Breast Examination ~ Wanda Coleman

•January 19, 2012 • Leave a Comment

1.
in the shower naked
he bends to suck
milk life
urge engulfs
we tumble into stream
barely able to separate
closed in by the enamel fist

2.
before the mirror
he comes up as i look at myself
cups them and squeezes
they jump up hard
nipples in dance-ritual
he’s to my back
enters
later i have a mirror
full of hand prints

3.
laying down his arm makes a
pillow for the right one
fingers grasp flesh
he lens forward
takes the left one into
his mouth
bites gently
wakes the eagle
i take flight

Excerpted from African Sleeping Sickness

Related Links:
Wanda Coleman – Wikipedia
Wanda Coleman – Poetry Foundation

Thanks – Yusef Komunyakaa

•December 23, 2011 • Leave a Comment

Thanks for the tree
between me & a sniper’s bullet.
I don’t know what made the grass
sway seconds before the Viet Cong
raises his soundless rifle.
Some voice always followed,
telling me which foot
to put down first.
Thanks for deflecting the ricochet
against that anarchy of dusk.
I was back in San Francisco
wrapped up in a woman’s wild colors,
causing some dark bird’s love call
to be shattered by daylight
when my hands reached up
& pulled a branch away
from my face. Thanks
for the vague white flower
that pointed to the gleaming metal
reflecting how it is to be broken
like mist over the grass,
as we played some deadly
game for blind gods.
What made spot the monarch
writhing on a single thread
tied to a farmer’s gate,
holding the day together
like an unfingered guitar string,
is beyond me. Maybe the hills
grew weary & leaned a little in the heat.
Again, thank for the dud
hand grenade tossed at my feet
outside Chu Lai. I’m still
falling through its silence.
I don’t know why the intrepid
sun touched the bayonet,
but I know that something
stood among those lost trees
& moved only when I moved.

Excerpted from The Penguin Anthology of 20th Century American Poetry

 

Related Links:

Yusef Komunyakaa on Poets.org

Komunyakaa reading his poem, Facing It

Motherhood, 1951 – Ai

•December 18, 2011 • Leave a Comment

Dear Saint Patrick, this is Peggy,
Or maybe it’s Pegeen to you,
Well, I’m really Stella Mae.
Peggy’s my nickname,
But anyway, will you please tell me
What to do about the rattlesnake
That’s in my room?
I know it’s there,
But I can’t find it anywhere I search.
I’ve ransacked the closet more than once,
Because that’s where we found the skin it shed.
I even put the cat in there and shut the door,
But he only went to sleep on my new dress
Which he had clawed from a hanger.
My grandma, Maggie, says you drove the snakes from Ireland
And they came here to Arizona.
She’s right, you know
For didn’t a rattler kill our cat, Blackie?
There he was beside the porch, stiff as a board
And baby Florence saw it.
She’s only three and doesn’t need to see death like that, not yet.
If you can, let her believe for now
That we will live forever.
Anyhow, I’m pregnant again.
I know I’ve sinned
But I am paying for it.
Don’t make my girl suffer
Because her mother used poor judgment
And got herself in trouble out of wedlock.
My mother’s disappointed in me.
My father doesn’t care
And says I don’t have to marry
Just to have a name for this one in the oven.
Father says there’s nothing wrong with our name
And will serve the babe as well as any other,
But mother is determined to give this one a legal father
Like Baby Florence has, but only on paper.
She doesn’t have a father either,
But she’s got her granddad, he says
And goes to work. He is a barber.
Mother is a cook and she works longer hours,
So I’m here with Baby Florence
And that infernal snake all day.
Outside, the new cat, dogs, chickens and hogs
Roam about the yard,
But they can’t help me, can they?
I keep praying, but you don’t answer.
I guess you’ve got no time for me,
So armed with a shovel,
I go in the closet once again
And succeed in smashing a wall.
Bits of plaster fall on my head,
But I don’t mind.
I’d rather be dead than never find the thing
That crawls about the room
Without fear of discovery.
This morning, I woke up to find a coiled imprint
At the foot of my bed.
They say I am protected from harm
Because the Virgin Mary put her heel
Upon a snake’s head and crushed it
For the sake of all pregnant women.
I am safe, I say to myself and pray for mercy
And recall the dead baby diamondback we found last fall.
It glittered like a tiny jeweled bracelet
And I almost picked it up,
Before I remembered my own warning to my daughter
To never, ever pick up anything suspicious.
I wish I’d done that with the man partly responsible
For the mess I’ve made.
The diamondback was like the lust I felt for him.
It glittered so beautifully
I had to pick it up and wear it for awhile,
Then like some Lazarus, it came to life,
By striking me with its poisonous fangs,
Leaving me to pay for my crime
Once by lying to myself
And twice for good measure.
Now I must suffer for my pleasure.
I curse, slam the wall again
And feel pain radiating from my navel
Down through my bowels
And am not able to get to the telephone
To call my mother.
I hear a splash and all of a sudden,
The snake darts from the hole I made in the wall
And crawls forward to slake its thirst.
I grit my teeth, but stand stock still
As the pain gnaws at my vitals.
I try to show no fear
As the snake takes a long drink of my water
Then slithers away,
But not fast enough to escape,
As screaming with pain and rage
with all the mother instinct I can muster,
and in the Virgin Mary’s name,
I raise the shovel and smash the snake,
Crushing its head,
As I double over and fall beside it
On the red, concrete floor.
For awhile, a ripple runs through its body,
Then it is still.
When my pain subsides, I fall asleep
And dream I’m dead
And hundreds of baby snakes are gathered at my wake.
They crawl all over my body
And I try to shake them off,
Until I realize they’re part of me.

At Saint Mary’s Hospital, the nurses and my doctor
Tell me how courageous I am
And the nuns even come to visit me.
They claim I have performed a miracle
And should be canonized.
Saint Peggy. “How does that sound?”
I ask Saint Patrick aloud
When left alone to hold my child.
I smile at her and tell her she is blessed.
The nuns have gone off to light some candles
And in the chapel.
They say they’re praying for special dispensation
But I don’t need that and neither does my girl.

Back home, after a few days, I realize

That I made a mistake in thinking I could take away my sins
When Mother tells me my new daughter is cursed
Because I killed a snake the day she was born.
“What a cruel mother you are,” I tell her
And she says, “Yes, I’m just like all the others.
I should have smothered you when you were born.
I was so torn up inside, I nearly died for you
And you repay me with not one bastard, but two.
I never thought I’d call a whore my daughter.”
When I protest, she says, “There’s the door.”
After that, I decide to ignore her
And in a state between agitation and rest,
I remember something I had forgotten.
As I lay beside the snake.
I saw a tiny bunch of eggs spill out of her
And realized she was an expectant mother too
And simply wanted a drink to soothe herself
One desert afternoon
When mothers must decide to save
Or execute their children.

http://www.poets.org/viewmedia.php/prmMI…

Related Links:

Derek Walcott’s Nobel Speech (excerpt)

•December 14, 2011 • Leave a Comment

Deprived of their original language, the captured and indentured tribes create their own, accreting and secreting fragments of an old, an epic vocabulary, from Asia and from Africa, but to an ancestral, an ecstatic rhythm in the blood that cannot be subdued by slavery or indenture, while nouns are renamed and the given names of places accepted like Felicity village or Choisseul. The original language dissolves from the exhaustion of distance like fog trying to cross an ocean, but this process of renaming, of finding new metaphors, is the same process of renaming, of finding new metaphors, is the same process that the poet faces every morning of his working day, making his own tools like Crusoe, assembling nouns from necessity, from Felicity, even renaming himself. The stripped man is driven back to that self-astonishing, elemental force, his mind. That is the basis of the Antillean experience, this shipwreck of fragments, these echoes, these shards of a huge tribal vocabulary, these partially remembered customs, and they are not decayed but strong. They survived the Middle Passage and the Fatel Rozack, the ship that carried the first indentured Indians from the port of Madras to the cane fields of Felicity, that carried the chained Cromwellian convict and the Sephardic Jew, the Chinese grocer and the Lebanese merchant selling cloth samples on his bicycle.

And here they are, all in a single Caribbean city, Port of Spain, the sum of history, Trollope’s ‘non-people’. A downtown babel of shop signs and streets, mongrelized, polyglot, a ferment without a history, like heaven. Because that is what such a city is, in t he New World, a writer’s heaven.

 

Source

The New Hieroglyphics – Les Murray

•December 14, 2011 • Leave a Comment

In the World language, sometimes called
Airport Road, a thinks balloon with a gondola
under it is a symbol for speculation.

Thumbs down to ear and tongue:
World can be written and read, even painted
but not spoken. People use their own words.

Latin letters are in it for names, for e.g.
OK and H2SO4, for musical notes,
but mostly it’s diagrams: skirt-figure, trousered figure

have escaped their toilet doors. I (that is, saya,
ego, watashi wa) am two eyes without pupils;
those aren’t seen when you look out through them.

You has both pupils, we has one, and one blank.
Good is thumbs up, thumb and finger zipping lips
is confidential. Evil is three-cornered snake eyes.

The effort is always to make the symbols obvious:
the bolt of electricity, winged stethoscope of course
for flying doctor. Pram under fire? Soviet film industry.

Pictographs also shouldn’t be too culture-bound:
a heart circled and crossed out surely isn’t.
For red, betel spit lost out to ace of diamonds.

Black is the ace of spades. The king of spades
reads Union boss, the two is feeble effort.
If is the shorthand Libra sign, the scales.

Spare literal pictures render most nouns and verbs
and computers can draw them faster than Pharough’s scribes.
A bordello prospectus is as explicit as the action,

but everywhere there’s sunflower talk, i.e.
metaphor, as we’ve seen. A figure riding a skyhook
bearing food in one hand is the pictograph for grace,

two animals in a book read Nature, two books
inside an animal, instinct. Rice in bowl with chopsticks
denotes food. Figure 1 lying prone equals other.

Most emotions are mini-faces, and the speech
balloon is ubiquitous. A bull inside one is dialect
for placards inside one. Sun and moon together

inside one is poetry. Sun and moon over palette,
over shoes etc. are all art forms–but above
a cracked heart and champagne glass? Riddle that

and you’re starting to think in World, whose grammar
is Chinese-terse and fluid. Who needs the square-
equals-diamond book, the dictionary, to know figures

led by strings to their genitals mean fashion?
just as a skirt beneath a circle means demure
or a similar circle shouldering two arrows is macho.

All peoples are at times cat in water with this language
but it does promote international bird on shoulder.
This foretaste now lays its knife and fork parallel.

Source

Related Links:

LesMurray.org

Interview with Les Murray

A Noun Sentence – Mahmoud Darwish

•December 13, 2011 • Leave a Comment

A noun sentence, no verb
to it or in it: to the sea the scent of the bed
after making love … a salty perfume
or a sour one. A noun sentence: my wounded joy
like the sunset at your strange windows.
My flower green like the phoenix. My heart exceeding
my need, hesitant between two doors:
entry a joke, and exit
a labyrinth. Where is my shadow—my guide amid
the crowdedness on the road to judgment day? And I
as an ancient stone of two dark colors in the city wall,
chestnut and black, a protruding insensitivity
toward my visitors and the interpretation of shadows. Wishing
for the present tense a foothold for walking behind me
or ahead of me, barefoot. Where
is my second road to the staircase of expanse? Where
is futility? Where is the road to the road?
And where are we, the marching on the footpath of the present
tense, where are we? Our talk a predicate
and a subject before the sea, and the elusive foam
of speech the dots on the letters,
wishing for the present tense a foothold
on the pavement …

Source

 

Related Links:

Mahmoud Darwish’s website

Darwish on Poets.org

The Sea-Turtle and the Shark – Melvin B. Tolson

•December 12, 2011 • 1 Comment

Strange but true is the story
of the sea-turtle and the shark-
the instinctive drive of the weak to survive
in the oceanic dark.
Driven,
riven
by hunger
from abyss to shoal,
sometimes the shark swallows
the sea-turtle whole.

The sly reptilian marine
withdraws,
into the shell
of his undersea craft,
his leathery head and the rapacious claws
that can rip
a rhinoceros’ hide
or strip
a crocodile to fare-thee-well;
now,
inside the shark,
the sea-turtle begins the churning seesaws
of his descent into pelagic hell;
then…then,
with ravenous jaws
that can cut sheet steel scrap,
the sea-turtle gnaws
…and gnaws…and gnaws
his way in a way that appalls-
his way to freedom,
beyond the vomiting dark
beyond the stomach walls
of the shark.

 

excerpted from Black Nature: Four Centuries of African-American Nature Poetry

Ode on Dictionaries–Barbara Hamby

•December 11, 2011 • Leave a Comment

A-bomb is how it begins with a big bang on page
  one, a calculator of sorts whose centrifuge
begets bedouin, bamboozle, breakdance, and berserk,
  one of my mother's favorite words, hard knock
clerk of clichés that she is, at the moment going ape
  the current rave in the fundamentalist landscape
disguised as her brain, a rococo lexicon
  of Deuteronomy, Job, gossip, spritz, and neocon
ephemera all wrapped up in a pop burrito
  of movie star shenanigans, like a stray Cheeto
found in your pocket the day after you finish the bag,
  tastier than any oyster and champagne fueled fugue 
gastronomique you have been pursuing in France
  for the past four months. This 82-year-old's rants
have taken their place with the dictionary I bought
  in the fourth grade, with so many gorgeous words I thought
I'd never plumb its depths. Right the first time, little girl,
  yet here I am still at it, trolling for pearls,
Japanese words vying with Bantu in a goulash
  I eat daily, sometimes gagging, sometimes with relish,
kleptomaniac in the candy store of language,
  slipping words in my pockets like a non-smudge
lipstick that smears with the first kiss. I'm the demented
  lady with sixteen cats. Sure, the house stinks, but those damned
mice have skedaddled, though I kind of miss them, their cute
  little faces, the whiskers, those adorable gray suits.
No, all beasts are welcome in my menagerie, ark
  of inconsolable barks and meows, sharp-toothed shark,
OED of the deep ocean, sweet compendium
  of candy bars—Butterfingers, Mounds, and M&Ms—
packed next to the tripe and gizzards, trim and tackle
  of butchers and bakers, the painter's brush and spackle,
quarks and black holes of physicists' theory. I'm building
  my own book as a mason makes a wall or a gelding
runs round the track—brick by brick, step by step, word by word,
  jonquil by gerrymander, syllabub by greensward,
swordplay by snapdragon, a never-ending parade
  with clowns and funambulists in my own mouth, homemade
treasure chest of tongue and teeth, the brain's roustabout, rough
  unfurler of tents and trapezes, off-the-cuff
unruly troublemaker in the high church museum
  of the world. O mouth—boondoggle, auditorium,
viper, gulag, gumbo pot on a steamy August
  afternoon—what have you not given me? How I must
wear on you, my Samuel Johnson in a frock coat,
  lexicographer of silly thoughts, billy goat,
X-rated pornographic smut factory, scarfer
  of snacks, prissy smirker, late-night barfly,
you are the megaphone by which I bewitch the world
  or don't as the case may be. O chittering squirrel,
ziplock sandwich bag, sound off, shut up, gather your words
  into bouquets, folios, flocks of black and flaming birds.

Related Links:

Barbara Hamby

Note: this a repost as the original post was not formatted correctly.

Want to Start a Revolution? Radical Women in the Black Freedom Struggle (Excerpt)

•December 4, 2011 • Leave a Comment

The below quote is taken from the chapter, Framing the Panther – Assata Shakur and Black Female Agency by Joy James

 

[Assata Shakur’s] eulogy for Safiya Bukhari, given in Havana on August 29, 2003, is haunting. Bukhari collapsed hours after she buried her own mother-the grandmother who raised Safiya Bukhari’s young daughter the day her own daughter became a BLA fighter and fugitive, going underground only to surface for an eight-year prison term. Bukhari survived the maiming medical practices of prison doctors (although her uterus did not) only to succumb to the “typical” black women diseases of hypertension, diabetes, obesity, and heart failure in 2002. The eulogy could be read as Assata Shakur’s – and that of all revolutionary black women who refused to circumscribe their rebellion, and paid the costs for that decision:

It is with much sadness that I say last goodbye to Safiya Bukhari. She was my sister, my comrade and my friend. We met nearly thirty-five years ago, when we were bothe members of the Black Panther Party in Harlem. Even then, I was impressed by her sincerity, her commitment, and her burning energy. She was a descendant of slaves and she inherited the legacy of neo-slavery. She believed that struggle was the only way that African people in America could rid themselves of oppression. As a black woman struggling to live in America she experienced the most vicious forms of racism, sexism, cruelty and indifference. As a political activist she was targeted, persecuted, hounded and harassed. Because of her political activities she became a political prisoner and spent many years in prison. But she continued to struggle. She gave the best that she had to give to our people. She devoted her life, her love and her best energies to fighting for the liberation of oppressed people. She struggled selflessly, she could be trusted, she was consistent, and she could always be counted on to do what needed to be done. She was a soldier, a warrior-woman who did everything she could to free her people and to free political prisoners.”

For Assata Shakur, the weight of isolation, alienation, and vilification are scars that are borne. Redemption does not occur on this plane or in this life. Betrayal by nonblacks and black, by men and wome, to part of the liberation narrative. There will be no gratitude, no appreciation, no recognition equal to the insults and assaults. So, Assata Shakur, in true revolutionary fashion, must conclude her testimonial embracing a community that radiates beyond our immediate boundaries and limitations:

“I have faith that the Ancestors will welcome her, cherish her, and treat her with more love and more kindness than she ever received here on this earth.”

Framing the Panther

Want to Start a Revolution? Radical Women in the Black Freedom Struggle

Related Links:

What Happens When a Book is Judged by its Cover

Assata Shakur: In her Own Words

Assata Shakur’s Autobiography (amazon)

Two of my Poems Published

•December 4, 2011 • Leave a Comment

Two of my poems, The Death of California Revisited & Weaver Woman, were just published by Outward Link. Check them out!