Thirty seconds into the barbecue,

my Cleveland cousins

have everyone speaking

Southern—broadened vowels

and dropped consonants,

whoops and caws.

It's more osmosis than magic,

a sliding thrall back to a time

when working the tire factories

meant entire neighborhoods coming

up from Georgia or Tennessee,

accents helplessly intact—

while their children, inflections flattened


to match the field they thought

they were playing on, knew

without asking when it was safe

to roll out a drawl… just as

it's understood “potluck” means

resurrecting the food

we've abandoned along the way

for the sake of sleeker thighs.

I look over the yard to the porch

with its battalion of aunts,

the wavering ranks of uncles

at the grill; everywhere else

hordes of progeny are swirling


and my cousins yakking on

as if they were waist-deep in quicksand

but like the books recommend aren’t moving

until someone hauls them free—

Who are all these children?

Who had them, and with whom?

Through the general coffee tones

the shamed genetics cut a creamy swath.


Cherokee’s burnt umber transposed

onto generous lips, a glance flares gray

above the crushed nose we label

Anonymous African:  It's all here,

the beautiful geometry of Mendel's peas


and their grim logic—

and though we remain

clearly divided on the merits

of okra, there’s still time

to demolish the cheese grits

and tear into slow-cooked ribs

so tender, we agree they’re worth

the extra pound or two

our menfolk swear will always

bring them home. Pity

the poor soul who lives

a life without butter—

those pinched knees

and tennis shoulders

and hatchety smiles!

Copyright © 2007 by Rita Dove. Originally published in Callaloo. Used with the permission of the poet.

When your joys are of the sweetest
    And your heart is light and free; 
When your griefs are skimming fleetest, 
    Love, one moment think of me. 

I’d not ask you to remember 
    Me when life is dull and drear;
When your hopes are but an ember
    From a cold and vanished year; 

Sorrow’s far too bleak a burden
    To retain in mem’ry’s hall. 

Friendship has no greater guerdon
    Than to happiness recall. 

So, when roses scent the twilight
    Air with ling’ring dew damp breath, 

Please remember me as eye-bright
    Faith remembers until death.

This poem is in the public domain. Published in Poem-a-Day on January 31, 2021, by the Academy of American Poets.

An original poem written for the inaugural reading of Poet Laureate Tracy K. Smith at the Library of Congress.

There’s a poem in this place—

in the footfalls in the halls

in the quiet beat of the seats.

It is here, at the curtain of day,

where America writes a lyric

you must whisper to say.

There’s a poem in this place—

in the heavy grace,

the lined face of this noble building,

collections burned and reborn twice.

There’s a poem in Boston’s Copley Square

where protest chants

tear through the air

like sheets of rain,

where love of the many

swallows hatred of the few.

There’s a poem in Charlottesville

where tiki torches string a ring of flame

tight round the wrist of night

where men so white they gleam blue—

seem like statues

where men heap that long wax burning

ever higher

where Heather Heyer

blooms forever in a meadow of resistance.

There’s a poem in the great sleeping giant

of Lake Michigan, defiantly raising

its big blue head to Milwaukee and Chicago—

a poem begun long ago, blazed into frozen soil,

strutting upward and aglow.

There’s a poem in Florida, in East Texas

where streets swell into a nexus

of rivers, cows afloat like mottled buoys in the brown,

where courage is now so common

that 23-year-old Jesus Contreras rescues people from floodwaters.

There’s a poem in Los Angeles

yawning wide as the Pacific tide

where a single mother swelters

in a windowless classroom, teaching

black and brown students in Watts

to spell out their thoughts

so her daughter might write

this poem for you.             

There's a lyric in California

where thousands of students march for blocks,

undocumented and unafraid;

where my friend Rosa finds the power to blossom

in deadlock, her spirit the bedrock of her community.

She knows hope is like a stubborn

ship gripping a dock,

a truth: that you can’t stop a dreamer

or knock down a dream.

How could this not be her city

su nación

our country

our America,

our American lyric to write—

a poem by the people, the poor,

the Protestant, the Muslim, the Jew,

the native, the immigrant,

the black, the brown, the blind, the brave,

the undocumented and undeterred,

the woman, the man, the nonbinary,

the white, the trans,

the ally to all of the above

and more?

Tyrants fear the poet.

Now that we know it

we can’t blow it.

We owe it

to show it

not slow it

although it

hurts to sew it

when the world

skirts below it.       

Hope—

we must bestow it

like a wick in the poet

so it can grow, lit,

bringing with it

stories to rewrite—

the story of a Texas city depleted but not defeated

a history written that need not be repeated

a nation composed but not yet completed.

There’s a poem in this place—

a poem in America

a poet in every American

who rewrites this nation, who tells

a story worthy of being told on this minnow of an earth

to breathe hope into a palimpsest of time—

a poet in every American

who sees that our poem penned

doesn’t mean our poem’s end.

There’s a place where this poem dwells—

it is here, it is now, in the yellow song of dawn’s bell

where we write an American lyric

we are just beginning to tell.

Copyright © 2017 by Amanda Gorman. Reprinted from Split This Rock's The Quarry: A Social Justice Database.

This is not a small voice
you hear               this is a large
voice coming out of these cities.
This is the voice of LaTanya.
Kadesha. Shaniqua. This
is the voice of Antoine.
Darryl. Shaquille.
Running over waters
navigating the hallways
of our schools spilling out
on the corners of our cities and
no epitaphs spill out of their river mouths.

This is not a small love
you hear               this is a large
love, a passion for kissing learning
on its face.
This is a love that crowns the feet with hands
that nourishes, conceives, feels the water sails
mends the children,
folds them inside our history where they
toast more than the flesh
where they suck the bones of the alphabet
and spit out closed vowels.
This is a love colored with iron and lace.
This is a love initialed Black Genius.

This is not a small voice
you hear.

From Wounded in the House of a Friend. Copyright © 1995 by Sonia Sanchez. Used with the permission of Beacon Press.