What if, Betye, instead of a rifle or hand
grenade—I mean, what if after
the loaded gun that takes two hands
to fire, I lay down the splintered broom
and the steel so cold it wets
my cheek? What if I unclench the valleys
of my fist, and lay down
the wailing baby?
Gonna burn the moon in a cast-iron skillet.
Gonna climb the men who, when they see my face, turn into stony mountains.
Gonna get out of the kitchen.
Gonna try on my nakedness like a silk kimono.
Gonna find me a lover who eats nothing but pussy.
Let the whites of my eyes roll, roll.
Gonna clench my toes.
Gonna purr beneath my own hand.
Gonna take down my hair.
Try on a crown of crow feathers.
Gonna roam the wide aisles of the peach grove, light dripping off branches like syrup, leaves brushing the fuzz on my arms.
—You dig?—
Gonna let the juice trickle down my chin.
Gonna smear the sun like war paint across my chest.
Gonna shimmy into a pair of royal blue bell-bottoms.
Gonna trample the far-out thunderclouds, heavy in their lightness.
Watch them slink away.
Gonna grimace.
Gonna grin.
Gonna lay down my sword.
Pick up the delicate eggs of my fists.
Gonna jab the face that hovered over mine.
It’s easy to find the lips, surrounded as they are in minstrel black.
Gonna bloody the head of every god, ghost, or swan who has torn into me—pried me open with its beak.
Gonna catch my breath in a hunting trap.
Gonna lean against the ropes.
Gonna break the nose of mythology.
—Goodnight John-Boy—
Gonna ice my hands in April’s stream.
Gonna scowl and scream and shepherd my hollering into a green pasture.
Gonna mend my annihilations into a white picket fence.
Gonna whip a tornado with my scarlet handkerchief.
Spin myself dizzy as a purple-lipped drunkard.
Gonna lay down, by the riverside, sticky and braless in the golden sand.

Ain’t gonna study war no more.
Ain’t gonna study war no more.
Ain’t gonna study war no more.

Ama Codjoe

The earth said
remember me.
The earth said
don’t let go,

said it one day
when I was
accidentally
listening, I

heard it, I felt it
like temperature,
all said in a
whisper—build to-

morrow, make right be-
fall, you are not
free, other scenes
are not taking

place, time is not filled,
time is not late, there is
a thing the emptiness
needs as you need

emptiness, it
shrinks from light again &
again, although all things
are present, a

fact a day a
bird that warps the
arithmetic of per-
fection with its

arc, passing again &
again in the evening
air, in the pre-
vailing wind, making no

mistake—yr in-
difference is yr
principal beauty
the mind says all the

time—I hear it—I
hear it every-
where. The earth
said remember

me. I am the
earth it said. Re-
member me.

Jorie Graham

In this life,
I was very minor.

I was a minor lover.
There was maybe a day, a night
or two, when I was on.

I was, would have been,
a minor daughter,
had my parents lived.

I was a minor runner. I was
a minor thinker. In the middle
distance, not too fast.

I was a minor mother: only
two, and sometimes,
I was mean to them.

I was a minor beauty.
I was a minor buddhist.
There was a certain symmetry, but
it, too, was minor.

My poems were not major
enough to even make me
a “minor poet,”

but I did sit here
instead of getting up, getting
the gun, loading it.

Counting,
killing myself.

Olena Kalytiak Davis

Even water
changes its mind mid-
drip from
the bearded
skull of a
streetlamp
strange to
be given
proof sound
comes from
movement
and noise
chaos—I
am the still-
fumed center
of the world
holding its
breath on a
burned thing
cooled

John Freeman

Every day at lunch the gray heron
canters down from her branch in the brook

leaving behind turquoise eggs. There were
two birds, but kids killed one with a slingshot, so

now she hooks alone, casting with her giant
beak. Stirring the water with a foot. The legends

tell of what revenge nature will wreak, we’ll
be torn limb from limb, they’ll feast on our necks.

None of this seems true of the heron in the
brook, using her wings to create shade, lure

small fish into the coves made by trash
visitors dump amidst the glades. Cans of Coke,

T-shirts, a dishwasher, an old skirt. It’s become
the breakfast table for her. And us, what are we for?

To watch, mourn, to exclaim gladly?
I’ve nothing to hunt, to trap, nothing

to own, walking these woods with a fading
map, miles from my suburban home.

The heron looks up, and seeing I am neither
prey nor threat, returns to her disguise,

vanishes again in the weeds, standing so still she
is simply a reed, a white bill, two eyes.

John Freeman

I stand before it
All that I own
What kind of heaven
would it be if
I couldn’t take you

John Freeman

Listen to what the air
is saying tonight

my friend, you’ve
been ashore a long

while, the time
for your sail

to fill is here.
We’re standing on

the verge with you,
take our arms

we’ll lift you into
this boat

you’ve been building
your whole life:

the beam-ends are
lined with your labor,

the arc of visibility
is clear,

everything that ever
was awaits you at sea.

Tell it to us when
we arrive

in due time, in ships
you taught us to sail.

John Freeman

Afterwards, my thighs and ass felt strong and wild like the dappled horse buttocks inside a Leonora Carrington painting.

Brenda Coultas

Seventeen suns rising in seventeen bedroom windows. Thirty-four eyes blooming open with the light of one more morning. Seventeen reflections in the bathroom mirror. Seventeen backpacks or briefcases stuffed with textbooks or lesson plans. Seventeen good mornings at kitchen breakfasts and seventeen goodbyes at front doors. Seventeen drives through palm-lined streets and miles of crammed highways to Marjory Stoneman Douglas High School at 5901 Pine Island Road. The first bell ringing in one last school day on February fourteenth, 2018. Seventeen echoes of footsteps down hallways for five class periods: algebra, poetry, biology, art, history. Seventeen hands writing on whiteboards or taking notes at their desks until the first gunshot at 2:21pm. One AR-15 rifle in the hands of a nineteen year old mind turning hate for himself into hate for others, into one hundred fifty bullets fired in six minutes through building number twelve. Seventeen dead carried down hallways they walked, past cases of trophies they won, flyers for clubs they belonged to, lockers they won’t open again. Seventeen Valentine’s Day dates broken and cards unopened. Seventeen bodies to identify, dozens of photo albums to page through and remember their lives. Seventeen caskets and burial garments to choose for them. Seventeen funerals to attend in twelve days. Seventeen graves dug and headstones placed-all marked with the same date of death. Seventeen names: Alyssa. Helena. Scott. Martin-seventeen ab- sentees forever-Nicholas. Aaron. Jamie. Luke-seventeen closets to clear out-Christopher. Cara. Gina. Joaquin-seventeen empty beds-Alaina. Meadow. Alex. Carmen. Peter-seventeen reasons to rebel with the hope these will be the last seventeen to be taken by one of three-hundred-ninety-three-million guns in America.

Richard Blanco

Germaine, your poem this week is quite striking-so heartfelt and full of captivating imagery, right from the start.

I miss the sun replaced by fluorescent lights
flickering in my cell. I miss the sky, a kinder
blue than the sapphire police lights still
spinning in my memory. I miss the moon,
a gentler shine than the guards’ badges
as steely as their blue eyes piercing me.

You continue with even more powerful images that describe your isolation.

I’m smoke trapped in a jar, a star behind
a wall of clouds. I’m a garden of shadows.

Impressive. Your love for poetry during your college days really shows through. But I’m especially taken by the lines that confess your true “want.”

More than the sun, the sky, or the moon,
I want my son. I’ve become nothing but
want, but my want and I are locked up.

A powerful turn where you truly open up to the emotional core of the poem and begin speaking to your son directly.

Son: see my hand still tying the red shoelaces
on your silver Nikes. Taste the Rocky Road
ice cream dripping from our chins. Watch
us watching Batman on our lumpy couch.
Remember when I was your hero? Hear
us still singing our favorite hip-hop songs-
lyrics of lives we knew by heart. Remember
the plastic handcuffs you played with, not
the metal handcuffs that took me away.

Those vivid and tenderly rendered details really bring your son to life. They let me miss and mourn him as you do when you reveal that he died while you were jailed. You close the poem perfectly by grounding it in imagery that lets us feel your sorrow and emptiness.

Words are my only escape now. In this poem,
I turn iron bars into shadows I walk through
to see your eyes shine, hold your lifeless face
in my palms, kiss your cold forehead goodbye.
In this poem, I curse God and myself-wail
my amens, join the sobbing choir at church.
In this poem I turn back time, stop the bullet,
draw blood back into your body. In this poem,
I save you and you save me from myself.

Richard Blanco