I like the lady horses best,
how they make it all look easy,
like running 40 miles per hour
is as fun as taking a nap, or grass.
I like their lady horse swagger,
after winning. Ears up, girls, ears up!
But mainly, let's be honest, I like
that they're ladies. As if this big
dangerous animal is also a part of me,
that somewhere inside the delicate
skin of my body, there pumps
an 8-pound female horse heart,
giant with power, heavy with blood.
Don't you want to believe it?
Don't you want to lift my shirt and see
the huge beating genius machine
that thinks, no, it knows,
it's going to come in first.
From Bright Dead Things (Milkweed Editions, 2015). Copyright © 2015 by Ada Limón. Used with permission from Milkweed Editions, milkweed.org.
To this day I still remember sitting
on my abuelo’s lap watching the Yankees hit,
then run, a soft wind rounding the bases
every foot tap to the white pad gentle as a kiss.
How I loved those afternoons languidly
eating jamón sandwiches & drinking root beer.
Later, when I knew something about the blue collar
man—my father who worked with his hands & tumbled
into the house exhausted like heat in a rainstorm—
I became a Mets fan.
Something about their unclean faces
their mustaches seemed rough
to the touch. They had names like Wally & Dyskstra.
I was certain I would marry a man just like them
that is until Sammy Sosa came along
with his smile a reptile that only knew about lying in the sun.
His arms were cannons and his skin burnt cinnamon
that glistened in my dreams.
Everyone said he was not beautiful.
Out on the streets where the men set up shop playing dominoes
I’d hear them say between the yelling of capicu
“como juega, pero feo como el diablo.”
I knew nothing of my history
of the infighting on an island on which one side swore
it was only one thing: pallid, pristine. & I didn’t know
that Sammy carried this history like a tattoo.
That he wished everyday to be white.
It is a perfect game this race war, it is everywhere, living
in the American bayou as much as
the Dominican dirt roads.
It makes a man do something to his skin that seems unholy.
It makes that same man change eye color like a soft
summer dress slipped on slowly.
It makes a grandmother ask her granddaughter
if she’s suffering
from something feverish
because that could be the only excuse why
her hair has not been straightened
like a ballerina’s back dyed the color of wild
daffodils growing in an outfield.
Sammy hit 66 home runs one year
& that was still not enough
to make him feel handsome
or worthy of that blackness that I believe a gift
even today while black churches burn & black bodies
disappear from one day to the next the same as old
I think of him often barely remember what he looked like
but I can recall his hunched shoulders in the
dugout his perfect swing
& how maybe he spit out something black
from his mouth after
every single strike—
Copyright © 2015 Yesenia Montilla. Originally published in the Winter 2015 issue of Prairie Schooner. Used with permission of Prairie Schooner.
What I’ve written for you, I have always written
in English, my language of silent vowel endings
never translated into your language of silent h’s.
Lo que he escrito para ti, siempre lo he escrito
en inglés, en mi lengua llena de vocales mudas
nunca traducidas a tu idioma de haches mudas.
I’ve transcribed all your old letters into poems
that reconcile your exile from Cuba, but always
in English. I’ve given you back the guajiro roads
you left behind, stretched them into sentences
punctuated with palms, but only in English.
He transcrito todas tus cartas viejas en poemas
que reconcilian tu exilio de Cuba, pero siempre
en inglés. Te he devuelto los caminos guajiros
que dejastes atrás, transformados en oraciones
puntuadas por palmas, pero solamente en inglés.
I have recreated the pueblecito you had to forget,
forced your green mountains up again, grown
valleys of sugarcane, stars for you in English.
He reconstruido el pueblecito que tuvistes que olvidar,
he levantado de nuevo tus montañas verdes, cultivado
la caña, las estrellas de tus valles, para ti, en inglés.
In English I have told you how I love you cutting
gladiolas, crushing ajo, setting cups of dulce de leche
on the counter to cool, or hanging up the laundry
at night under our suburban moon. In English,
En inglés te he dicho cómo te amo cuando cortas
gladiolas, machacas ajo, enfrías tacitas de dulce de leche
encima del mostrador, o cuando tiendes la ropa
de noche bajo nuestra luna en suburbia. En inglés
I have imagined you surviving by transforming
yards of taffeta into dresses you never wear,
keeping Papá’s photo hinged in your mirror,
and leaving the porch light on, all night long.
He imaginado como sobrevives transformando
yardas de tafetán en vestidos que nunca estrenas,
la foto de papá que guardas en el espejo de tu cómoda,
la luz del portal que dejas encendida, toda la noche.
Te he captado en inglés en la mesa de la cocina
esperando que cuele el café, que hierva la leche
y que tu vida acostumbre a tu vida. En inglés
has aprendido a adorer tus pérdidas igual que yo.
I have captured you in English at the kitchen table
waiting for the café to brew, the milk to froth,
and your life to adjust to your life. In English
you’ve learned to adore your losses the way I do.
From Directions to the Beach of the Dead by Richard Blanco. The Arizona Board of Regents © 2005. Reprinted by permission of the University of Arizona Press.
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.
i am moving in
air amazon woman bare
foot thunderbound bells.
From Like the Singing Coming Off the Drums. Copyright © 1998 by Sonia Sanchez. Used with the permission of Beacon Press.