Then God said
let there be sound
and divided the silence
wide enough for music 
to be let in and it was a good groove 
 
And God said
let there be overflow
sent sound in all directions
pin drops & children's laughter
phones ringing & plates clattering
and it was kind of good but too much at times
 
So God said
let there be volume control
let there be choice how loud life should be 
and there came the power to fade
the voices, the annoyances, the noise
and that was mighty good for all the unnecessary drama
 
Then God said let there be surprise, startle even
at the bird's chirp, the ice maker, 
the cabinet slammed shut
let there be delight
at the first calls in months
to father & best friend
and these were such good reasons for choking back tears 
that God saw
the dark & the light
dangling brilliantly from each ear
and God whispered amen
then smiled when it was heard.
 

From Flare (Finishing Line Press, 2017). Copyright © 2017 by Camisha L. Jones. Used with the permission of the author.

the way
my lineage is deaf
not deaf
the way
America is deaf
not deaf
the way
my president is deaf
not Deaf
the way
DEAF-PREZ-NOW is Deaf
not deaf
the way
my family is D/deaf
not Deaf
the way
DEAF-WAY is Deaf
not Deaf
the way
DEAF-WORLD is not deaf
not deaf
the way
my culture is deaf
not deaf
the way
my culture is Deaf
not Deaf
the way
my culture is Deaf
not Deaf
but not deaf, either

Originally printed in Troubling the Line: An Anthology of Trans and Genderqueer Poetry & Poetics (EOAGH Press, 2013). Copyright © 2013 by Meg Day. Used with the permission of the author.

They shove Sonya into the army jeep
one morning, one morning, one morning in May, one dime-bright morning—

they shove her
and she zigzags and turns and trips in silence

which is a soul’s noise.
Sonya, who once said, On the day of my arrest I will be playing piano.

We watch four men
shove her—

and we think we see hundreds of old pianos forming a bridge
from Arlemovsk to Tedna Street, and she

waits at each piano—
and what remains of her is

a puppet
that speaks with its fingers,

what remains of a puppet is this woman, what remains
of her (they took you, Sonya)—the voice we cannot hear—is the clearest voice.

From Deaf Republic. Copyright © 2019 by Ilya Kaminsky. Used with the permission of The Permissions Company, Inc., on behalf of Graywolf Press.

Where does the future live in your body? 
Touch it 

1.
Sri Lankan radical women never come alone. 
We have a tradition of coming in groups of three or four, minimum.
The Thiranagama sisters are the most famous and beloved,
but in the ’20s my appamma and great-aunties were the Wild Alvis Girls.
Then there’s your sister, your cousin, your great-aunties 
everyone infamous and unknown. 
We come in packs                       we argue 
we sneak each other out of the house                       we have passionate  agreements and disagreements 
we love each other very much but can’t stand to be in the same room or  continent for years. 
We do things like, oh, start the first rape crisis center in Jaffna in a war zone
in someone’s living room with no funding. 
When war forces our hands, 
we all move to Australia or London or Thunder Bay together
or, if the border does not love us, we are what keeps Skype in business.
When one or more of us is murdered 
by the state or a husband 
we survive 
whether we want to or not. 

I am an only child 
I may not have been born into siblinghood 
but I went out and found mine
Made mine. 

We come in packs 
even when we are alone 

Because sometimes the only ancestral sisterlove waiting for you
is people in books, dreams 
aunties you made up 
people waiting for you in the clouds ten years in the future 
and when you get there  
you make your pack 
and you send that love 
back. 

2. 
When the newly disabled come 
they come bearing terror and desperate. Everyone else has left them
to drown on the titanic. They don’t know that there is anyone
but the abled. They come asking for knowledge 
that is common to me as breath, and exotic to them as, well,
being disabled and not hating yourself. 
They ask about steroids and sleep. About asking for help.
About how they will ever possibly convince their friends and family
they are not lazy and useless. 
I am generous—we crips always are. 
They were me. 
They don’t know if they can call themselves that
they would never use that word, but they see me calling myself that,
i.e., disabled, and the lens is blurring, maybe there is another world
they have never seen
where crips limp slowly, laugh, have shitty and good days
recalibrate the world to our bodies instead of sprinting trying to keep up.
Make everyone slow down to keep pace with us. 

Sometimes, when I’m about to email the resource list, 
the interpreter phone numbers, the hot chronic pain tips, the best place to rent a ramp, 
my top five favorite medical cannabis strains, my extra dermal lidocaine  patch
—it’s about to expire, but don’t worry, it’s still good—I want to slip in a
P.S. that says, 
remember back when I was a crip
and you weren’t, how I had a flare and had to cancel our day trip
and when I told you, you looked confused
and all you knew how to say was, Boooooooooo!
as I was lying on the ground trying to breathe?
Do you even remember that? 
Do your friends say that to you now? 
Do you want to come join us, on the other side? 
Is there a free future in this femme of color disabled body?

3. 
When I hear my femme say, When I’m old and am riding a motorcycle with  white hair down my back.
When I hear my femme say, When I’m old and sex work paid off my house  and my retirement.
When I hear my femme/myself say, When I get dementia and I am held with respect when I am between all worlds.
When I see my femme packing it all in, because crip years are like dog years and you never know when they’re going to shoot Old Yeller.
When I hear my femme say, when I quit my teaching gig and never have to  deal with white male academic nonsense again.

When I hear us plan the wheelchair accessible femme of color trailer park,
the land we already have a plan to pay the taxes on 
See the money in the bank and the ways we grip our thighs back to ourselves 

When I hear us dream our futures, 
believe we will make it to one, 
We will make one. 

The future lives in our bodies 
Touch it.

Originally published in Hematopoiesis Press, Issue 2. Copyright © 2017 by Leah Lakshmi Piepzna-Samarasinha. Used with the permission of the author. Published in Poem-a-Day on March 12, 2022, by the Academy of American Poets.

Christmas Eve, 2016

Before everyone died – in my family – first definition I learned was – my mother’s maiden name, ULANDAY – which literally means – of the rain – and biology books remind us – the pouring has a pattern –  has purpose – namesake means release – for my mother meant, flee – meant leave – know exactly what parts of you – slip away – drained sediment of a body – is how a single mama feels – on the graveyard shift – only god is awake –  is where my – family banked itself – a life rooted in rosaries – like nuns in barricade – scream – People Power – one out of five – leave to a new country – the women in my family hone – in my heart – like checkpoints – which is what they know – which is like a halt  – not to be confused for – stop – which is what happened to my ma’s breath– when she went home – for the last time – I didn’t get to – hold her hand as she died – I said I tried – just translates to – I couldn’t make it – in time – I tell myself – ocean salt and tear salt – are one and the same – I press my eyes shut – cup ghost howl – cheeks splint wood worn – which is to say – learn to make myself a harbor – anyway – once I saw a pamphlet that said – what to do when your parent is dead –  I couldn’t finish reading – but I doubt it informs the audience – what will happen – which is to say – you will pour your face & hands – & smother your mother’s scream on everything – you touch – turn eyelids into oars – go, paddle to find her.

Copyright © 2019 by Kay Ulanday Barrett. Originally published in Poem-a-Day on January 8, 2019, by the Academy of American Poets.

His eyebrows cast shadows everywhere.
You are a difficult language to speak.

His long beard is thick with distrust.
You are another curiosity seeker.

His hands are not cheap trinkets.
Entire lives have been wasted on you.

His face is an inscrutable promise.
You are nothing but paper and ink.

His body is more than a secret language.
Tourists are rarely fluent in it.

His eyes will flicker with a bright fire
when you purge your passport of sound.

Let your hands be your new passport,
for he will then stamp it with approval.

A deaf man is always a foreign country.
He remains forever a language to learn.

From Mute (A Midsummer Night's Press, 2010). Copyright © 2010 by Raymond Luczak. Used with the permission of the author.

I’m sorry, could you repeat that. I’m hard of hearing.
To the cashier
To the receptionist
To the insistent man asking directions on the street

I’m sorry, I’m hard of hearing. Could you repeat that?
At the business meeting
In the writing workshop
On the phone to make a doctor’s appointment

I’m-sorry-I’m-sorry-I’m-so-sorry-I’m-hard-for-the-hearing

Repeat.

           Repeat.

Hello, my name is Sorry
To full rooms of strangers
I’m hard to hear

I vomit apologies everywhere
They fly on bat wings
towards whatever sound beckons

I’m sorry. I’m sorry. I am so, so sorry
           and repeating
                       and not hearing

Dear (again)
I regret to inform you

I       am

here

 

Copyright © 2020 by Camisha L. Jones. Originally published in Poem-a-Day on January 3, 2020, by the Academy of American Poets.

And when they bombed other people’s houses, we

protested
but not enough, we opposed them but not

enough. I was
in my bed, around my bed America

was falling: invisible house by invisible house by invisible house.

I took a chair outside and watched the sun.

In the sixth month
of a disastrous reign in the house of money

in the street of money in the city of money in the country of money,
our great country of money, we (forgive us)

lived happily during the war.

From Deaf Republic. Copyright © 2019 by Ilya Kaminsky. Used with the permission of The Permissions Company, Inc., on behalf of Graywolf Press.

On the third day, I wrote to you
about the sky, its elastic way
of stretching so ocean-wide
that the only way to name it
was to compare it to Montana’s.
Lately, the sky is a ceiling
I wake to: broad & blank
& stubborn, stiff at the edges
like a fever cloth wrung out
& gone cold in the night, damp
with the wicking of latent ache.
But tonight I was walking
home along the coastline
& caught the huge moon
in my throat. There’s a man
somewhere on the planet
who has been to that moon,
who has stepped out of that sky,
& will never sleep the same
because of it. Will always be
sad or feel small, or wonder
how it is a person can be
a person, if being a person
is worrying about things;
whose eyes cannot see
what things are, but only
the slightness of them.
I think of writing to you
in this way—welcoming
the adventure of it—
& of being wrecked
proper, of being ruined.

From Last Psalm at Sea Level (Barrow Street, 2014). Copyright © 2014 by Meg Day. Used with the permission of the author.