Tag Archives: race

The Grandmothers

Around the bed
where I lie
and try to sleep

stand generations
of grandmothers,
soft gray owls speaking to me
in all my native tongues at once,
and I understand none of it.  

My shame at being unable
to take what they offer
grows a snow storm,
a white-out inside me.

How dangerous my dreams are —
so dangerous I strive to convince myself
that they are nothing, that the fantastic
does not exist,

that the grandmother owls
crowding close,
hooting softly,
calling out to me,

are wind in the trees
and no more.


How I Fight

If I am,
then I am.  

You say, that’s ridiculous,
it need not be said,
is obvious.  

You say it makes no sense but
except to say it
is to force the issue:
when you say
I am not
in all the ways you say it,
I must say
I am.  Must present evidence, 
offer proof. No matter how tired I am,
no matter how weary I am
of having to say it.

So —
because I am, I am;
because negation
of such a thing
is 
evil, 

in spite of how unfashionable
that word is now, in spite of 
how hard we try
to find other ways to say it —
I say it.  I say it because

my insistence upon saying 
I am

is how I fight
evil.

Is how I fight Evil. 

Is how
I fight, how
we all fight.


Political Art

Old poem.  Reposted tonight just because it felt right, in this moment, to think again about the limits of political art — dates back at least to 1999, 2000?  Appears here in the “Poems From The Slam Years” page. Has also appeared in various anthologies over the years, and various journals as well.

 

a print of “Guernica” hangs on the foyer wall
above the drink table
here are the famous horse and the upraised human face
they’re screaming as the hors d’oeuvres are passed

and on the facing wall
behind the buffet
hang two photographs
carefully chosen for tonight

in this one is a girl we have seen before
running and burning on a road in Vietnam years and years ago
back then she was trying to fly to safety
on the innocent strength rising along her fiery arms

in this one is a man we’ve also seen before
and despite his death in 1890 he also keeps trying
but he’s frozen awkward and insolent in his attempt
to rise from the snow at Wounded Knee

we are making small talk tonight
clicking our tongues at all these pictures
making crestfallen small talk
because we know we should

handing over money
to save Afghani statues from the guns of rapists
handing over fistfuls of green guilt
for the anesthetic of aesthetics

buying permission to posture unflinching
before those who have fallen
permission to shelter in these picturesque memorials
in the hope of receiving from them some kind of prophylactic grace

as we stare at the burning girl
as we sadly regret Wounded Knee and genocide
as we admire the abstraction of that burning Spanish town
we will click our tongues

while marking the skill of the artist at having those faces
seem so stark in their angled black and white
seem so shot through and through
with an undertone of subconscious red

it’s from this we’ve learned how to watch the news
the news that gives us each day our daily dread
a new crop of victims to be cropped and photoshopped
and we know just what to do when we see the faces

we observe
we regret
we remark
we move on

tonight there’s a gallery fundraiser
tomorrow there will be another
we’ll see the burning girl and the rising corpse again
and we’ll make another print of “Guernica”

why
do we need to keep making
all these prints
of “Guernica”?

someday we’ll see
that if we had been changed by all this art
at the first hint of genocide we would smash our cameras
hang our paintbrushes back on the wall

stick our checkbooks back in our pockets
lift the paintings from their frames
and carry them through the streets
to the places of power calling why

why

if the people inside our work could speak
they would tell us that if witness alone could change the world
the world would be changed by now
and we would have no need to keep learning

that this picture
of that girl
is not
beautiful


Mixed

Sometimes, 
I am ashamed
of my face,
of what it does not look like.

I am ashamed of the way
light 
bends across it
and of how 
it glows less bronze
than it might have
if certain twists of gene and fate
had gone another way.

I had former family and former friends
who often said, “you’re lucky
you’re like this, like this, how
can you not like this?”  They speak

of privileges and passing and 
presentation — how easy, they say,
how much easier;
some say the presentation
is all that counts.

All the while I am beyond mere
sadness, beyond shame.
It’s not those things
I’m feeling.

I can’t tell you
what I’m feeling.  
I can’t say 
the words
because this nation
and this era 
disallow those words.  

I can’t say I am different
and feel different and 
am not allowed to say
how this is different;

instead I am said to be
and told to feel
lucky or false
or lucky and false.

What I truly want
is a face with which
to face the issues. To face
my issues. A face to match the face 
I daily face inside,
a face I can turn to
and ask about

why I feel so ashamed, and then
to ask directions toward
the country where I
can feel good.


362 Miles

Woke up to sun
and no smoke.
Birds prattling on,
two daffodils finally up and shining
from our front walk mulch.
Nice place, this.  Nice place.

No smoke
for miles around.  No fire

not currently under control.
This is not to say that
there’s nothing smoldering here,
or that we’re not so far from Baltimore
that we know nothing of burning

or why things burn.  
It’s just that right now

this is a nice place,
and if we do smell smoke
it’s got to be from 362 miles away,
carried on a strong wind
from a place where

birds bloom
and flowers chirp, where everything’s

a little backwards. 
If we do smell smoke here —
do we smell smoke here?  
No, can’t be. We keep sniffing,

must just be
power of suggestion; well, maybe
a little something there, a little

something on that wind.


Shadow

Beneath

this longing
for good old
familiar
Order

runs an ancient spring of

Shadow

that is now
seeping up
into our homes and
streets

Is becoming Flood
Is drowning Order

Someday it will become
sweet water again
in full sunlight
Will drench and nourish
something New

but only after this 
when it sinks back into 
its own heart-bed

Till then
expect this match of

Order against Shadow

to pull some down
wash much away
kill and kill and kill

as Order struggles
to hold
its crumbling ground
before it 
flails and falls away

at last


When They Did Not Break Us

Originally posted 7/29/2013; originally titled “When He Broke Us.”

when they first came 
they called us
both resource and nuisance
land and labor bank
in the way
ultimately good for nothing

said it was high time to break us

they set to it
our mystery belonging broke
our fluency in stone’s tongue broke
our river dreaming broke
our river beds opened
and drained themselves down
to now mute bones

we ended almost
when we couldn’t speak to each other

our children were taken from us
they returned much later looking more like Him
and had no tongue to use with us

who were we then without them?

we searched
scrapped and fought
found our old words
or made new ones
mined old life from new seams

now they’ve begun to crack
shame lines crazing faces

tried to wear our clothes
they fell off
tried to steal our names
we called them back to us

we put them back on
somewhat the worse for wear
but unbroken

when we spoke those names out loud
for the first time in a long time
in long songs full of drum and tears
the stones cried welcome back
and welcome home
and welcome once again


Questioning Oz

We focus on the Man behind the Curtain 
no matter how often we say 
we should not pay attention to him.  

 

Let’s talk instead 
about the Machine he’s running
when the curtain is pulled back.

 

That’s a hell of a piece of technology back there.
Smoke and projection. End result, a terrifying Head
offering favor and demanding sacrifice.

 

Let’s talk about that Curtain too —
the most important piece of fabric
in all of Oz. It looks pretty plain —

 

the same color as almost everything else
in that city.  Made to be
nondescript.  To blend in.

 

Can you recall anything about it 
other than the request
to ignore it? 

 

Who’s the real wizard here — 
the bumbling Man
or the Head howling imperiously? Or

 

are the people
who hung the Curtain
more powerful than either of them?

 

If you buy the Man’s story
all of Emerald City knew he was behind it
all along. Do you buy

 

the Man’s story?  Did he build
or inherit or improve upon
the Machine? Who’s in charge here?

 

What do you think we should call the Machine?

Should we call it magic, or Magick?
Should we call it “green supremacy?”

 

What do we call the Curtain? Should we call it
“greenness?” Should we note that it is the color

of the default setting? What does it say

 

that the people of Emerald City
did not seem sad to see the Wizard go
as long as someone, anyone, 

 

was left in charge to maintain the status quo?

It likely took those three less than a week 

after Dorothy left

 

to step behind the Curtain
and fire the Machine up again — and this time,
no black dog appeared to pull back that veil.


Talking To My Children About The Night

Originally published in 2002 in my chapbook, “In Here Is Out There.”
Original title, “Talking To My Son About The Night.”

I have been thinking:
what do I tell my children
about the night?

Something wicked these days
stirs in the night,
and I cannot lie to them
and say shh, be still,
all is well and safe.

I will tell them the night
contains both darkness
and light.

What shall I say to them
of darkness?

Darkness is a young man
holding a knife to a lamp.
He adores how it separates 
skin from flesh,
sinew from bone.
He knows that when it is sharp enough
he can see the body’s coherence
fleeing before its edge.

Darkness is a woman
leaning out of her window on her elbows.
She sees something she does not favor.
She slips out the back door
to carry her gossip to the slaughterhouse.
Someone there will take the news
to the mechanics who will adjust the wheels
of the juggernaut for maximum kill.
On her way home
she will wipe her face with a stolen liver.
Behind her
she will leave a trail
of rumors and cartilage.

Darkness is a gaggle of children
trapped in a dream
where they are made to suckle straws
filled with their own blood.
They purse their pale lips,
draw the red up, columns red rising,
red cresting in their mouths,
falling red into their stomachs,
such sharp nourishment,
such a simple lesson:
living through the night
requires such a meal, 
a simple meal for a simple terror.
They have learned
to devour themselves.

We stink of rich meats, phobias, fires,
restless pride, secrecy. 
We inhabit our stereotypes,
slowed to the speed of custom,
houses crawling with indignation,
ferocity unbridled by logic,
atomic proverbs to live by —
a man decides to force himself
on the next random passer-by,
a boy slits an ancestor’s throat;
we shake our heads, we cry out
for the light, we get the darkness,
violent, clean cut, simple, fast:

darkness is thinking
that we can live forever
by living this way.

And after that?
After that, what can I possibly say

of the light?

I will say to them:
children, it is slander
to speak of the night
and only note the darkness.

I will say to them:
children, my children,
look at the stars.

I will say to them:
children, my children,
whenever you despair
of this world,
lie back 
and look at the stars.

I will say yes,
there is horror afoot in the night,
but always, always,
we have the stars.
I will say that one star
may singly pierce the darkness
but that one star
cannot cut through
the darkness alone.

I will say that there is
a forever beyond the darkness.

Then I will say,

children, my children,
if ever you despair,
look up at those hints

of the hoped-for forever
behind the darkness
waiting to be torn,

and tell yourself:

I am a star, 
and I do not
shine alone.


The Garden

They came to me where I lay
in the poisonous bed,
center square of the rejection garden.

They came to me and said
if there were any real danger
we wouldn’t be here.

They came to me and said,
you can take it, friend.  Said,
you were born for this.

All I wanted was to suddenly find myself
somewhere else, in another time,
perhaps in another world, 

and they came and stood over me
and told me to endure and to wait
and to see the blooms above me

as some show of hope for the future.
They said a lot of things.  I tried to explain
that the flowers they asked me to love

were killing me, that they themselves
had planted them in my flesh,
that they fed upon me,

that they were rooted in me
and tore me, that I lay and thrashed
and screamed, that I did not see

how they could be blind to this,
how they could be deaf to this,
how they could not see me dying

in the poisonous bed,
the center square
of the rejection garden.

They walked away saying,
see how lovely the world is? See how 
the wind bends the garden to and fro?


Half, Awake

Originally posted on 7/19/2009.

A man with long hair and memory
is trying to break into my house
to rob or smudge me
while I am sleeping.

I hear him trying the locks and murmuring to himself.
It’s not a language I understand but I recognize it
as what I hear whenever I contemplate
nature versus nurture.

Louisville Slugger behind the door,
Bowie knife in the nightstand drawer.
One move, and I can pull that knife.

Two steps, and I can have that bat in my hand.

Two more and I can be
waiting behind the cabinet
where he won’t see me
as he enters,

but I’m still lying here
with choices hovering above me.
I can easily snatch the right one
out of the dawn at any time…

Grandfather, Stranger, whichever you are —
please come in. I’ve got coffee and tobacco
to scent the morning. For today, anyway,
we don’t need to bring the war into this.


Microaggressions

Street scene:

my eyes unmet,
their hands drifting

onto wallets, their bags 
pulled in tight to
their guarded bodies.

Office observed:

stumble, whisper,
awkward pause,
sudden stop,
change in subject,
question without thought,
thought without question.

Media, in media res:

what does a story say
about what a blog says
about what a blog says
about what was said
about what was said
about what was said
about how they died?

Surrounded,
sundered,
smothered, 
simmering, 
smoldering — 

Now this? No.
Not here, I beg,
not with you too —
not you too;
do you understand

that I am far beyond ready
to burn my home? That
if I have to ignite
the here and now
to reach the future,

I will?


Auction

stiff-standing
antique figurines
are being sold
at auction

one’s an iron jockey
holding a hitching ring
clad in red and white
and blackface paint

another is 
offering cigars from a wooden hand
the old wood’s
brown through and through

people are bidding them up
for (they say) the sake of
historical preservation
and the marking of bad memory

hard to believe
the prices such things command
among people who profess
to understand the offenses they bear

it seems the privilege
of being able to buy and sell
the past
is not cheap


Whiteness

New Poem.

I’ve taken to calling it
“Whiteness,” that 

low hum,
that cloud of unknowing.

It just keeps running.
I don’t know how to turn it off.

It’s caused amnesia 
at a cellular level.

Try to put a finger on Whiteness
and it slides away

like mercury:
liquid, metal, baffling.

If I spoke magic I’d conjure it thus
and try to hold it still: come, be bound,

tsunami of broken mirrors,
snowfield of washed crosses,

tangle of lilies, thicket of oleanders,
angular dramas, spoiled seeds…

Can you truly say
it is not its own distinct thing?

It cannot be defined any longer
as absence or default.

If I stare into Whiteness
long enough and hard enough 

I lose myself in it — no surprise;
it was built in such a way

that one can’t help
but stare into it:

the far end
of a hall

of locked doors.
A television permanently tuned

to a news station that promises
your story will be read soon,

right after this word,
right after this word from our sponsor.

It’s not about the nature
of individuals, exactly,

except when it is —
except when

one of them doesn’t see how
they’re soaking in it;

except when they call it
“the norm”

to cancel out
“the other.”

It’s not about how hard or soft
someone has

or hasn’t had it, exactly,
except when it is —

except when
it silently opens a stuck door

and things are even a touch easier
for someone who denies

or doesn’t even realize that they
carry that key with them everywhere.

It’s not about
anything other than 

itself, really, and that
is the problem: how

slippery it is
with its privileges, how slick it is

without admitting it,
how invisible it is to itself.

But I can see it tonight
as I stand under the eaves

of my father’s house, rain coming down
just beyond my nose; there’s

Whiteness in my face, in my ear,
in my blood, all over me

whispering,
be one with me…

I don’t know.  
Maybe

it’s that flag
of bones it’s wrapped in,

maybe it’s knowing how many bones
were abandoned

in deserts far and near
under that flag, 

maybe it’s knowing
how many bones drifted down

to the seabeds
of the Middle Passage. 

Maybe it’s
the long goodbye 

I’d have to make
to my otherness

once I accept
the name for my own, 

or maybe it goes back, all the way back
to those childhood Saturdays 

where the question at playtime
was always

whether I wanted to be the cowboy
or the Indian

and I always chose what felt closest.
It was fine until

one day
someone asked

why I always wanted
to be the bad guy

and never
the cowboy.

Hello, Whiteness,
is what I should have said then

but I was young and uneasy,
afraid not to play along.

I hung up my cap guns
soon after that for safety’s sake — 

but we were just getting started,
Whiteness and me.

Whiteness started haunting me, needling me,
kept repeating:

why do you always want
to be the bad guy?

in that supple voice.
It spit that

a million different ways
and they all meant the same:

why celebrate
difference? why you gotta 

be like that? calm down
and sink into me

like you would a milk bath, 
like you would surrender to

a horizon wiping blizzard.
Go to sleep. I promise

it will be warmer
eventually.

That voice eventually faded into
a low hum, a cloud of unknowing.

Whiteness, let me tell you,
maybe I’m wrong, 

maybe it’s amnesia
at a cellular level,

but maybe I fear you so much
because

I can’t recall anyone
ever saying 

it made them warmer
to die a little.


Fear Of A Brown Planet

Originally posted 5/26/2010.  Revised again, 11/4/2016.

Noah invited no insects onto the ark, but they came anyway;
flies and roaches, gnats and ants, covering every square cubit
in a seething, confident carpet of stubborn, resilient brown.

American bison, once endangered, have grown numerous.
They are leaving Yosemite to roam their old prairies, leading to calls
to thin them out, to gun down some of that stubborn, resilient brown.

In the Gulf of Mexico, frightened men drop chemicals, lower booms
onto oil surging from the deep, a torrent they once sought to own.
They stare in despair at the mass of stubborn, resilient brown.

In Phoenix, water pours from sprinklers into the dry soil.
The desert is held at bay by lawns of green and golf courses.
Let the effort lapse just a bit and see the return of resilient brown.

South of the city, along a man made line, soldiers in sand camo
stare south into that shimmering oven, guarding against
a surge moving north — people of stubborn, resilient brown.

In tidy houses the fearful huddle, seeing everything as a threat;
ashamed to say that what they are most afraid of
is the pastel shell of their world restored to surging, resilient brown.