Gaza has become a funeral home,
but there are no seats,
no mourners, no bodies.
In the caskets are nothing but
what remained of the dead’s clothes,
and on the crumbling walls are clocks
that have not moved for fourteen months.
Copyright © 2025 by Mosab Abu Toha. Published by permission of the author.
Art thou pale for weariness
Of climbing Heaven, and gazing on the earth,
Wandering companionless
Among the stars that have a different birth,—
And ever changing, like a joyless eye
That finds no object worth its constancy?
This poem is in the public domain.
I love all films that start with rain: rain, braiding a windowpane or darkening a hung-out dress or streaming down her upturned face; one big thundering downpour right through the empty script and score before the act, before the blame, before the lens pulls through the frame to where the woman sits alone beside a silent telephone or the dress lies ruined on the grass or the girl walks off the overpass, and all things flow out from that source along their fatal watercourse. However bad or overlong such a film can do no wrong, so when his native twang shows through or when the boom dips into view or when her speech starts to betray its adaptation from the play, I think to when we opened cold on a starlit gutter, running gold with the neon drugstore sign and I'd read into its blazing line: forget the ink, the milk, the blood— all was washed clean with the flood we rose up from the falling waters the fallen rain's own sons and daughters and none of this, none of this matters.
From Rain. Copyright © 2009 by Don Paterson. Used with permission of Farrar, Straus and Giroux.
In one hand
I hold tragedy
And in the other
Comedy,—
Masks for the soul.
Laugh with me.
You would laugh!
Weep with me
You would weep!
Tears are my laughter.
Laughter is my pain.
Cry at my grinning mouth,
If you will.
Laugh at my sorrow’s reign.
I am the Black Jester,
The dumb clown of the world,
The booted, booted fool of silly men.
Once I was wise.
Shall I be wise again?
From The Weary Blues (Alfred A. Knopf, 1926) by Langston Hughes. This poem is in the public domain.
And God stepped out on space,
And he looked around and said:
I'm lonely—
I'll make me a world.
And far as the eye of God could see
Darkness covered everything,
Blacker than a hundred midnights
Down in a cypress swamp.
Then God smiled,
And the light broke,
And the darkness rolled up on one side,
And the light stood shining on the other,
And God said: That's good!
Then God reached out and took the light in his hands,
And God rolled the light around in his hands
Until he made the sun;
And he set that sun a-blazing in the heavens.
And the light that was left from making the sun
God gathered it up in a shining ball
And flung it against the darkness,
Spangling the night with the moon and stars.
Then down between
The darkness and the light
He hurled the world;
And God said: That's good!
Then God himself stepped down—
And the sun was on his right hand,
And the moon was on his left;
The stars were clustered about his head,
And the earth was under his feet.
And God walked, and where he trod
His footsteps hollowed the valleys out
And bulged the mountains up.
Then he stopped and looked and saw
That the earth was hot and barren.
So God stepped over to the edge of the world
And he spat out the seven seas—
He batted his eyes, and the lightnings flashed—
He clapped his hands, and the thunders rolled—
And the waters above the earth came down,
The cooling waters came down.
Then the green grass sprouted,
And the little red flowers blossomed,
The pine tree pointed his finger to the sky,
And the oak spread out his arms,
The lakes cuddled down in the hollows of the ground,
And the rivers ran down to the sea;
And God smiled again,
And the rainbow appeared,
And curled itself around his shoulder.
Then God raised his arm and he waved his hand
Over the sea and over the land,
And he said: Bring forth! Bring forth!
And quicker than God could drop his hand,
Fishes and fowls
And beasts and birds
Swam the rivers and the seas,
Roamed the forests and the woods,
And split the air with their wings.
And God said: That's good!
Then God walked around,
And God looked around
On all that he had made.
He looked at his sun,
And he looked at his moon,
And he looked at his little stars;
He looked on his world
With all its living things,
And God said: I'm lonely still.
Then God sat down—
On the side of a hill where he could think;
By a deep, wide river he sat down;
With his head in his hands,
God thought and thought,
Till he thought: I'll make me a man!
Up from the bed of the river
God scooped the clay;
And by the bank of the river
He kneeled him down;
And there the great God Almighty
Who lit the sun and fixed it in the sky,
Who flung the stars to the most far corner of the night,
Who rounded the earth in the middle of his hand;
This great God,
Like a mammy bending over her baby,
Kneeled down in the dust
Toiling over a lump of clay
Till he shaped it in is his own image;
Then into it he blew the breath of life,
And man became a living soul.
Amen. Amen.
From God's Trombones by James Weldon Johnson. Copyright © 1927 The Viking Press, Inc., renewed 1955 by Grace Nail Johnson. Used by permission of Viking Penguin, a division of Penguin Books USA Inc.
I dreamed my Lady and I were dead
And dust was either heart;
Our bodies in one grave were laid,
Our souls went far apart,
Hers with the saints for aye to dwell
And mine to lie and pine in Hell.
But when my Lady looked for me
And found her quest in vain,
For all that blessed company
She knew nothing but pain.
She cried: “How feigned your praising is!
Your God is love, and love I miss.”
The hills whereon her tear-drops fell
Were white with lily-flowers.
They made the burning caves of Hell
As green as Eden-bowers,
Unloosed my tongue, my fetters broke,
“Praised be love,” I cried and woke.
This poem is in the public domain. Published in Poem-a-Day on June 30, 2024, by the Academy of American Poets.
My friend, I need thee in good days or ill,
I need the counsel of thy larger thought;
And I would question all the year has brought—
What spoil of books, what victories of will;
But most I long for the old wordless thrill,
When on the shore, like children picture-taught,
We watched each miracle the sweet day wrought,
While the tide ebbed, and every wind was still.
Dear, let it be again as if we mused,
We two, with never need of spoken word
(While the sea’s fingers twined among the dulse,
And gulls dipped near), our spirits seeming fused
In the great Life that quickens wave and bird,
Our hearts in happy rhythm with the world-pulse.
March 30, 1889
From The Poems of Sophie Jewett (Thomas Y. Crowell & Co., 1910) by Sophie Jewett. Copyright © Thomas Y. Crowell & Co. This poem is in the public domain.
Outside, an abandoned mattress sags with rain
and the driveway turns all sludge when I remember
I could’ve died eight years ago, in a bed
smaller than the one I share with a new lover
who just this morning found another grey hair in my afro,
and before resettling the wiry curl with the others,
kissed the freckle on my forehead.
I admit, I don’t know a love that doesn’t
destroy. Last night while we slept,
a mouse drowned in the rice pot
I left soaking in the sink. I tried
to make a metaphor out of this, the way
he took the mouse to the edge of the lake in the yard,
released it to a deeper grave. It was
an anniversary, just my lover
taking a dead thing away, taking it
somewhere I couldn’t see.
Copyright © 2020 by Diannely Antigua. Originally published in Poem-a-Day on September 28, 2020, by the Academy of American Poets.
Whatever I care for, someone else loves it
more, deserves it more: the doe with her
whole mouth crushing the phlox or the seer
who adores my future, whereas I could
take it or leave it. I know I’ll disappear.
It won’t be glamorous. It won’t be like when
the Mona Lisa was stolen and the tourists all
lined up to pay their respects at the empty
spot on the wall of the Louvre.
I’ve never actually even seen the sky.
I’ve only ever seen effluents, seen wattage.
The only night I remember is the dinner
of neighbors at which a man I never
had met before said I don’t fear dying—
look at the past, people have been dying forever, and—
then he stopped and shook his head—
I drank too much. I was almost saying
that people have died forever and all
of them survived, but of course—he made
a hard laugh—God, of course they didn’t survive.
From Hard Child. Copyright © 2017 by Natalie Shapero. Used with the permission of The Permissions Company, Inc., on behalf of Copper Canyon Press, www.coppercanyonpress.org.
Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.
Our voices echo, magnifying your arrival. New statue.
In a drafty museum, your nakedness
Shadows our safety. We stand round blankly as walls.
I’m no more your mother
Than the cloud that distills a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow-heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square
Whitens and swallows its dull stars. And now you try
Your handful of notes;
The clear vowels rise like balloons.
From Ariel, published by Harper & Row, 1966. Copyright © 1966 by Ted Hughes. All rights reserved. Used by arrangement with HarperCollins Publishers, Inc.
What is this nameless something that I want,
Forever groping blindly, without light,—
A ghost of pain that does forever haunt
My days, and make my heart eternal night?
I think it is your face I so long for,
Your eyes that read my soul at one warm glance;
Your lips that I may touch with mine no more
Have left me in their stead a thrusting lance
Of fire that burns my lips and sears my heart
As all the dreary wanton years wear through
Their hopeless dragging days. No lover’s art
Can lift full, heavy sorrow from my view
Or still my restless longing, purge my hate,
Because I learned I loved you, dear, too late.
This poem is in the public domain. Published in Poem-a-Day on November 28, 2020, by the Academy of American Poets.
What wilt thou do when faith is fled
And hope is dead
And love's wing broken?
Wilt thou lie in the grave of the past and sleep,
While the mourners weep
And sad rites are spoken?
Nay, nay—fare forth, though the night be black
And the storm's red rack
In the sky is burning;
For the sun shines somewhere, from gloom released,
And the heart of the east
For the day is yearning.
From Valeria and other poems (Chicago : A.C. McClurg & Company, 1892) by Harriet Monroe. This poem is in the public domain.
A near horizon whose sharp jags Cut brutally into a sky Of leaden heaviness, and crags Of houses lift their masonry Ugly and foul, and chimneys lie And snort, outlined against the gray Of lowhung cloud. I hear the sigh The goaded city gives, not day Nor night can ease her heart, her anguished labours stay. Below, straight streets, monotonous, From north and south, from east and west, Stretch glittering; and luminous Above, one tower tops the rest And holds aloft man's constant quest: Time! Joyless emblem of the greed Of millions, robber of the best Which earth can give, the vulgar creed Has seared upon the night its flaming ruthless screed. O Night! Whose soothing presence brings The quiet shining of the stars. O Night! Whose cloak of darkness clings So intimately close that scars Are hid from our own eyes. Beggars By day, our wealth is having night To burn our souls before altars Dim and tree-shadowed, where the light Is shed from a young moon, mysteriously bright. Where art thou hiding, where thy peace? This is the hour, but thou art not. Will waking tumult never cease? Hast thou thy votary forgot? Nature forsakes this man-begot And festering wilderness, and now The long still hours are here, no jot Of dear communing do I know; Instead the glaring, man-filled city groans below!
This poem is in the public domain.