Surely the body is made
                        of stranger 
                                    things than politics
                                                           can steal:
          the tangled
                                    residue of stars,
                                                the plastic
                                                bag and orange
          peels I kick past
                                    the bridge,
flaming nerves splayed
                        across ancient and forgotten
avenues, the stomach-heavy goodbye
                                    to others that always
          feels a limit
                                                on anyone’s remaining days
I see now
                        I really did
          believe that the stories
                                                           of languages breaking
                                    open the embedded
                                                           money source
                                                                      were the victory
                                                of changing grandeur
over the paltry measured
                                                ties misnamed time—
                                                                      I could never believe
          that people meant the counting,
the stacking, the definitions
                                    the dividing,
                                                           that those could be more
          than misunderstanding
                                                                      even when 
                                                                      burned in iron;
                        The world is simply not 
anything any of us
                                    say of it
our names are strange delusions
          pulling us back
                                    from a brink we are always
                        falling through—
                                                           it has no shape
                                                           no words
                                                           it is 
                                                           not a brink
                                                           we are not
                                                           anyone there is
                                                           no falling

Copyright © 2017 Mark Wallace. Originally published in Poem-a-Day on November 28, 2017, by the Academy of American Poets.

Because I did not have to smell the cow’s fear,
because I did not have to pin the man, watch his eyes
go feral, because I did not have to drag the stones
that formed in the child’s body, because I did not sheathe
my hands in dank soil, or skirt the machine’s battering, the needles
knitting my lower back, because when the factory collapsed
I smelled no smoke, and no one made me kneel at the cop’s boots
and count the pulse slowing beside me as every sound
soured, because my hands have never had to resist being comforted
by the warmth of blood, because the plastic-
wrapped meat and the mousetraps, because my job
was to stay clean and thankful and mostly imaginary, I have been stealing
what little I can:
                           onions. sandpaper. handfuls of skin.
the dumpster’s metal groan. hurried breath. hot knives.

Copyright © 2018 by Franny Choi. Originally published in Poem-a-Day on January 5, 2018, by the Academy of American Poets.

i know we exist because of what we make. my dad works at a steel mill. he worked at a steel mill my whole life. at the party, the liberal white woman tells me she voted for hillary & wishes bernie won the nomination. i stare in the mirror if i get too lonely. thirsty to see myself i once walked into the lake until i almost drowned. the white woman at the party who might be liberal but might have voted for trump smiles when she tells me how lucky i am. how many automotive components do you think my dad has made. you might drive a car that goes and stops because of something my dad makes. when i watch the news i hear my name, but never see my face. every other commercial is for taco bell. all my people fold into a $2 crunchwrap supreme. the white woman means lucky to be here and not mexico. my dad sings por tu maldito amor & i’m sure he sings to america. y yo caí en tu trampa ilusionado. the white woman at the party who may or may not have voted for trump tells me she doesn't meet too many mexicans in this part of new york city. my mouth makes an oh, but i don't make a sound. a waiter pushes his brown self through the kitchen door carrying hors d’oeuvres. a song escapes through the swinging door. selena sings pero ay como me duele & the good white woman waits for me to thank her.  

Copyright © 2017 by José Olivarez. Originally published in Poem-a-Day on December 1, 2017, by the Academy of American Poets.

For most in the United States the word brings a phase
when mortars in Vietnam still whistled around them
and the scandal of Nixon and his Machiavellian buds
poured from the news into their subconscious—I see
that Watergate too: the televised hearings, and in particular
one session—Sam Ervin had just asked Ehrlichman
or Dean or Haldeman, a long-winded, periphrastic,
left-branching question—it must have lasted
forty seconds and seemed three days before he paused
for effect, and Ehrlichman or Dean or Haldeman
answered: “Senator, could you please repeat the question?”
And he did, verbatim! And that is one Watergate.
 
But I think also of the morning my father sent me to the creek
that ran through our pasture to remove a dead calf
a flood had floated north to lodge against our water gate—
a little Guernsey heifer—I had petted her often—
Now flies buzzed around her, bloated and entangled
in the mesh—and I remember her eyes were open,
so she seemed to watch as I pulled first one leg
then another from the vines and wire that trapped her,
and pulled her to the bank through the shallow water.
 
Because the second water gate, which features the tender
relationship between a dead calf and a little boy,
happened twenty years before the first, in which men
break into an office complex in a hotel, I prefer its
posts and hog wire that kept cows from a neighbor’s field
to the gray rows of filing cabinets that brought down a presidency.
The water pours out of the mountain and runs to the sea.
Sometimes I say it to myself, until the meanings leave.
I say Watergate until it is water pouring through water.

Copyright © 2017 by Rodney Jones. Originally published in Poem-a-Day on December 12, 2017, by the Academy of American Poets.