Look at her—It’s as if / The windows of night have been sewn to her eyes.
Mary Jo Bang, Elegy; from ‘Ode to History’
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Mary Jo Bang from A Doll for Throwing
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Each open mouth
is a blind spot. Want.
Want. Want. I catch
sight of myself in a
mirror.
Mary Jo Bang, from A Doll for Throwing: “The Chess Set on a Table Between Two Chairs”
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Desnuda o no, soy un disfraz que se mueve, una figurita que cambia de rostro. Podríamos decir que soy un estado de ánimo. Comienzo feliz pero a veces me pongo solemne al enfrentar mi propia mitología (...). El comienzo de hoy terminó en un sueño. En una cama fantástica, un amante se inclinaba a besarme justo cuando me di cuenta de que yo era parte máquina, parte deseo primitivo. Salí de la cama y le dije: sabes, ¿no?, no todo el mundo está tan dispuesto. Y entonces oí desde adentro de mi cabeza: deberías decir que no todo el mundo está tan dispuesto a tu utopía. Recién entonces me di cuenta de que había sido imprecisa. Incluso aquí hay molestos que te dicen cómo tienes que ser. A veces viven adentro. Desnuda o no, intento plegar mis brazos imperceptiblemente detrás de mi espalda, para que mis pechos y mi cabeza extremadamente simplificada sean todo lo que puedas ver.
—Mary Jo Bang, «Figura humana con vestido» en Una muñeca para lanzar. Traducción de Patricio Grinberg y Aníbal Cristobo.
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The cold is a knife-slice on the skin.
The heart says no, over and over.
This is not what you want.
What you want is that plush crimson
blanket called love: the pulsing
blood-rush that provokesa
minimetamorphosis. An object,
held by a gaze, radiating being.
You would say passion but a demon
has sewn your lips shut. The silver
needle lies there like the melting
sunlit snow beneath your feet.
It looks up as if to ask, Tell me, how
often do you feel the way you feel?
The Dead of Winter by Mary Jo Bang
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— You Were You Are Elegy, Mary Jo Bang
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Part IV: Yet Another 15 Favourite Poems
Avec ses vêtements ondoyants et nacrés, by Charles Baudelaire
We lived happily during the war, by Ilya Kaminsky
After great pain, a formal feeling comes, by Emily Dickinson
You Were You are Elegy, by Mary Jo Bang
I Promise Nothing: Friends Will Part, by A.E. Housman
Separation, and
To ________, by W.S. Merwin
Portrait of a Lady, by T.S. Eliot
Your Catfish Friend, by Richard Brautigan
Nostos, and
The Untrustworthy Speaker, by Louise Glück
#28 from Contradictions: Tracking Poems, by Adrienne Rich
Meditations in an Emergency, by Cameron Awkward-Rich
Polaroids, by Charles Wright
Invitation, by Mary Oliver
See also Part One, Part Two, Part Three
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Translation Tuesdays: Colonies of Paradise, by Matthias Goritz @nyjb
A series dedicated to literature in translation whether classic or contemporary.
Ranging across the globe and excavating past and present, Colonies of Paradise by Matthias Göritz is a personal journey of self-discovery.
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In the Garden Behind the Master’s House
By Mary Jo Bang
Does the erotic exist outside architecture? The shepherd
asleep, the shepherd awake—his staff in his hand. Sweet
are the fields of. Exiled from home am. A sandwich of
tendered lamb. Overhead, stars marvel in a heaven of
now. As soon as we have a building, we have a mash-up
of the dystopic present and the future that will not sit
still. A is for agitation. B is for building a house. What
does it mean to be a master. To have mastery. One
woman, one man. Who is whom. Self-interest as an
imperative is unlike any other. Where does one live. It’s
early in the history of coupling. No one is more alone.
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A poem by Mary Jo Bang
The Bread, the Butter, the Orange Marmalade
Nothing was what I wanted. The bread, white
chalk. The butter, rancidity. The marmalade,
bitterness. The nail on my right hand, the ragged
ending to a difficult day. He’d said, Oh, really,
you’re wearing that? I was, I said. But now
there was no room for me in the room.
The lights were too bright. Always a problem
when windows faced the sun. Especially
when the sky showed its face for too long.
No rain for days, then, suddenly, rain. I’d worn
the red shoes and now they would be ruined.
How to care less. That phrase, “I couldn’t
care less,” as if zero were already a viewpoint.
There were two doors into the house: the front
door, which was rarely used, and the side door,
which was accessed by entering the screened
porch where my stepfather’s wood was stacked
against the wall. A tall bin of nails anchored
the corner. What was he building now?
The baby was heavy in my arms. If I put him
down, he’d undoubtedly wake. I could tell, time
was a migraine heading straight for my right eye.
The waking baby’s cry would be an expert knife
through injured flesh. It was that kind of a season.
Mary Jo Bang
Listen to Mary Jo Bang read her poem
Published in the print edition of The New Yorker July 4, 2022
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Mary Jo Bang from A Film in Which I Play Everyone
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I wasn't a child
for long and after I wasn't, I
was something else. I was
this. And that.
Mary Jo Bang, from A Doll for Throwing: “Self-portrait in the Bathroom Mirror”
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April was marching to an easy puppet beat. Slow vernal birth,
cyclical drizzle. There was little that gave much surprise:
the too-heavy hair, long with cool stars—pin pricks
in a watery bed sheet.
In a trice, the hard rain arrived (and was most unpolite).
Someone had to broadcast the warning: April is.
The biennial, of course, was canceled—in its place,
an improv event: the no-nostalgia picnic
for the impudent few who had fallen in love with amnesia.
The river overspilled, the house went under.
Uneasy acceptance of rampant destruction.
In April's court, you talk—sure—but she don't listen.
When April Was Beginning, and End by Mary Jo Bang
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