s toward you, and it’s not losing
momentum. Call it anything we want.
From Love, Death, and the Changing of the Seasons by Marilyn Hacker. Copyright © 1986 by Marilyn Hacker. Used by permission.
W
I
T
H
I
N
endless space
in tiny explosions of gasoline
my consciousness hardens into a wall.
I AM SEPARATE
from plum blossoms and mountains:
aching teeth become movies
as I grow
young again.
Dark hair
and eyebrows
S
W
I
R
L
in delighted delusion
BIG MEMORIES OF PLEASURE
enwrap a mind
as substantial
as
a
drift
of
snowflakes
onto a warm hood;
and less intelligent
than the thin
black
spider in the morning sink
before breakfast time.
Your smile is my kindness
and it thrills me
I
HAVE
NEVER
BEEN
SO
REAL
before
From Mule Kick Blues and Last Poems by Michael McClure. Copyright © 2021 by the Michael T. McClure Estate. Reprinted with permission of City Lights Books. citylights.com.
In the invitation, I tell them for the seventeenth time
(the fourth in writing), that I am gay.
In the invitation, I include a picture of my boyfriend
& write, You’ve met him two times. But this time,
you will ask him things other than can you pass the
whatever. You will ask him
about him. You will enjoy dinner. You will be
enjoyable. Please RSVP.
They RSVP. They come.
They sit at the table & ask my boyfriend
the first of the conversation starters I slip them
upon arrival: How is work going?
I’m like the kid in Home Alone, orchestrating
every movement of a proper family, as if a pair
of scary yet deeply incompetent burglars
is watching from the outside.
My boyfriend responds in his chipper way.
I pass my father a bowl of fish ball soup—So comforting,
isn’t it? My mother smiles her best
Sitting with Her Son’s Boyfriend
Who Is a Boy Smile. I smile my Hurray for Doing
a Little Better Smile.
Everyone eats soup.
Then, my mother turns
to me, whispers in Mandarin, Is he coming with you
for Thanksgiving? My good friend is & she wouldn’t like
this. I’m like the kid in Home Alone, pulling
on the string that makes my cardboard mother
more motherly, except she is
not cardboard, she is
already, exceedingly my mother. Waiting
for my answer.
While my father opens up
a Boston Globe, when the invitation
clearly stated: No security
blankets. I’m like the kid
in Home Alone, except the home
is my apartment, & I’m much older, & not alone,
& not the one who needs
to learn, has to—Remind me
what’s in that recipe again, my boyfriend says
to my mother, as though they have always, easily
talked. As though no one has told him
many times, what a nonlinear slapstick meets
slasher flick meets psychological
pit he is now co-starring in.
Remind me, he says
to our family.
Copyright © 2018 by Chen Chen. Originally published in Poem-a-Day on April 19, 2018, by the Academy of American Poets.
Sometimes you don’t die
when you’re supposed to
& now I have a choice
repair a world or build
a new one inside my body
a white door opens
into a place queerly brimming
gold light so velvet-gold
it is like the world
hasn’t happened
when I call out
all my friends are there
everyone we love
is still alive gathered
at the lakeside
like constellations
my honeyed kin
honeyed light
beneath the sky
a garden blue stalks
white buds the moon’s
marble glow the fire
distant & flickering
the body whole bright-
winged brimming
with the hours
of the day beautiful
nameless planet. Oh
friends, my friends—
bloom how you must, wild
until we are free.
Copyright © 2018 by Cameron Awkward-Rich. Originally published in Poem-a-Day on August 30, 2018, by the Academy of American Poets.
How old is the earth? I asked my machine, and it said: Five great extinctions, one in process, four and a half billion years.
It has always been very busy on Earth: so much coming and going! The terror and the hope ribboning through that.
Death, like a stray dog you kick out of the yard who keeps coming back—its scent of freedom and ruin—
Some people love death so much they want to give it to everyone.
Some are more selective.
Some people don’t know they’re alive.
—
Metabolic system, financial system, political system, eco-system—systems management, running around trying to put out fires—
Sodium nitrate. Sodium benzoate. Butylated Hydroxyanisole (to keep the food from rotting). Plastic (surgery). Botox, Viagra, cryo-chamber—
Voting backwards, into what
has already died—
Voting Zombie in the name of “change”—
And everywhere in fortune cookies, the oracular feint of a joke future—
where death is the trick candle on the victory cake.
—
Some truths are hard to accept. Especially when they won’t budge beyond a couplet.
Especially when they won’t tell you if they mean you well, if they herald freedom or ruin—
You! You and Death! Lovers who just can’t quit. That’s how we make the future.
The terror and the hope of that, as change goes viral.
From Resistance, Rebellion, Life (Knopf, 2017) by Dana Levin. Copyright © 2017 by Dana Levin. Used with the permission of the poet.
not back, let’s not come back, let’s go by the speed of
queer zest & stay up
there & get ourselves a little
moon cottage (so pretty), then start a moon garden
with lots of moon veggies (so healthy), i mean
i was already moonlighting
as an online moonologist
most weekends, so this is the immensely
logical next step, are you
packing your bags yet, don’t forget your
sailor moon jean jacket, let’s wear
our sailor moon jean jackets while twirling in that lighter,
queerer moon gravity, let’s love each other
(so good) on the moon, let’s love
the moon
on the moon
Copyright © 2021 by Chen Chen. Originally published in Poem-a-Day on May 31, 2021, by the Academy of American Poets.
not back, let’s not come back, let’s go by the speed of
queer zest & stay up
there & get ourselves a little
moon cottage (so pretty), then start a moon garden
with lots of moon veggies (so healthy), i mean
i was already moonlighting
as an online moonologist
most weekends, so this is the immensely
logical next step, are you
packing your bags yet, don’t forget your
sailor moon jean jacket, let’s wear
our sailor moon jean jackets while twirling in that lighter,
queerer moon gravity, let’s love each other
(so good) on the moon, let’s love
the moon
on the moon
Copyright © 2021 by Chen Chen. Originally published in Poem-a-Day on May 31, 2021, by the Academy of American Poets.