31 Jan: "The Second Death" by LAURA KASISCHKE

The Second Death

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So like the slow moss encroaching, this
dark anxiety. In the bricks
by now
and all along
the shaded left side of the house.

And the statue, behind her knee. Her
ankle, in the cool
space between her breasts, spreading
in the earliest hours
of the morning.

Between her fingers.
Her parted lips.
That black-green
whispering.

30 Jan: "Look" by LAURA KASISCHKE

Look! I bear into this room a platter piled high with the rage my mother felt toward my father! Yes, it's diamonds now. It's pearls, public humiliation, an angry dime-store clerk, a man passed out at the train station, a girl at the bookstore determined to read every fucking magazine on this shelf for free. They tell us that most of the billions of worlds beyond ours are simply desolate oceanless forfeits in space. But logic tells us there must be operas, there have to be car accidents cloaked in that fog. Down here, God just spit on a rock, and it became a geologist. God punched a hole in the drywall on Earth and pulled out of that darkness another god. She —
just kept her thoughts to herself. She just —
followed him around the house, and every time he turned a light on, she turned it off.

29 Jan: "Soft Money" by RAE ARMANTROUT

They're sexy
because they're needy,
which degrades them.
They're sexy because
they don't need you.
They're sexy because they pretend
not to need you,
but they're lying,
which degrades them.
They're beneath you
and it's hot.
They're across the border,
rhymes with dancer —
they don't need
to understand.
They're content to be
(not mean),
which degrades them
and is sweet.
They want to be
the thing-in-itself
and the thing-for-you —
Miss Thing —
but can't.
They want to be you,
but can't,
which is so hot.

28 Jan: "Love, You Got Me Good" by Ross Gay

Honeybunny, for you, I've got a mouthful
of soot. Sweetpea, for you, I always smell
like blood. Everything that touches me, Lovemuffin,
turns to salt. When I think of you
I see fire. When I dream of you
I hear footsteps on bones. When I see you
I can feel the scythe's smooth handle
in my palm. Love, you got me
standing at attention.
Clutching my heart. Polishing guns.
Love, I got a piggy bank
painted like a flag. I got a flag
in the shape of a piggy bank. For you,
Sugarfoot, I've been dancing
the waterboard. You're under
my skin, Love. Don't know
what I'd do without you,
Love.

27 Jan: "Mourning What We Thought We Were" by Frank Bidart


We were born into an amazing experiment.
At least we thought we were. We knew there was noescaping human nature: my grandmother
taught me that: my own pitiless naturetaught me that: but we exist inside an order, I
thought, of which historyis the mere shadow—
*
Every serious work of art about America has the sametheme: America
is a great Idea: the reality leaves something to be desired.
Bakersfield. Marian Anderson, the first great black classicalcontralto, whom the Daughters of the American Revolution
would not allow to sing in an unsegregated
Constitution Hall, who then was asked by EleanorRoosevelt to sing at the Lincoln Memorial before thousands
was refused a room at the Padre Hotel, Bakersfield.
My mother’s disgustas she told me this. It confirmed her judgment about
what she never could escape, where she lived out her life.
My grandmother’s fury when, at the age of seven oreight, I had eaten at the home of a black friend. 
The forced camps at the end of The Grapes of Wrathwere outside
Bakersfield. When I was a kid, Okie
was still a commonterm of casual derision and contempt.
*
So it was up to us, bornin Bakersfield, to carve a new history
of which history is the mere shadow—
*
To further the history of the spirit is our work:
therefore thank you, LordWhose Bounty Proceeds by Paradox,
for showing us we have failed to change.
*
Dark night, December 1st 2016.
White supremacists, once again inAmerica, are acceptable, respectable. America!
Bakersfield was first swamp, thendesert. We are sons of the desertwho cultivate the top half-inch of soil.

26 Jan: "Man-Moth" by Elizabeth Bishop

Man-Moth: Newspaper misprint for “mammoth.”
Here, above, 
cracks in the buildings are filled with battered moonlight. 
The whole shadow of Man is only as big as his hat. 
It lies at his feet like a circle for a doll to stand on, 
and he makes an inverted pin, the point magnetized to the moon. 
He does not see the moon; he observes only her vast properties, 
feeling the queer light on his hands, neither warm nor cold, 
of a temperature impossible to record in thermometers. 

                     But when the Man-Moth 
pays his rare, although occasional, visits to the surface, 
the moon looks rather different to him. He emerges 
from an opening under the edge of one of the sidewalks 
and nervously begins to scale the faces of the buildings. 
He thinks the moon is a small hole at the top of the sky, 
proving the sky quite useless for protection. 
He trembles, but must investigate as high as he can climb. 

                     Up the façades, 
his shadow dragging like a photographer’s cloth behind him 
he climbs fearfully, thinking that this time he will manage 
to push his small head through that round clean opening 
and be forced through, as from a tube, in black scrolls on the light. 
(Man, standing below him, has no such illusions.) 
But what the Man-Moth fears most he must do, although 
he fails, of course, and falls back scared but quite unhurt. 

                     Then he returns 
to the pale subways of cement he calls his home. He flits, 
he flutters, and cannot get aboard the silent trains 
fast enough to suit him. The doors close swiftly. 
The Man-Moth always seats himself facing the wrong way 
and the train starts at once at its full, terrible speed, 
without a shift in gears or a gradation of any sort. 
He cannot tell the rate at which he travels backwards. 

                     Each night he must 
be carried through artificial tunnels and dream recurrent dreams. 
Just as the ties recur beneath his train, these underlie 
his rushing brain. He does not dare look out the window, 
for the third rail, the unbroken draught of poison, 
runs there beside him. He regards it as a disease 
he has inherited the susceptibility to. He has to keep 
his hands in his pockets, as others must wear mufflers. 

                     If you catch him, 
hold up a flashlight to his eye. It’s all dark pupil, 
an entire night itself, whose haired horizon tightens 
as he stares back, and closes up the eye. Then from the lids 
one tear, his only possession, like the bee’s sting, slips. 
Slyly he palms it, and if you’re not paying attention 
he’ll swallow it. However, if you watch, he’ll hand it over, 
cool as from underground springs and pure enough to drink.

25 Jan: "Poem" by Ernest Hemingway

The only man I ever loved
Said good bye
And went away
He was killed in Picardy
On a sunny day. 

24 Jan: "One Art" by Elizabeth Bishop

One Art

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The art of losing isn’t hard to master; 
so many things seem filled with the intent 
to be lost that their loss is no disaster. 

Lose something every day. Accept the fluster 
of lost door keys, the hour badly spent. 
The art of losing isn’t hard to master. 

Then practice losing farther, losing faster: 
places, and names, and where it was you meant 
to travel. None of these will bring disaster. 

I lost my mother’s watch. And look! my last, or 
next-to-last, of three loved houses went. 
The art of losing isn’t hard to master. 

I lost two cities, lovely ones. And, vaster, 
some realms I owned, two rivers, a continent. 
I miss them, but it wasn’t a disaster. 

—Even losing you (the joking voice, a gesture 
I love) I shan’t have lied. It’s evident 
the art of losing’s not too hard to master 
though it may look like (Write it!) like disaster.

23 Jan: "Pulled Over in Short Hills, NJ, 8:00 AM" by Ross Gay

Pulled Over in Short Hills, NJ, 8:00 AM

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It’s the shivering. When rage grows
hot as an army of red ants and forces
the mind to quiet the body, the quakes
emerge, sometimes just the knees,
but, at worst, through the hips, chest, neck
until, like a virus, slipping inside the lungs
and pulse, every ounce of strength tapped
to squeeze words from my taut lips,
his eyes scanning my car’s insides, my eyes,
my license, and as I answer the questions
3, 4, 5 times, my jaw tight as a vice,
his hand massaging the gun butt, I
imagine things I don’t want to
and inside beg this to end
before the shiver catches my
hands, and he sees,
and something happens. 

22 Jan: "Thank You" by Ross Gay

Thank You

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If you find yourself half naked
and barefoot in the frosty grass, hearing,
again, the earth's great, sonorous moan that says
you are the air of the now and gone, that says
all you love will turn to dust,
and will meet you there, do not
raise your first. Do not raise
your small voice against it. And do not
take cover. Instead, curl your toes
into the grass, watch the cloud
ascending from your lips. Walk
through the garden's dormant splendor.
Say only, thank you.
Thank you.

21 Jan: "The Long Road Home" by Alice Walker

The Long Road Home
©2016 by Alice Walker
I am beginning to comprehend
the mystery
of the gift of suffering.
It is true as some
have said
that it is a crucible
in which the gold of one’s spirit
is rendered
and shines.

Ali,
you represent all of us
who stand the test of suffering
most often alone
because who can understand
who or what
has brought us to our feet?

Their knees worn out
ancestors stood us up
from the awkward position
they had to honor
on the floor beneath
the floor.

I have been weeping
all day
Thinking of this.
The cloud of witness
the endless teaching
the long road home.

20 Jan: "Two of a Kind" by Nikki Grimes


19 Jan: "The Truth" by Ross Gay

The Truth

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Because he was 38, because this
was his second job, because
he had two daughters, because his hands
looked like my father's, because at 7
he would walk to the furniture warehouse,
unload trucks 'til 3 AM, because I
was fourteen and training him, because he made
$3.75 an hour, because he had a wife
to look in the face, because
he acted like he respected me,
because he was sick and would not call out
I didn't blink when the water
dropped from his nose
into the onion's perfectly circular
mouth on the Whopper Jr.
I coached him through preparing.
I did not blink.
Tell me this didn't happen.
I dare you.

18 Jan: "Words With Wings" by Nikki Grimes


17 Jan: "Dear Future Self," by Jimmy Nameles

"Dear Future Self,"

Sorry I couldn't do better.
I mean, don't get me wrong,
I could have done better,
but I'm not.

You'll understand, I'm sure,
But, unfortunately, you won't
Have the same options as I.
You'll have to do it.

Besides, one of us has to do it,
And why not you? We work
Better under pressure, and
You'll have plenty of pressure.

Don't worry though. I'll make sure
You're well rested and fed. I'll have
Everything on the desk waiting
When you wake up.

One last thing, don't be too upset
If we don't finish that book, the dishes,
Or any chores really.
Yours truly,

Us

16 Jan: "On Earth We’re Briefly Gorgeous" by Ocean Vuong

i


Tell me it was for the hunger
& nothing less. For hunger is to give
the body what it knows
it cannot keep. That this amber light
whittled down by another war
is all that pins my hand
to your chest.

i


You, drowning
between my arms —
stay.
You, pushing your body
into the river
only to be left
with yourself —
stay.

i


I’ll tell you how we’re wrong enough to be forgiven. How one night, after
backhanding
mother, then taking a chainsaw to the kitchen table, my father went to kneel
in the bathroom until we heard his muffled cries through the walls.
And so I learned that a man, in climax, was the closest thing
to surrender.

i


Say surrender. Say alabaster. Switchblade.
Honeysuckle. Goldenrod. Say autumn.
Say autumn despite the green
in your eyes. Beauty despite
daylight. Say you’d kill for it. Unbreakable dawn
mounting in your throat.
My thrashing beneath you
like a sparrow stunned
with falling.


i


Dusk: a blade of honey between our shadows, draining.

i


I wanted to disappear — so I opened the door to a stranger’s car. He was divorced. He was still alive. He was sobbing into his hands (hands that tasted like rust). The pink breast cancer ribbon on his keychain swayed in the ignition. Don’t we touch each other just to prove we are still here? I was still here once. The moon, distant & flickering, trapped itself in beads of sweat on my neck. I let the fog spill through the cracked window & cover my fangs. When I left, the Buick kept sitting there, a dumb bull in pasture, its eyes searing my shadow onto the side of suburban houses. At home, I threw myself on the bed like a torch & watched the flames gnaw through my mother’s house until the sky appeared, bloodshot & massive. How I wanted to be that sky — to hold every flying & falling at once.


i


Say amen. Say amend.
Say yes. Say yes
anyway.

i


In the shower, sweating under cold water, I scrubbed & scrubbed.

i


In the life before this one, you could tell
two people were in love
because when they drove the pickup
over the bridge, their wings
would grow back just in time.
Some days I am still inside the pickup.
Some days I keep waiting.

i


It’s not too late. Our heads haloed
with gnats & summer too early
to leave any marks.
Your hand under my shirt as static
intensifies on the radio.
Your other hand pointing
your daddy’s revolver
to the sky. Stars falling one
by one in the cross hairs.
This means I won’t be
afraid if we’re already
here. Already more
than skin can hold. That a body
beside a body
must make a field
full of ticking. That your name
is only the sound of clocks
being set back another hour
& morning
finds our clothes
on your mother’s front porch, shed
like week-old lilies.

15 Jan: "DeToNation" by Ocean Vuong

There’s a joke that ends with — huh?
It’s the bomb saying here is your father.

Now here is your father inside
your lungs. Look how lighter

the earth is — afterward.
To even write the word father

is to carve a portion of the day
out of a bomb-bright page.

There’s enough light to drown in
but never enough to enter the bones

& stay. Don’t stay here, he said, my boy
broken by the names of flowers. Don’t cry

anymore. So I ran into the night.
The night: my shadow growing

toward my father.