Category Archives: Great Poems Online

August Links Roundup: Ship It

Better get this post up before the month is over! Here’s an eclectic list of good reads around the web.

At the Iowa Review, Amanda Peery-Wolf’s “What Can I Ship” is a witty found-poem based on the Union Pacific Online Customer Handbook from 2007. The reader may be alternately numbed and delighted by the sheer volume and random diversity of items that human beings have invented and sold. Strategically placed linebreaks lead one to imagine additional strange mash-ups of existing products:

toasters walking sticks with rubber tips video games mattresses hd

screens jeans green bicycles for boys rubber hands for halloween minidresses

for when she’s starting to come into her own pocket pill containers

horse blankets rabbit biscuits jingly balls for cats eyebrow brushes

keyboard covers car accessories menorahs plastic bags pen caps worry

dolls folding fans molding clay ac units fuel charges apply to all shipments

balled-up tissues tootsie rolls rolling papers live rabbits beach umbrellas…

At the Ploughshares blog, Pepper Stetler‘s essay “The World Will Be Tlön” compares the DSM-5 to the aliens’ rewriting of human history in Jorge Luis Borges’ surreal fable “Tlön, Uqbar, Orbis Tertius”. The human psyche craves order and categorization to such an extent that we confer authority on “expert” psychological diagnoses and overlook their contested political history. As the mother of a daughter with Down syndrome, Stetler can’t ignore the labels that will help her family navigate the medical and educational systems to get the resources they need. However, she remains skeptical enough to value aspects of her daughter’s mental life that the DSM would pathologize. “Intellectual disability is still described in terms of deficits and a failure to meet certain standards, rather than language that might suggest that the environment, the conditions of our modern world, might be what is deficient, which would open up the possibility for social change.”

At MEL, a men’s magazine, Chingy Nea opines that “‘The Sopranos’ Belongs to the Gays Now”. Gay popular culture loves references and memes from the Mafia drama because it’s a show about masculinity as high camp. “Even if they don’t realize it themselves, every man and woman on The Sopranos is performing gender at such a high level that the show smacks of the stuff. And because many queer people live outside the confines of traditional gender roles, we’re more used to recognizing that all of us are performing gender, whether we know it or not.”

I got halfway through Season 4 when “The Sopranos” originally aired, quitting because I didn’t want to see Adriana get whacked. If we go on lockdown from COVID again this winter, or even if we don’t, I suspect I’ll be bingeing the show from the beginning. I have HBO Max now–I am fancy. No more bootleg videotapes from my parents’ friend who had premium cable.

My new passion as of last year is making collage art. My handmade greeting cards are everything that my writing isn’t–upbeat, popular, and easy to understand! Via Poetry Daily, I discovered the online journal Ctrl+V, which is dedicated to creative writing that incorporates visual collage elements. I particularly liked this flower clock poem from Nora Claire Miller, “To Understand a Tendency Consider Its Conditions”.

This cheerful non-manifesto by poet Maggie Smith, part of an interview in the “Stopping By With…” series from the Poetry Society of America, lightened my anxiety:

What do you see as the role of art in public life at this moment in time?

A question I’ve heard asked a lot over the past year (but also in most hard years—which is most years, period) is “What is the role of the poet in these times?” I suspect the expected answer is something about expressing collective grief or outrage, or speaking truth to power, or providing comfort. But my answer is usually, “To do your work.” Any world worth living in and fighting for is a world full of art.

So we do our work, whatever it looks or sounds like, without expecting it to fix or solve anything, without expecting it to heal someone. We just do our work, and perhaps it will mean something to someone else, the way we find art that means something to us.

LitHub published the winners of this year’s Insider Prize, a writing contest sponsored by the journal American Short Fiction for incarcerated writers in Texas. Eva Shelton’s story “Bottles of Grief”, about solidarity and loneliness in a bereavement support group, and Keith Sanders’ essay “The Myth of Me”, about being a rebellious teenage atheist, are both worth a read.

Classicist and poet A.E. Stallings shares a bit of forgotten queer history in “Warrior Eros” at The American Scholar. Reviewing James Romm’s The Sacred Band: Three Hundred Theban Lovers Fighting to Save Greek Freedom, she describes the real-life inspiration for the thought experiment in Plato’s Symposium about “an army of lovers and their loves” who would be bonded by affection to fight to the death.

In Athens and Sparta, romantic, erotic, and sexual relationships between men were largely countenanced and conventional: a couple was composed of an erastes (the lover), the older partner, and the eromenos (the beloved), a youth on the cusp of manhood; “lovers and their loves.” The pro-Spartan Athenian historian Xenophon seems to have been atypical in his disapproval of male-male sexual relationships; in ancient Greece it was arguably unwavering heterosexuality that was “queer.”

But if, as Romm points out, in Athens and Sparta “male erôs was ‘complicated,’” in Thebes and Boeotia it was sanctioned by the state. Male couples could take an oath at the grave of Iolaus, Hercules’s own beloved, to live together as syzygentes—yoke mates—a term that elsewhere indicates a lifelong marital bond. It is etymologically related to “conjugal.” (The modern Greek word for “spouse” is still syzygos.) After running a junta of Spartans out of Thebes in 379 BCE, the Thebans turned their attention to defense. What Thebes needed to keep Sparta’s hoplites (heavily armed infantry) at bay was an elite squad of its own; thus was born the Sacred Band of 300, its couples having sworn the “sacred” oath at Iolaus’s tomb.

When will we get a movie about this??

Poetry by Victoria Leigh Bennett: “The Nature of the Offense”

Winning Writers subscriber Victoria Leigh Bennett recently made my acquaintance online to announce her forthcoming collection, Poems from the Northeast (Olympia Publishing). She is a fellow Massachusetts poet, though born in West Virginia. Victoria says, “A poet’s spiritual homeland is oftentimes not exactly the same as his or her homeland by birth. This book is a book of poems composed over a lifetime lived entirely in the northeastern United States and Toronto, Canada.”

Victoria has kindly allowed me to share this new poem of hers, which appealed to me because of its wordplay and gentle but pointed repartee.

The Nature of the Offense

Well, the most you can say for him is that he’s inoffensive,
Fairly inoffensive,
Pretty much noncommittal, and
Well, just inoffensive,
You said.

That’s a hell of a lot to say,
Say I,
And after all,
Think of how everyone in our world
Who’s parleyed and had to negotiate
For a cessation of the offenses
Committed against them
In perpetuity from the past, at least,
It seems,
Would like him,
Find him a valuable asset
As a companion.

Oh, yeah, you say,
He’s pretty wishy-washy,
And everyone complaining these days
About everything ever done to them
Whether on purpose or not,
Maybe just in a moment of inattention
Or thoughtlessness,
Yeah, I can see how they might value him.

Well, say I,
As to the “wishy” part,
I think he wishes a lot for others
To be comfortable and happy
In his presence,
And for the “washy” part,
He’s continually washing
His own soul hands
Against the washing away
Of others’ vital differences,
Which are important to them.
He wouldn’t give offense,
Is the issue.

Maybe not, you say,
Maybe not.
Though some would prefer
An outright enemy
To a halfway committer.

But he’s not falsely committed
To anything,
Say I,
And anyway, people
Really don’t want enemies.

Some people just like to quarrel,
You decide.
Anyway,
You say,
I’ll just bet you’re tired of him
In a year, or a month,
Or a fortnight.
I can still call it a fortnight,
Can’t I,
Without giving offense
To your peace-loving friends?
I have no idea, I say,
No one’s ever told me anything
Different from that yet.

Yeah, I’ll bet you’re tired of him
Before long.
Where’s the passion,
Where’s the thrust of sexual contention?

Where’s the love,
Where’s the melting-togetherness
Of passionate agreement? Say I.

You’ll get tired of him, I’ll just bet.
I’ll take that bet, I say,
All in one breath,
See you and raise you,
As maybe your parents
Should’ve seen you
And raised you better,
To be more inoffensive.

The Poet Spiel: “On Swallowing”

As Father’s Day is this weekend, here’s a poignant poem by longtime reader and contributor The Poet Spiel, a/k/a the artist Tom Taylor, about role reversal and a kind of closure for a difficult father-son relationship. Spiel’s recent books include the illustrated retrospective Revealing Self in Pictures and Words.

On Swallowing

To think on such a day that I might make a joke about the Jello,
about it being what I liked about my stays in such sterile facilities.
How they bring you Jello on a tray.
But my father’s mind was traveling elsewhere;
was wondering if I’d walk him down a hall that was not there
to someone only he could see—
he was leaving us but barely knew which place he was,
nor did I.

So, I tempted him with milk, I said:
You remember how we’ve always loved our milk, you and I,
here, take this straw, can you hold this in your mouth
between your lips. I know you’ve always loved your milk, Amos.
Try a sip of milk, I’ll help you with it.
Try it from this straw.

But he had no suck and it dribbled down his chin;
his throat forgot to swallow and his eyes wandered down a hall
that only he could see, wishing that I’d walk with him
to where he thought that it was time to go.
Let’s go, he’d said:
this man who’d told me just the day before
he’d had enough of life
and now it was his time to go.
Let’s go, he said,
but I was baffled by the plural of let us.

I simply did not know to whom he spoke nor whom
it was that he might see to walk with down that hall
that only he could see,
and yet he’d earlier called me by my name,
just as the day before when much to my surprise
he had given me the gift that surely every son must wish:
he had told me that he’d come to see me as a man,
that he honored me—
this man who could no longer swallow,

whose trembling disease would also rob his heart of the impulse
of when to beat,
and it would happen in this place
and on this day with milk upon his gown and green jello on his tray,
while I stepped outside his room to breathe
and consider what I’d seen
in a decade where his body lost its tune and he could not hold it still.
His mind on track but could not send its signals
from a soup spoon to his mouth;
humiliation at the spills upon his lap,
coordination lacking at his knees.

Can I help you, I would ask.
Then anger in his eyes that he might need,
that he would need at all.
This determined man who taught me as a child
how to swallow milk shakes from a straw.

No, I can do it, he would say, I can make my knees go,
as I stood aside and suffered with him as he fell off of his bike.
As he taped his bleeding wounds,
as he lamented he’d no longer have the pleasure of a spin
down to the Platte River to watch the waters that he loved,
where he loved to rest in peace
off on his own away from Fern and her restlessness of mind.
That he no longer drove a nail without a finger getting smashed,
his hands so out of sorts that he could not turn a screw.
That he would never ride another horse, nor tend the birthing of a calf.
That in a restaurant, the children stared because he shook so bad.
That even though he wished that he could live to care for Fern,
he’d reached the point where he was through;
he’d had enough of what he could no longer swallow,
and I understood,
I truly understood
as I wandered round those halls.

So much of life I had complained of all the horrors of life
I could not swallow.
He’d insisted that I look upon the brighter side.
But now, he said he too had had enough of what he could not swallow.

Then, I heard the code blue call.

I knew it was for him
but by the time I got back to his room,
his doctor had blocked the door; the door was shut.
His doctor’s face was telling me
my father’s life had ceased.
I pressed my head against the door
as his doctor spoke, He’s gone.

I banged my head against the door
and loudly uttered fuck,
the word my father most despised
but might expect me to have said;
I shouted FUCK
but never doubted that he walked on down that hall I could not see
with a companion at his side;
and of my shout, he’d found a way to swallow it.

And on the day before this day,
he’d honored me as man.

Two Poems from Joshua Michael Stewart’s “Break Every String”

Western Massachusetts poet Joshua Michael Stewart came to my attention through Straw Dog Writers Guild, where he’s a popular frequent reader at open mics and literary events. (Take advantage of the Zoom era and drop in on their upcoming readings!) As a Buddhist, Joshua is modest about his literary reputation, but I, for one, want him to be famous, because the guy has a helluva voice.

I recently finished his 2016 collection from Levellers Press, Break Every String. This lyrical autobiography is a blues song for the dead-end economy of Midwestern towns and the family wreckage they harbor. His characters crackle with energy that could find its outlet in verses or fists, parenting your own children or stealing someone else’s, a guitar or a bottle. Stewart writes of his teen years: “I was nabbed for keeping up the family business–shoving merchandise down my pants.” As the one who escaped, Stewart plays through all the octaves of emotion, from gratitude to judgmental pride, to survivor guilt, to wary compassion: “of loving/the lost with raucous praise, of letting the gone go.”

Several poems are titled “After Ohio”, each beginning with an excerpt from a letter from his mother, who is usually updating him on his ex-con brother’s bumpy road in and out of sobriety. In one of these pieces, Stewart begins, with his characteristic deadpan humor: “When scoring a revolver from a guy/who lives out of his car, you don’t plan/much of anything else for that day.” The poem recounts how he wandered into a bookstore and bought a book of poetry when the guy didn’t show up. The tipping point between his fate and his brother’s could be just that random and precarious. I found myself thinking of the ending of the film Angels with Dirty Faces: “let’s go and say a prayer for a boy who couldn’t run as fast as I could.”

Joshua has kindly given me permission to reprint the poems below. He’s just finished a new manuscript–I hope it gets published soon!

NEVER ASK WHAT’S UNDER THE BED

Your grandfather once shot a man,
my mother says over pea soup on the porch—
chucked his sorry ass down a well,
kept the man’s false teeth as a souvenir.
Take that to your fancy school
for when you forget who you are.
The jobs have ditched town, and the freight
trains are gone—no longer rattling
windows, shaking nails from rotten studs.
The house shivers on its own.
We move out to the yard, squat down
on five-gallon buckets and scavenge fallen
pears among dandelions and bluegrass,
my favorite AC/DC T-shirt and my woodshop award
stuffed in a cardboard suitcase at my feet.
My generation, we didn’t have learning
disabilities, we just drank homebrew,
and threw knives at each other.
Sweetness drips off her chin,
her mouth a honeycomb of bees.

****

MOTHER, THESE AREN’T YOUR FLOWERS

I thrust open a stubborn window,
causing a book to plop on its side,
slide off the shelf and, washed over

by a wave of other books, crash
into a rose-filled vase that smacks
on the hardwood floor.

What follows is silence, the split
second after a mother slaps
her child. I’ll let the water search

the valleys of the room, finger
the petal-thorns and prism-shards.
This isn’t your carpet ruined

by spilt paint. You will not lean
in the doorway smelling of strawberries
and righteousness. No wailing

or pleading here, only the quiet
twinge of panic ingrained
by the memory of your nearness.

The Poet Spiel: “a suite of dirty pictures”

The Poet Spiel, a/k/a visual artist Tom Taylor, is a longtime reader and occasional contributor to this blog. He asked me if these poems were too steamy for Reiter’s Block, but there’s no such thing! In this poem sequence, a gay man watching porn has an artist’s eye for the complex shadings of emotion in acts that are both intimate and mechanically mediated, painful and pleasurable, filthy yet strangely beautiful. As bodies violently strain to close the gap between self and other, the viewer straddles the line between obscenity and transcendence. And cums all over it.

The Poet Spiel and his life partner, Paul Welch

 

 

a suite of dirty pictures

seventeen seconds

as if to break his own neck,
the subjugated throws his head back,

utters an odd range of lamentations
expressing dire suffering

at each snap of the narrow strap,
more reverent than his moans.

hooked once more by this 17-second litany
panning flesh, compromised in stress,

no doubt pre-agreed to inflict the ecstasy of pain,
but when looped,

this sequence of harsh snaps and abrupt groans
becomes other than directed;

rather a familiar insistence —
like an old hymn lulling you

til you are lured to draw yourself to closure
into soft tissue.

__________

white smoke

two taut dudes
in possession of one and the other’s face
by squalls —
like dying fauns —
while that dark duo
of more substantial steamy feathered beasts
barks out harsh commands
and their prides, be-sheathed in latex skin,
come to resemble white smoke
just as they begin to burst
as turgid mounts,
now cease fire,
re-loop,
so returns
this pair of fauns
faces engaged, one micro instant
between the smoke and squall.

you relight your hands,
hot enough
to ignite your
otherwise compromised
spoil.

_____________

hard pressed

hard copy is not an option here;
no quickstop key to press then print
just eight-fleeting-seconds
of this rapidpoundingcocksucker.

his eyes with the inestimable insouciance
of fine crystal glistening
at table several hours before
you would be allowed to partake
of his admirably boned dish.

so you refuse to celebrate yourself
until you are able to regain your conscious mind,
some many dozens of re-plays later
when at last you are convinced

he

gazes

directly

at

you.

_____________

war of pearls

as qwik as a want,
your mouse glides you from coy to desperado;
your hands hostage to a war by casual treaty
declared within this spartan triad
harboring ransom never to be paid
but relentlessly antagonized.

this sequence of howls, indistinguishable
from the sacrifice of salt as real booty
beneath the drawing down of fetters —
as if little more than weekend anarchy
where the only courtesy might be
that all three come out alive.

but this is not your concern for now,
you too are subject to the strictures
as you form a fist jouncing madly in succession
to the flow of what you’ve come to rely upon.

the glistening of the jugular,
the snapping of the glands,
repeated incantations
oh so tautly veined like orchid whipsnakes unraveling
upon a fevered yowling emitted of flesh fresh bared,
committed to this driven theater that will never end.

at last, in sudden silence you sacrifice your will,
you loose the grip between your teeth
and as your walls submerge your windows,
you baptize your nipples in pearly showers
of hism.

________

urgency

these two
young blooming hides,
rising phoenix,
so hot before your eyes,
rush their capture
between your thighs
as ash becomes sweat —
like viscous rubber
on august asphalt —
these are not two peaches
abrading hair from there
but sizzling it

and no sooner
than you screw
your lotion bottle’s cap off,
the thickness
of your pour
is compromised.

Lesléa Newman’s “I Wish My Father” Is a Tragicomic Elegy

Shepherding an elderly parent through illness and death is a stark, unglamorous journey that demands clear vision and directness, and (especially if you’re a Jewish New Yorker) a fair amount of gallows humor. These qualities abound in Lesléa Newman’s latest poetry collection, I Wish My Father (Headmistress Press, 2021).

Dedicated to Edward Newman (1927-2017), a dapper and hardworking New York attorney, this sequence of narrative poems cycles repeatedly through grief, frustration, and absurd humor, as his adult daughter endeavors to preserve his dignity and safety (not always compatible goals) while his grasp of reality weakens. There’s a certain kind of Jewish couple for whom bickering is a love language. One gets the sense that Newman’s late parents often communicated in this register, which makes her widowed father’s moments of romantic sorrow all the more poignant.

The collection is unified not only by the storyline but also by a formal similarity among the poems. Each poem’s title serves as the first phrase of a sentence that continues as a sequence of three-line stanzas. This device, never obtrusive, reinforces the feeling of sameness that must have burdened her father’s days once his mainstays of work and marriage were torn away. And yet there is change, painfully perceptible to his daughter if not to him.

…He looks towards
my mother’s chair, and out of nowhere
I hear her, too, her voice the weak whisper

of that terrible last day. Don’t worry,
sweetheart. She cupped my cheek
with her worn, withered hand.

There’s no problem so terrible
that it can’t get worse.

Now, that puts the “dead” in deadpan humor. Look how deftly the anecdote is saved from sentimentality by an unpredictable bit of very Jewish wisdom that is both optimistic and so pessimistic we can hardly stand it. As Leonard Cohen sang, You want it darker…

Faith is more than a cultural style here, though. Mr. Newman seems largely contented by his delusions–or are they visions?–of mysterious children at his bedside and random dead people from his past. Together they observe Yom Kippur in a nontraditional way that still brings his daughter closer to the mysteries of time, repentance, and forgiveness. And when he is released from his earthly life, she narrates his arrival at her mother’s side in the World to Come, in exactly the same factual voice as the preceding poems.

I appreciate how this book is accessible to readers without a background in poetry, while also revealing depths to an experienced writer and reader. Even the Young Master took an interest when he saw the book cover, asking me “What does that mean? I wish my father what?” I read him the title poem, about Lesléa’s father tallying the events of his life at age 90, and then asked Shane, “What do you think she wishes for her father?” His suggestions:

I wish my father was still alive.
I wish my father had a good life.
I wish my father knows he was the best.

I Wish My Father by Leslea Newman

Click the cover image to be taken to the book purchasing website. Lesléa has kindly permitted me to reprint the poem below.

MY FATHER WAS NEVER

on time once in his entire life.
No, we could always count
on him being a good 20 minutes

early. I remember many a Saturday
night with my dad dressed
to the nines in his sleek black tux

and glittering diamond studs
pacing the hallway from front
door to kitchen to dining room

before ordering me to dash
upstairs and see what was taking
my impossible mother so goddamn

long. I’d find her sitting side saddle
on a stool in a white silk slip
surrounded by crumpled tissues

imprinted with lip prints
of lipstck the color of apples,
clasping a sparkling bracelet

around her wrist, clipping
on a pair of matching earrings
and muttering to herself in the bedroom

mirror. “I know the early bird catches
the worm. But who the hell
wants a goddamn worm?” She’d hand

me a pendant shaped like a tear
to fasten around her neck,
then raise a silver aerosol can

the hairspray hissing like a snake
as she circled her head three times
forcing me to step back from the cloud

that always made me cough. Once
I came home from college
for Thanksgiving and my dad

drove me to the airport for my return
flight on a snowy Sunday afternoon.
Somehow my stuffed-to-the-gills suitcase

never made it out to the car.
After a ton of yelling and screaming
and carrying on, my father drove

us home and drove us back
to the airport and I was still
an hour early for my flight.

It made me laugh when my father
proudly showed me a note
he received after my mother died:

Dear Mr. Newman,
Thank you for coming to my Bar Mitzvah.
You were the first one there.

I wonder just how early he was
and how on earth he would feel
to learn that from this day forth

for all time he will always
and forever be known
as the late Mr. Newman.

 

© 2021 Lesléa Newman from I Wish My Father (Headmistress Press, Sequim, WA). Used by permission of the author.

“The Baptism” and “Touching” by The Poet Spiel

Today being the Feast of the Baptism of Christ, I thought I’d share a poem on the topic by The Poet Spiel, inspired by the Renaissance artwork below. The second poem returns to a topic that Spiel and I both ruminate upon frequently, the complex feelings we have toward our abusive mothers.

Suspended Motion Luca Giordano, The Baptism of Christ, 1684, oil on canvas, 91 ½ x 76 in. New Orleans Museum of Art Renowned painter of the late Baroque period Luca Giordano created mythological paintings, frescoes and religious imagery in a...

The Baptism

re: “The Baptism of Christ” ca. 1684, by Luca Giordano

One wonders what so predictably clings the abundant yardage to the Christ—
like his alabaster flesh was sensitized to draw it loosely
to what his benefactors might find objectionable—
except to expose the mansome strength of his right forearm,
the somewhat effeminate grace of his left hand,
the navel from which he was miraculously sprung and
a useless pinky toe which appears to have been cramped too long
in crummy shoes not meant for such a broad-torsoed man.
Hosted by fat-faced imps posturing as angels,
with a trickle poured from a scooped shell,
at this wetting of his flesh by the red-draped John;
his cloth also likely to have been commissioned
to please the elite prejudice of its day.
Supporting his weight on a conveniently-assigned tree stump—
as if he were resisting exhaustion
from such a foolishly daunting pour—
and he expects to pose statically for weeks on end,
though one suspects each man would high-tail it
if the brightly backlit dove hovering above them
suddenly let loose to become the baptizer.

****

Touching

A merciful dream
I could not before
have imagined—
touching her—
when she was dead,
when I was certain
she could not speak,
such pleasure of her skin,
her pure white hair
within my hands.

I cannot recall
who took me away
to sign documents
acknowledging
she was gone—
the exact time
and might there be
something
I wished to claim?

Yes—
a snip of her hair,
nothing so white,
and a few moments
alone with her…
still warm,
not resistant,
her mouth
not suggesting
how I might change
my life
to suit hers.

Music and Poetry by Peter Campbell-Kelly: “Passacaglia”

Violinist Peter Campbell-Kelly of Worcestershire (UK) contacted us at Winning Writers to share this exquisite contemplative video of himself playing Heinrich Ignaz Franz Biber‘s Mystery Sonata #16 “Passacaglia” in a 12th-century church in Warwickshire. He writes, “It is a sort of musical prayer, intended somehow for the well-being of all of us in this desperately difficult pandemic.” Peter wrote a poem to accompany the performance, which he has kindly permitted me to reprint here. He also submitted the photos below. Follow the City of Birmingham Symphony Orchestra channel on YouTube for more music to soothe your spirit.

Passacaglia 

Our songs of sadness touch
The dry-deep scars of earth

And on this peaty path
A lichened branch
Cuts clean through the heart

And people lie dying
And people die weeping

And the waters ripple slow
And the sun lasts down and down

And the curlew throws free
Her liturgy of fiery love

The Poet Spiel on Dementia

Regular readers of this blog will know I’m a fan of The Poet Spiel, a/k/a the artist Tom Taylor, whose eight-decade career includes both exotic pastorals and furious satires of bigotry and militarism. These poems on dementia show a more understated and gentle, but no less powerful, side of Spiel.

Leaving

When I cannot know my name and
I cannot recognize the ones who care.

When my native language becomes none
and I’ve forsaken caution.

When my curiosity has vanished
and I’m no longer able to want.

When I don’t know that someone I don’t know
is paid to garb me in disposables.

When I can no longer talk to my self,
the I of me will be suspended.

When I know no equivalent
of dusk nor dawn

and you no longer feel a need to visit me,
on the day I am unable to miss you,

you will know for certain that
I’ve forever lost my song.

****

Paint Cry

I doubt I’ll be painting daisies
like the others in this home
who can’t recall their names.

But please, dear heart,
smother me in gobs of paints and
leave my thumbnails caked and cruddy.

Please don’t scrub my sweats
of muddy colors and all that goop
I used to flush down in our kitchen drain

Can’t you hear, my dear, that I’m still here
but unable to cry in the colors
we used to share.

Election Day Poetry by Carolyn Howard-Johnson: “We Will…”

An Election Day poem by my book marketing guru, Carolyn Howard-Johnson, author of the Frugal Book Promoter series. Also check out her human rights themed poetry collection Imperfect Echoes with cover art by Richard C. Jackson, known to readers of this blog as Conway. (He is still waiting for a hearing on his early release petition since 2008!)

We Will…

Today we will line up.
We will line up in the heat…
We will line up in the cold with scarves around our necks,
hot coffee steaming from paper take-out cups…
We will line up, leaning into Santa Ana Winds or hurricanes
named after Greek letters…
We will line up in fire storms and bitter ashes…
We will do what persevering voters did in ‘64
with a new voting bill as assurance we should be there.
Today we will line up
with that bill clawed away
because “there is no longer a need,”
our postal service disrespected,
our drop boxes suspect or gone.
We will line up today, tomorrow and tomorrow…
We will line up wearing our masks…
We will line up six feet apart
with space enough
to dance,
to sing
to vote.