Brief reflection on killing the Christmas carp, by Miroslav Holub (1923-1998)
Brief reflection on killing the Christmas carp, by Miroslav Holub (1923-1998)
Sleeping Parents, Wakeful Children, by Phillip Dacey (1939-)
The Unquarried Blue of Those Depths Is All But Blinding, by Ashley Anna McHugh(1985-)
After the Attack, by John Calvin Rezmerski (1942-)
When they crawled out of the cellars
of the burned houses,
and came dirty and dripping
out of the sloughs,
and saw how many of the dead were their children,
and saw how bright the children’s blood was
next to the dull adult blood,
and when they saw
how quickly flies light
and maggots are born
and saw
how hard it is to tell
human guts from a split log’s
and when they understood
how hated they were
they swallowed their tears
and puked
and saw the puke and tears
and puked again.
And they wailed hoarse prayers
to let it not be real,
not be real children,
let them belong to someone else,
let them be lambs,
let them be beasts,
let them be alive again,
let me not know them by name.
No prayer is big enough for some things.
Postcard From The Heartbreak Hotel, by John Brehm (1955-)
Wish you were here instead of me.
It has a fantastic view
of the unconscious ocean,
into which a few of the guests
will no doubt fling themselves
before their day is through.
The rooms are so spacious
and so clean you’d think
you were the first person
ever to not sleep here.
The beds of course are huge,
an abyss of white sheets around you
which you may fill with your
imagination whatever way you wish.
The staff — courteous, attentive,
remorseless — anticipates your
every need and frustrates them all.
The food, as you may guess,
is a tasteless affair, some grey
monotonous gruel we make up
poems about. “Cruel,” “fool,”
“wool” (as in over your eyes)
and “autopsy” seem to be
the favorite rhyme words.
And lately the guests have
devised a new game: who
can stare out the window
longest without seeing anything.
We’ve been told the mountains
before us are astounding.
But we’ve made them disappear.
Reduced them to a blank
grey screen on which
to play out the home movies
of our despair again and again.
And when the sun sets and
darkness reaches out its arms
around the world like a man
gathering his winnings off a table,
the trees outside my window
becomes your back
receding down the hall.
All the night the neon sign
glows in self-conscious irony.
Yes, there is a vacancy.
poem at thirty, by Sonia Sanchez (1934-)
it is midnight
no magical bewitching
hour for me
i know only that
i am here waiting
remembering that
once as a child
i walked two
miles in my sleep.
did i know
then where i
was going?
traveling. i’m
always traveling.
i want to tell
you about me
about nights on a
brown couch when
i wrapped my
bones in lint and
refused to move.
no one touches
me anymore.
father do not
send me out
among strangers.
you you black man
stretching scraping
the mold from your body.
here is my hand.
i am not afraid
of the night.
Grieve Not, by Walter Clyde Curry (1887-1967)
Beirut Tank, by Tom Sleigh (1953-)
Staring up into the tank’s belly lit
by a bare bulb hanging down off
the exhaust, a mechanic’s hands are up
inside the dark metallic innards doing something
that looks personal, private. This tank is nothing
like the ones the Americans deploy.
Those have uranium piercing shells that could melt
right through this tank’s armor and set off
the ammo box: nothing can withstand the American tanks.
The barrel’s called a cannon. The machine guns they call
deterrents. The tank is old, small, about the size
of a horse and cart. The armor plate shines green
under the streetlight. The sprockets, almost rusted out.
Somebody forgot to grease the nipples. The timing belt is nicked
and worn. The spare parts from France don’t fit. This wire
crossed with this wire makes a catastrophic fire.
Be careful how you route it. .20 caliber ammo
goes in the hatch behind the armor plate.
The mechanic on his back in the dirt,
cursing in Arabic, sounds like he’s cursing
in a good-natured way: who was the fucking moron
who did the maintenance on this thing?
This tank, this tank, he should push it off
a cliff into the sea so that it could bob for
half an hour before sinking under the Pigeon Rocks
where all the lovers gather in the shadows
near that little bar, lit by a generator, that serves arak
and warm beer to soldiers hanging out on the Corniche:
mainly conscripts from down south, whose orange groves
rot because nobody can pick the oranges: try to pick
an orange and a cluster bomb lodged in leaves
comes tumbling into your basket. What weight oil
did this cocksucker use, anyway? And this engine,
it’s gonna blow. Beat up tanks and sandbags,
that’s all this army is, old sparkplugs that get fouled
so that you have to file the gaps over and over.
He stares up in that live, minute, completely
concentrated way of scrutinizing something
or someone you thought you understood:
the tank’s underbody completely covers his body
so they look like they’re embracing when he reaches up
inside it, his needle nose pliers crimping, twisting,
pulling down hard. There, you see that, it’s all corroded.
The cannon jutting out looks both threatening
and vulnerable as if the tank’s firepower
were dependent on that wire. He runs two fingers
up and down it, then feels where rust,
mixed into an oily paste, shines like bloody flux
that he gently dips his finger in, sniffs and tastes.
Clanging back his tapping on the armor plate,
as he listens to her talking on his back in the dirt, screwing in
the spare parts, the tank says what tanks always say,
Fix me, oil me, grease me, make it fit,
confirming what he knows about the French.
The Girls Next Door, by Thom Gunn (1929-2004)
Laughter of sisters, mingling,
separating, but so alike you
sometimes couldn’t tell
which was which,
as in a part-song.
I could hear them from outdoors
over the wall
that separated two gardens,
where the lilac bush on our side
was tattered by the passage
of domestic cats, on their constant
wary patrol through
systems of foliage. And then
late afternoons, the sound
of scales on the piano,
of rudimentary tunes.
Evenings, one of them
would call their cat in,
‘poor wandering one’, a joke
out of Gilbert and Sullivan.
And again
laughter, two voices
like two hands on a piano,
separate but not at variance,
practice in a sunlit room.
Today, many years later,
the younger of the two
tells me about her divorce.
On the phone last week he said
‘I didn’t give you
the house for ever,
you know. You could learn
a trade at night school.’
‘But’ she exclaims to me,
‘I’m forty-nine!’
An hour later, from the next room,
I hear her with one of her sons,
and suddenly her laughter
breaks out, as it used to.
Though she is on her own
— for the other sister
died long ago, in her teens —
it is unchanged, a sweet
high stumble of the voice,
rudimentary tune.
The Mother, by May Herschel-Clarke (1850-1950)
If you should die, think only this of me
In that still quietness where is space for thought,
Where parting, loss and bloodshed shall not be,
And men may rest themselves and dream of nought:
That in some place a mystic mile away
One whom you loved has drained the bitter cup
Till there is nought to drink; has faced the day
Once more, and now, has raised the standard up.
And think, my son, with eyes grown clear and dry
She lives as though for ever in your sight,
Loving the things you loved, with heart aglow
For country, honour, truth, traditions high,
–Proud that you paid their price. (And if some night
Her heart should break–well, lad, you will not know.)
(see previous entry)