The bee died upon entering the water
What happened to his honey no one knew

I left one fig and one kumquat
In each dish for the host

There were the yellow trunks of trees
The memory of Spain

There was the memory of being
The memory of love

Let the water take you in
So your neck is just a stalk, the head blooms

Let everything go away
You are a person

Be a person
Become a person again

The happiest he ever made me
The table in white

Whereupon we list the white seashore
The White Sea, the white seahorses

They said I loved him better than anyone
The white seashore

No I never knew him
The bees

The bees
They know everything

Be a person
Be a person again

From Milk​. Copyright © 2018 by Dorothea Lasky. Used with the permission of Wave Books and the author.

   The lover's footprint in the sand
   the ten-year-old kid's bare feet
in the mud picking chili for rich growers,
not those seeking cultural or ethnic roots,
but those whose roots
have been exposed, hacked, dug up and burned
			and in those roots
			do animals burrow for warmth;
what is broken is blessed,
	not the knowledge and empty-shelled wisdom
	paraphrased from textbooks,
		not the mimicking nor plaques of distinction
		nor the ribbons and medals
but after the privileged carriage has passed
	the breeze blows traces of wheel ruts away
	and on the dust will again be the people's broken
							footprints.
What is broken God blesses,
	not the perfectly brick-on-brick prison
	but the shattered wall
	that announces freedom to the world,
proclaims the irascible spirit of the human
rebelling against lies, against betrayal,
against taking what is not deserved;
	the human complaint is what God blesses,
	our impoverished dirt roads filled with cripples,
what is broken is baptized,
	the irreverent disbeliever,
	the addict's arm seamed with needle marks
		is a thread line of a blanket
	frayed and bare from keeping the man warm.
We are all broken ornaments,
		glinting in our worn-out work gloves,
		foreclosed homes, ruined marriages,
from which shimmer our lives in their deepest truths,
blood from the wound,
				broken ornaments—
when we lost our perfection and honored our imperfect sentiments, we were
blessed.
Broken are the ghettos, barrios, trailer parks where gangs duel to death,
yet through the wretchedness a woman of sixty comes riding her rusty bicycle,
			we embrace
			we bury in our hearts,
broken ornaments, accused, hunted, finding solace and refuge
		we work, we worry, we love
		but always with compassion
		reflecting our blessings—
			in our brokenness
			thrives life, thrives light, thrives
				the essence of our strength,
					each of us a warm fragment,
					broken off from the greater
					ornament of the unseen,
					then rejoined as dust,
					to all this is.

From Selected Poems/Poemas Selectos, by Jimmy Santiago Baca, translated by Tomas H. Lucero and Liz Fania Werner. Copyright © 2009. Used by permission of New Directions. All rights reserved.

this being unnoticed. Sitting like this
           next to the stone lamb outside the Cathedral.
My lost soul, which prefers the stone lamb
           to the living God. Prefers these deep shadows
to the summer day. The way he took me
           all those years ago, shattered me
so that fifty-seven years later, I might sit
           next to the smoothness of this stone lamb,
know the stone joy of being unnoticed.
           People go in the Cathedral all day long,
visiting their God on their knees. That man
           who betrayed me when I was a boy,
first held me up to a tree so I would know
           what smell lemon blossoms have.

Copyright © 2017 Jim Moore. Used with permission of the author. This poem originally appeared in Kenyon Review, November/December 2017

One summer she goes into the field as usual
stopping for a bit at the pool where she often
looks at herself, to see
if she detects any changes. She sees
the same person, the horrible mantle
of daughterliness still clinging to her.

The sun seems, in the water, very close.
That's my uncle spying again, she thinks—
everything in nature is in some way her relative.
I am never alone, she thinks,
turning the thought into a prayer.
Then death appears, like the answer to a prayer.

No one understands anymore
how beautiful he was. But Persephone remembers.
Also that he embraced her, right there,
with her uncle watching. She remembers
sunlight flashing on his bare arms.

This is the last moment she remembers clearly.
Then the dark god bore her away.

She also remembers, less clearly,
the chilling insight that from this moment
she couldn't live without him again.

The girl who disappears from the pool
will never return. A woman will return,
looking for the girl she was.

She stands by the pool saying, from time to time,
I was abducted, but it sounds
wrong to her, nothing like what she felt.
Then she says, I was not abducted.
Then she says, I offered myself, I wanted
to escape my body. Even, sometimes,
I willed this. But ignorance

cannot will knowledge. Ignorance
wills something imagined, which it believes exists.

All the different nouns—
she says them in rotation.
Death, husband, god, stranger.
Everything sounds so simple, so conventional.
I must have been, she thinks, a simple girl.

She can't remember herself as that person
but she keeps thinking the pool will remember
and explain to her the meaning of her prayer
so she can understand
whether it was answered or not.

"The Myth of Innocence" from Averno by Louise Glück. Copyright © 2006 by Louise Glück. Reprinted by permission of Farrar, Straus and Giroux, LLC.

The afternoon light lights
the room in a smudged
sheen, a foggy-eyed glow.

The dog digs at the couch,
low-growling at the mailman.
I’m spelling words with pills

spilled consolidating bottles:
yes and try and most of happy:
Maybe I’ll empty them all.

A woman I don’t know
is having a drill drill into her
skull. To get rid of the thing

requires entering the brain.
How to imagine a story
that ends with that ending? 

I don’t know how to live my life,
but at least today I want to. 
 

Copyright © 2015 by Aaron Smith. Originally published in Poem-a-Day on October 7, 2015, by the Academy of American Poets.

I plucked my soul out of its secret place,
And held it to the mirror of my eye,
To see it like a star against the sky,
A twitching body quivering in space,
A spark of passion shining on my face.
And I explored it to determine why
This awful key to my infinity
Conspires to rob me of sweet joy and grace.
And if the sign may not be fully read,
If I can comprehend but not control,
I need not gloom my days with futile dread,
Because I see a part and not the whole.
Contemplating the strange, I’m comforted
By this narcotic thought: I know my soul.

This poem is in the public domain.

Focus for
us was a thing hard to
come by. We would have to make due with
whatever

we had: these
were pills and a pencil,
blue earplugs to block out the voices
inside of

our heads, which
would tell us time passed and
these thoughts that would shine like soft lights on
our brains would

one day fade
into invisible
relief. We would write in our binders,
pass classes,

allow for
a moment of grief. We
were deeply aware we would have to
make up for

lost time, but
when we took our pills, the
world would seem fine, seem as if it had
always been

fine. Once we
had adequate supplies
we’d sell, but until then we decid-
ed to re-

fill. We had
determined that we would
not brood. Instead we charted out our
moods and light-

ened up our
loads. Before the rest of
time unfolds, we would like to hold on-
to this life,

feel like it’s
beating, there, deep inside
of our chests, not out of fear. We are
just children.
 

Copyright © 2014 by Katy Lederer. Used with permission of the author.

         (for Adriana Corral)

Before dawn, trembling in air down to the old river,

circulating gently as a new season

delicate still in its softness, rustling raiment

of hopes never stitched tightly enough to any hour.

I was almost, maybe, just about, going to do that.

A girl’s thick dark hair, brushed over one shoulder

so regularly no one could imagine it not being there.

Hair as a monument.   Hovering - pitched.

Beloved sister, maker of plans, main branch,

we needed you desperately, where have you gone?

Here is the sentence called No no no no no.

Come back, everything grants you your freedom,

here in the mire of too much thinking,

we drown, we drown, split by your echo.

Copyright © 2015 Naomi Shihab Nye. Used by permission of the author.

It was like this:
you were happy, then you were sad,
then happy again, then not.

It went on.
You were innocent or you were guilty.
Actions were taken, or not.

At times you spoke, at other times you were silent.
Mostly, it seems you were silent—what could you say?

Now it is almost over.

Like a lover, your life bends down and kisses your life.

It does this not in forgiveness—
between you, there is nothing to forgive—
but with the simple nod of a baker at the moment
he sees the bread is finished with transformation.

Eating, too, is a thing now only for others.

It doesn’t matter what they will make of you
or your days: they will be wrong,
they will miss the wrong woman, miss the wrong man,
all the stories they tell will be tales of their own invention.

Your story was this: you were happy, then you were sad,
you slept, you awakened.
Sometimes you ate roasted chestnuts, sometimes persimmons.

—2002

Originally published in After (HarperCollins, 2006); all rights reserved. Copyright © by Jane Hirshfield. Reprinted with the permission of the author.

In my defense, my forgotten breasts. In my defense, the hair
no one brushed from my face. In my defense, my hips.

Months earlier, I remember thinking that sex was a ship retreating
on the horizon. I could do nothing but shove my feet in the sand.

I missed all the things loneliness taught me: eyes that follow you
crossing a room, hands that find their home on you. To be noticed, even.

In my defense, his hands. In my defense, his arms. In my defense,
how when we just sat listening to each other breathe, he said, This is enough.

My body was a house I had closed for the winter. It shouldn’t have been
that difficult, empty as it was. Still, I stared hard as I snapped off the lights.

My body was a specter that haunted me, appearing when I stripped
in the bathroom, when I crawled into empty beds, when it rained.

My body was abandoned construction, restoration scaffolding
that became permanent. My body’s unfinished became its finished.

So in my defense, when he touched me, the lights of my body came on.
In my defense, the windows were thrown open. In my defense, spring.

Copyright © 2013 by Cristin O’Keefe Aptowicz. “Not Doing Something Wrong Isn’t the Same as Doing Something Right” originally appeared in The Year of No Mistakes (Write Bloody Publishing, 2013). Used with permission of the author.

Admit it—
you wanted the end

with a serpentine
greed. How to negotiate

that strangling
mist, the fibrous

whisper?

To cease to exist
and to die

are two different things entirely.

But you knew this,
didn't you?

Some days you knelt on coins
in those yellow hours.

You lit a flame

to your shadow
and ate

scorpions with your naked fingers.

So touched by the sadness of hair
in a dirty sink.

The malevolent smell
of soap.

When instead of swallowing a fistful
of white pills,

you decided to shower,

the palm trees
nodded in agreement,

a choir
of crickets singing

behind your swollen eyes.

The masked bird
turned to you

with a shred of paper hanging
from its beak.

At dusk,
hair wet and fragrant,

you cupped a goat's face

and kissed
his trembling horns.

The ghost?

It fell prostrate,
passed through you

like a swift
and generous storm.

"Six Months After Contemplating Suicide" first appeared in the December 2015 issue of Poetry. Copyright © 2015 Erika L. Sánchez.

There is a puritan in me
the brim of whose
hat is so sharp
it could cut
your tongue out
with a brow
so furrowed you
could plant beets
or turnips or
something of course
good for storing
he has not taken a nap
since he was two years old
because he detests
sloth above all
he is maybe the only real person
I’ve ever heard
say “sloth” or “detest”
in conversation
he reads poetry
the puritan in me
with an X-Acto knife in his calloused hand
if not a stick of dynamite
and if the puritan in me sees
two cats making
whoopee in the barn
I think not
because they get
in the way
or scare the crows
but more precisely
because he thinks it is worthless
the angles of animals
fucking freely
in the open air
he will blast them to smithereens
I should tell you
the puritan in me always carries a shotgun
he wants to punish the world I suppose
because he feels he needs punishing
for who knows how many unpunishable things
like the times as a boy he’d sneak shirtless between the cows
to haul his tongue across the saltlick
or how he’d study his dozing granny’s instep
like it was the map of his county
or the spring nights he’d sneak to the garden behind the sleeping house
and strip naked
while upon him lathered the small song
of the ants rasping their tongues
across the peonies’ sap, making of his body
a flower-dappled tree
while above him the heavens wheeled and his tongue
drowsed slack as a creek,
on the banks of which, there he is,
right now, the puritan in me
tossing his shotgun into the cattails,
taking off his boots, and washing his feet
in that water.

Copyright © 2015 by Ross Gay. From catalog of unabashed gratitude (University of Pittsburgh Press, 2015). Reprinted from Split This Rock’s The Quarry: A Social Justice Poetry Database.

It’s a thrill to say No.
 
The way it smothers
everything that beckons―
 
Any baby in a crib
will meet No’s palm
on its mouth.
 
And nothing sweet
can ever happen
 
 
             
 
 
to No―
 
who holds your tongue captive
behind your teeth, whose breath
whets the edge
 
 
             
 
 
of the guillotine―
 
N, head of Team Nothing,
and anti-ovum O.
 
And so the pit can never
engender
 
 
             
 
 
the cherry―
 
in No, who has drilled a hole
inside your body―
 
No.
Say it out loud.
Why do you love the hole
 
No makes.
 

Copyright © 2017 by Dana Levin. Originally published in Poem-a-Day on November 9, 2017, by the Academy of American Poets.

Then I was a safe house
for the problem that chose me.
Like pure math, my results
were useless for industry:
not a clear constellation,
a scattered cluster, a bound
gap. When I looked I found
an explorer bent. Love

never dies a natural death.
It happens in a moment.
Everything hinges on
a delicate understanding.
Even the most trusted caregiver
is only trusted for so long.

From Late Empire (Copper Canyon Press, 2017). Copyright © 2017 by Lisa Olstein. Used with the permission of the author.

My pants could maybe fall down when I dive off the diving board.
My nose could maybe keep growing and never quit.
Miss Brearly could ask me to spell words like stomach and special.
     (Stumick and speshul?)
I could play tag all day and always be "it."
Jay Spievack, who's fourteen feet tall, could want to fight me.
My mom and my dad—like Ted's—could want a divorce.
Miss Brearly could ask me a question about Afghanistan.
     (Who's Afghanistan?)
Somebody maybe could make me ride a horse.
My mother could maybe decide that I needed more liver.
My dad could decide that I needed less TV.
Miss Brearly could say that I have to write script and stop printing.
     (I'm better at printing.)
Chris could decide to stop being friends with me.

The world could maybe come to an end on next Tuesday.
The ceiling could maybe come crashing on my head.
I maybe could run out of things for me to worry about.
And then I'd have to do my homework instead.

From If I Were in Charge of the World and Other Worries . . ., published by Macmillan, 1981. Used with permission.

First visit.

I'm here because I want to be left alone
 

Gender Survey:

In order to proceed, I need access to
your body i.e. brain
your life i.e. sex life
your medical history
your stories
 

Second visit.

 
Have I completed a gender survey so I can cope with being a poet
or am I a poet in order to cope with the gender survey
so used to narrating myself
in exchange for fees and care

The glossy floors and the large window
upon arrival I leave
my name and agency at the reception
I want to talk about my complex and people want to describe me as respectable
to line up the words on the table in front of the psychologist
so we can look at them and pretend we’re equal

A gatekeeper may deny access
a sword can burn against the throat
can still be called angel
fear’s throbbing anatomy
the throat artery's defiant disposition 
highlights a sample of beautiful truths

the same obedience as usual

the same hands folded in my lap
 
 

Third visit.
 

Gender Survey:
Describe your social situation

 
Saw a snake in the woods today
winding across the gravel on its stomach 
as if it didn’t hurt
and every obstacle it met on the way

it slid right around

Imagine if my body could help me like that

Fourth visit
 

I cancel
 

I have reconstructed everything
the boy the girl and the autistic one
documented the fatigue and depression

With the diagnosis as a veil a shield I slid through the corridors.
In the middle of puberty, I escaped sexuality 

got out of girl parties and boyhood problems
got out of punishment and ostracism
stopped learning from the group
how women apply makeup to put on a face

The group of girls I tried to belong to
didn’t work out and lost interest
the punishments ricocheted against the mirrors
newly awakened, I cut myself on the shards
without a clear direction or sender

So the girl was kept intact
floated across the school yard, slid through
high school corridors
rape cultures
mostly without a scratch

Women were formed there
I understand now, as protection and strategy
formed groups there
dancing in a circle around activist tote bags
they became women
I did not become a body

The Publisher
 

It needs a more structured wholeness 

 
I want to reside in the hard and permanent
so I construct a suite of poems and a man to live inside
I want to be pinned down securely
to be normalized and become part of the dictionary
assigned a home
to leave

Scenes flow together
public libraries and pride festivals
small town train stations
press photo and description max 50 words
Twenty-five thousand miles of nerves
I choose the reddest one
pull it out through my throat and set it on stage
my life is three minutes long
they say perfect ten
I'm trying to boil
down to my essence
become a concentrate
of my own existence
then it's called politics

 
Tried to throw out my inner baby Jesus with the bath water
but it held firm inside the lines, screaming and screaming
of course I want nothing more than to fish for Christian Democrats

lure with a little hook of poetry
this body is so useful as bait

People came to me to confess
their heteronormative sins, I said
here, eat my body
I am a worm
and you will be fished up
you will be saved
you will be good
but why do I long for heaven
when I like it best in the flower’s moist soil

Originally published in the March 2019 issue of Words Without Borders. Tjugofemtusen kilometer nervtrådar © Nino Mick. By arrangement with the author. Translation © 2019 by Christian Gullette. All rights reserved.