A Poem Written in Replication of My Father's Unfinished Novel Which He Would Read to Hs Children Whenever He Was Drunk
Indian summer. Leaves fallen
from government trees. They remind me of sex.
My mother and father dead.
My father fell
at Okinawa, shot by a Japanese sniper.
I do not hate the Japanese. My lover is
Japanese. She reminds me of sex.
Pregnant, my mother coughed
blood into paper tissue.
She died two weeks after I was born.
Now my Japanese lover is pregnant. She whispers
stories to her stomach about a small island
in the Pacific where her father killed
an American soldier during the war.
My lover and I wonder aloud
if her father killed my father.
We shiver in the heat of it.
It reminds us of sex.
After my parents died, I lived
with my aunt, who had enough money
to send me to Catholic school. I was
the only Indian who went to Catholic school
on purpose. I learned to play piano.
I jitterbugged with Catholic girls
and their pale thighs.
They smelled like sex.
I fell in love with all of them.
I learned chord after chord. Sex.
Often, these days, I stand at the window
of my reservation home
while my Japanese lover sleeps alone
in the scattered bed. She is pregnant.
Her father and mother live
with the dead in Hiroshima.
My father and mother are also dead.
Piano. Chord after chord. Island.
That Window. This Window.
One Indian boy runs
blindly through the trees.
A shadow falls
over everything.
Sex. Leaf, faith. Glass.
If I stand at this window long enough
I will see the long thread of history
float randomly through the breeze.
This is all I know about peace.
— Sherman Alexie, One Stick Song (2000)
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Migration, 1902
The salmon swim
so thick in this river
that Grandmother walks
across the water
on the bridge
of their spines.
— Sherman Alexie, One Stick Song (2000)
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[untitled poem] (1856)
Don’t believe it, my friend, don’t believe it
When in a fit of grief I say that I stopped loving you—
Don't trust the low tide, don't trust the betrayal of the sea,
It returns to the earth, loving.
I'm already sad, full of the same passion,
I will give you my freedom again—
And the waves are already running, with their opposite noise,
From afar to your favorite shores.
Don't believe it, my friend, don't believe it,
Don't believe it, my friend, don't believe it
When in a fit of grief I say that I stopped loving you—
Don't trust the low tide, don't trust the betrayal of the sea,
It returns to the earth, loving.
— Aleksey Tolstoy, adapted by Pyotr Tchaikovsky in his 6 Romances, Op. 6 (source)
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Levels of Meaning
—for Stephen Kessler
a woman burns. the woman in the house burning
a woman outside watches the flames
the woman who writes about the woman in the house
who burned
the woman who reads about the woman in the house
who burned
the rich woman who funds fire departments
the stalwart woman who raises funds to help the families
of women burned in fires
the women who have burn scars having survived
to lecture on the value of fire safety
the woman who threatens to burn
the woman seer who predicts
a slow & painful burning
the woman who says, "help. i'm on fire."
the professional woman firefighter
the woman who builds hearths of cold stone
the woman who warms herself
by fire
the woman who eats fire
the woman who
takes the fire out
of her lovers
the woman everyone fears because she's made of fire
— Wanda Coleman, Bathwater Wine (1998)
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Regurgitations
he is rotting on the roadside
he smells of shit and sangria
they say someone cut him a new smile
after they relieved him of his nose
they say he was pushed from a skyscraper in New York
they say his mother has taken him
back to her womb
they say he strangled on the vomit of false rumors
they say his killer, also his lover
lingered over his corpse
they say that the dark birds flying away
with his flesh in their beaks and claws
will become his children
— Wanda Coleman, Bathwater Wine (1998)
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A Rage Revivified
bones bearing the weight of bones
the suicides have returned
sailor's knots & nooses are undone
they climb down from stubby-legged stools, seize
bolted doors by their knobs
fling them open
drink the heat of hungry things
the pills jump whole from the trembling
palm, which becomes a fist,
back into the bottle like a spent jinn
bullets gone listless drop bloodfree to backshed floors
wrists glisten
return notepaper & apologies
to letter drawers
uncut, as immaculate
as the razor's gleam
something strident has been remembered
bursts thru the muddied window
so strong it liberates the lungs
from the enormity of gas
the suicides are risen
revolt on Main Street / a riot of
rebuffed silences
the suicides are raise-fisted
reach deep into foam-stained pockets
bash the merciless with algae-covered stones
— Wanda Coleman, Bathwater Wine (1998)
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(not the sun. but the fuzzy glint of former light
captured briefly in boot leather mid-tample
— from "American Sonnet 81", by Wanda Coleman, Bathwater Wine (1998)
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American Sonnet 47.
—after Ugo Foscolo
my adolescent fatherland is plagued by fear's outbreak
pustules of public mendaciousness erupt like boils on godhead.
i would medicate it—urge maturity—soothe with a balm of tears
and heartbane. but i moan alone in my sinkhole, scribble
insanely the whole telling, how my mind, leveled again and
again, has been rebuilt in splendor over traffic-ridden squalor
and liquor dens. i have been touched by The Sacred and The Bard
yet fail to ease my melancholy soul with psalm, erasing and
rewriting and erasing until all light is extinguished in an
avalanche of paper, beneath the rubble my arthritic clawings
toward what?
the day has arrived when the blind beggar strays through
the plain of smokes, gropes among the dead whose pain is
not assuaged, makes her way into the crypt, takes an urn
to her lips, consumes ash for nourishment
— Wanda Coleman, Bathwater Wine (1998)
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Questions About Angels
Of all the questions you might want to ask
about angels, the only one you ever hear
is how many can dance on the head of a pin.
No curiosity about how they pass the eternal time
besides circling the Throne chanting in Latin
or delivering a crust of bread to a hermit o earth
or guiding a boy and girl across a rickety wooden bridge.
Do they fly through God's body and come out singing?
Do they swing like children from the hinges
of the spirit world saying their names backwards and forwards?
Do they sit alone in little gardens changing colors?
What about their sleeping habits, the fabric of their robes,
their diet of unfiltered divine light?
What goes on inside their luminous heads? Is there a wall
these tall presences can look over and see hell?
If an angel fell off a cloud would he leave a hole
in a river and would the hole float along endlessly
filled with the silent letters of every angelic word?
If an angel delivered the mail would he arrive
in a blinding rush of wings or would he just assume
the appearance of the regular mailman and
whistle up the driveway reading the postcards?
No, the medieval theologians control the court.
The only question you ever hear is about
the little dance floor on the head of the pin
where halos are meant to converge and drift invisibly.
It is designed to make us think in millions,
billions, to make us run out of numbers and collapse
into infinity, but perhaps the answer is simply one:
one female angel dancing alone in her stocking feet,
a small jazz combo working in the background.
She sways like a branch in the wind, her beautiful
eyes closed, and the tall thin bassist leans over
to glance at his watch because she has been dancing
forever, and now it is very late, even for musicians.
— Billy Collins, Questions About Angels (1999)
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The Hunt
Somewhere in the rolling hills and farm country
that lie beyond speech
Noah Webster and his assistants are moving
across the landscape tracking down a new word.
It is a small noun about the size of a mouse,
one that will be seldom used by anyone,
like a synonym for isthmus,
but they are pursuing the creature zealously
as if it were the verb to be,
swinging their sticks and calling out to one another
as they wade through a field of waist-high barley.
— Billy Collins, Questions About Angels (1999)
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After Botticelli's "Birth of Venus"
Aphrodite, foam-born, blown
shoreward on her wide shell
with the breeze tickling her bottom
and a large crowd gathered
on the beach to greet and gawk.
The authorities there, too—
men with large batons, trained
in mob control.
Someone
selling hot dogs and souvenir
brochures of the obvious.
Meanwhile the goddess herself
has that blissed-out, postcoital
expression that indicates
she's not all there—were she a boxer
with a decent manager he'd recognize
that look; right now he'd be
tossing in the towel, reaching
for a bright silk robe to wrap his pal.
— Gregory Orr, We Must Make a Kingdom of It (1986)
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Interview with a Falling Angel
You should know—this human form
I have: I'm only passing through
on my way to lesser things;
my ultimate goal's to become
a stale breadcrumb that's the object
of delight for a mouse
gathering its hasty treasure while
the cat prowls the upper floors.
You see,
I'm God's voice practicing
a descending scale. When
He hits the lowest note—watch out.
— Gregory Orr, We Must Make a Kingdom of It (1986)
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A Toast
A branch smooth as the rubbed foot of Saint Peter,
puce, porous, rinsed by wind.
Clean spear of a skeleton.
Bridge of a Roman nose.
Cask of air.
When I walk into that croft,
the trees at my back like a reredos
carved by rain,
then the day could pour like ouzo
into my crystal thimble—
a shot of air for friendship,
a bar of bleached light
for the necklace of stones
strung on the chalky ridges—
a blackbird smearing the trees
for our daughters in the alizarin of day.
Then, a swallow could hook
its neck on a rafter,
a hawk mistake a lure
for God and Country,
I wouldn't know—
my shot glass
a splintered flock of feathers
in the wind.
— Peter Balakian, June-tree: New and Selected Poems (2001)
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Modern poetic translation of the 14th-century anonymous poem The Pearl
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PSA: Tumblr/Wordpress is preparing to start selling our user data to Midjourney and OpenAI.
you have to MANUALLY opt out of it as well.
to opt out on desktop, click your blog ➡️ blog settings ➡️ scroll til you see visibility options and it’ll be the last option to toggle.
to opt out on mobile, click your blog ➡️ scroll then click visibility ➡️ toggle opt out option.
if you’ve already opted out of showing up in google searches, it’s preselected for you. but you also have to opt out for each blog you own separately, so if you’d like to prevent AI scraping your blog i’d really recommend taking the time to opt out. (source)
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I, too, was clad in a black robe, but neither a priest nor an ordinary man of this world was I, for I wavered ceaselessly like a bat that passes for a bird at one time and for a mouse at another.
— from A Visit to Kashima Shrine, Matsuo Bashō, transl. Nobuyuki Yuasa
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28.
Another haiku?
Yet more cherry blossoms—
not my face.
— Bashō, On Love and Barley (translated by Lucien Stryk)
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