I wish we could hear them just once,
instead of over and over.
One day, tired, I sat down on the couch
just to listen to the ringing in my ears.
My eyes are so deep-set in my head
it makes it hard to see
past the memory of lost glamour,
being born too late, living in the shadow
of a beautiful downtown turned into
a ghost town, a hollowed hulk,
and how that itself now turns into
a memory of treasures,
how when something taken for granted
is suddenly over, the pause when you take stock
and realize you’ll never have as much,
that change is always a lessening,
the wall effect, you can’t see what’s next
even though it’s supposedly obvious.
I don’t know what to say about that,
I mean, I’m just barely here.
Copyright © 2020 by James Cihlar. Originally published in Poem-a-Day on November 3, 2020, by the Academy of American Poets.
A mist appalls the windshield.
So I still see trees as moral lessons,
as I pass under them, shadowy and astute.
The glazed aspen branches hover.
Ice heats up and cracks, road tar steams
like some animal where the blush
of cheek is chilled by annunciation.
I cannot say her face was trauma driven.
I'm still saturated with her, taking in
her etched-in countenance, otherworldly,
enveloping, frightening, the face you can't see,
pressed against it. So how can you imagine
what it feels like? Their gravity suffices,
the sealed and straining torsos
of aspens, an affront to our high-pitched moans,
feverish with disarray. Our expressions
have too much God in them, too much cloud, too much
blood on nail, too much arrow, too much quiver.
"February," from Grazing by Ira Sadoff, published by the University of Illinois Press. Copyright © 1998. Used by permission of the author.
the poem begins not where the knife enters
but where the blade twists.
Some wounds cannot be hushed
no matter the way one writes of blood
& what reflection arrives in its pooling.
The poem begins with pain as a mirror
inside of which I adjust a tie the way my father taught me
before my first funeral & so the poem begins
with old grief again at my neck. On the radio,
a singer born in a place where children watch the sky
for bombs is trying to sell me on love
as something akin to war.
I have no lie to offer as treacherous as this one.
I was most like the bullet when I viewed the body as a door.
I’m past that now. No one will bury their kin
when desire becomes a fugitive
between us. There will be no folded flag
at the doorstep. A person only gets to be called a widow once,
and then they are simply lonely. The bluest period.
Gratitude, not for love itself, but for the way it can end
without a house on fire.
This is how I plan to leave next.
Unceremonious as birth in a country overrun
by the ungrateful living. The poem begins with a chain
of well-meaning liars walking one by one
off the earth’s edge. That’s who died
and made me king. Who died and made you.
Copyright © 2019 by Hanif Abdurraqib. From A Fortune For Your Disaster (Tin House Books, 2019). Used with permission of the author and Tin House Books.
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.