1.
I laughed when I told my friend:
Saddam is writing poems!
No matter how down and out you are, there’s always
poetry! I snorted.
When the last rotten plank
in the basement of your mind has fallen through,
pray that a thin lifeline of words may sustain you.
I feel ashamed now, thinking about it,
and fascinated. Is Saddam writing in rhyme or blank verse?
Does he prefer narrative epics? And is he any good?
2.
I heard the mass graves, when dug up, were overrun
with relatives, searching among
ten-year-old decayed corpses
for an arm, a leg, a thumb —
something that had once been wife or brother or son.
I hear there are not enough guards to keep the families out,
the battalions of grief
with their numberless riders.
3.
Maybe Saddam really loves poetry.
Hitler loved music.
Nero probably loved something as well — elephants,
or dancing girls,
or boys.
4.
He lived in a cave for months.
That gives a man time
to get to know some ghosts.
Death must have smelled familiar
to him; he must have recognized and then ignored
its stench on his hair, his clothes.
5.
Large-scale killing numbs the mind.
Everything’s a question of scale.
For instance, I’ve heard that great blue whales can weigh
two hundred tons. Two hundred tons!
Hardly imaginable.
Our brains aren’t built
to think on that scale,
any more than one gnat
in a cloud of gnats
buzzing around a redwood
can comprehend the full dimensions of the giant tree.
6.
Forget Saddam. Imagine for one moment
all the work-roughened hands
that have picked your food and sewn your clothes
and kept you alive since day one.
When we die, will there be a reckoning
of what and whom we’ve used
to pay for our lives, and how,
and will lack of imagination be allowed as an excuse?
7.
On the one hand, poetry is entirely worthless when weighed
against the fact of dying oceans,
or hungry children.
On the other hand, who
actually travels to the bottom of the ocean with a scale
to weigh the great blue whale
if not some fool of a poet?
8.
I know, I know,
it’s all extrapolated from a jawbone.
And so are all the great stories, all the best poems.
9.
Most poetry is bullshit, of course.
But if a slender line of truth
could reach to the bottom of the ocean,
and snag a great blue whale in its delicate noose,
and haul her up so we could feel, just for a second, her smooth enormity —
could we understand it then? And would it change us?
Author: newgreyhair
“These poems,” June Jordan
These poems
they are things that I do
in the dark
reaching for you
whoever you are
and
are you ready?
These words
they are stones in the water
running away
These skeletal lines
they are desperate arms for my longing and love.
I am a stranger
learning to worship the strangers
around me
whoever you are
whoever I may become.
“Fracture,” Ellen Bass
When the grizzly cubs were caught, collared, and taken away—
relocated they call it—
their mother ran back and forth on the road screaming.
Brutal sound. Torn from her lungs. Her heart,
twisted knot, hot blood rivering
to the twenty-six pounding bones of her feet.
Just weeks before
I watched a bear and her cubs run down a mountain
in the twilight.
So buoyant, they seemed to be tumbling
to the meadow,
to the yarrow root they dug, rocking
to wrest it from the hard ground, fattening for winter.
They were breathing what looked like gladness.
But that other mother . . .
Her massive head raised, desperate to catch their scent.
Each footfall a fracture in the earth’s crust.
“If You Knew,” Ellen Bass
What if you knew you’d be the last
to touch someone?
If you were taking tickets, for example,
at the theater, tearing them,
giving back the ragged stubs,
you might take care to touch that palm,
brush your fingertips
along the life line’s crease.
When a man pulls his wheeled suitcase
too slowly through the airport, when
the car in front of me doesn’t signal,
when the clerk at the pharmacy
won’t say Thank you, I don’t remember
they’re going to die.
A friend told me she’d been with her aunt.
They’d just had lunch and the waiter,
a young gay man with plum black eyes,
joked as he served the coffee, kissed
her aunt’s powdered cheek when they left.
Then they walked half a block and her aunt
dropped dead on the sidewalk.
How close does the dragon’s spume
have to come? How wide does the crack
in heaven have to split?
What would people look like
if we could see them as they are,
soaked in honey, stung and swollen,
reckless, pinned against time?
“After Kent State,” Lucille Clifton
After Kent State
only to keep
his little fear
he kills his cities
and his trees
even his children oh
people
white ways are
the way of death
come into the
Black
and live
“Revolutionary Letter #15,” Diane Di Prima”Revolutionary Letter #15,”
When you seize Columbia, when you
seize Paris, take
the media, tell the people what you’re doing
what you’re up to and why and how you mean
to do it, how they can help, keep the news
coming, steady, you have 70 years
of media conditioning to combat, it is a wall
you must get through, somehow, to reach
the instinctive man, who is struggling like a plant
for light, for air
//
when you seize a town, a campus, get hold of the power
stations, the water, the transportation,
forget to negotiate, forget how
to negotiate, don’t wait for De Gaulle or Kirk
to abdicate, they won’t, you are not
“demonstrating” you are fighting
a war, fight to win, don’t wait for Johnson or
Humphrey or Rockefeller, to agree to your terms
take what you need, “it’s free
because it’s yours”
“We Made It,” Sunni Patterson
So I’m from a stock
that pitch cocktail bombs and hand grenades.
We pour cayenne pepper around the perimeter of a building
to keep the police dogs at bay.
I’m the Panther Party
in the Desire Housing Projects in New Orleans.
I’m nigga turning the gun on the National Guards.
Take a long, long look.
I’m a cook in the kitchen
asking the missus to taste the dinner
take a long, long sip,
‘cuz death ain’t always this good.
It’s eyes popping out they sockets.
It’s a lifeless body rocking backwards and forwards.
It’s a boy stabbed forty-seven times
in front the church house.
It’s a man forty-three years old,
stuffing his penis in a nine-year-old girl’s mouth,
naw, death don’t always taste good
just don’t sound like something I want to eat often.
I hear them say
it was like a train came through the room
left mama so depressed she was unable to move
until this one day.
It was like a few months after the hurricane.
Husband and child found the trinity bloody in bed.
His wife, his son, his other daughter was dead,
and on the end table there was a letter that read,
it said, “I couldn’t stay here,
not for one minute longer,
and it made no sense for me to leave here alone,
’cause who would take care of my babies
with they mama gone?”
I’m telling you, death ain’t always good.
It’ll leave you fending for water and food.
It’ll riddle up your body in the Audubon Ballroom
They’ll El-Hajj Malik el-Shabazz you,
crown you king, then dethrone you in a Lorraine Hotel.
They’ll disfigure your body to where folks can’t tell
if you Emmett Till or not,
tell the mama, “Keep that casket open,
let all the world see it ain’t just burning in Mississippi.”
Hell, it’s hot wherever you be,
from the rooftop to the cell block,
step on up to the auction block,
and bend over,
touch your toes,
son, show your teeth,
lift her titties,
examine his balls,
now, this damn near sound like a hip-hop song,
but it’s slavery at its peak,
a circus for all the freaks.
They’ll warn you, “Caution when you speak,”
can’t afford the truth to leak,
but will say “Blessed are the meek
and are the ones who make peace
and are the ones who are persecuted
for the sake of righteousness,”
for we say theirs is the kingdom,
earth is their inheritance.
So no matter how treacherous,
they’ll try to trap us in them trenches,
and they’ll dig deeper ditches,
but all that matters is this.
Which side will we pick,
which path will we choose.
either win or lose,
‘cuz death don’t come in vain,
not for us to remain enslaved
or our spirits to remain in cages.
It comes so we might be courageous
to fulfill our obligation to our God and all creation,
and stand in determination,
able to look death right in the face
and say we made it,
we made it,
we made it,
we made it.
“The Transformation of Silence into Language and Action,” Audre Lorde (1980*)
I would like to preface my remarks on the transformation of silence into language and action with a poem. The title of it is “A Song For Many Movements” and this reading is dedicated to Winnie Mandela. Winnie Mandela is a South African freedom fighter who is in exile somewhere in South Africa. She had been in prison and had been released and was picked up again after she spoke out against the recent jailing of black school children who were singing freedom songs and who were charged with public violence… “A Song for Many Movements.”
Nobody wants to die on the way
and caught between ghosts of whiteness
and the real water
none of us wanted to leave
our bones
on the way to salvation
three planets to the left
a century of light years ago
our spices are separate and particular
but our skins sine in complimentary keys
at a quarter to eight mean time
we were telling the same stories
over and over and over.Broken down gods survive
in the crevasses and mudpots
of every beleaguered city
where it is obvious
there are too many bodies
to cart to the ovens
or gallows
and our uses have become
more important than our silence
after the fall
too many empty cases
of blood to bury or burn
there will be no body left
to listen
and our labor
has become more important
than our silenceOur labor has become
more important
than our silence.
I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood. That the speaking profits me, beyond any other effect. I am standing here as a black lesbian poet, and the meaning of all that waits upon the fact that I am still alive, and might not have been. Less than two months ago, I was told my two doctors, one female and one male, that I would have to have breast surgery, and that there was a 60 to 80 percent chance that the tumor was malignant. Between the telling and the actual surgery, there was a three week period of the agony of and involuntary reorganization of my entire life. The surgery was completed, and the growth was benign.
But within those three weeks, I was forced to look upon myself and my living with a harsh and urgent clarity that has left me still shaken but much stronger. This is a situation faced by many women, by some of you here today. Some of what I experienced during that time has helped elucidate for me much of what I feel concerning the transformation of silence into language and action.
In becoming forcibly and essentially aware of my own mortality, and of what I wished and wanted for in my life, however short it might be, priorities and omissions became strongly etched in a merciless light and what I most regretted were my silences. Of what had ever been afraid? To question or to speak as I believed I would have meant pain, or death. But we all hurt in so many different ways, all the time, and pain will either change or end. Death, on the other hand, is the final silence. And that might be coming quickly, now, without regard for whether I had ever spoken what needed to be said, or only betrayed myself into small silences, while I planned someday to speak, or waited for someone else’s words. And I began to recognize a source of power within myself that comes from the knowledge that while it is most desirable not to be afraid, learning to put fear into a perspective gave me great strength.
I was going to die, if not sooner then later, whether or not I had ever spoken myself. My silences had not protected me. Your silence will not protect you. But for every real word spoken, for every attempt I had ever made to speak those truths for which I am still seeking, I had made contact with other women while we examined the words to fit a world in which we all believed, bridging our differences. And it was the concern and caring of all those women which gave me strength and enabled me to scrutinize the essentials of my living.
The women who sustained me through that period were black and white, old and young, lesbian, bisexual, and heterosexual, and we all shared a war against the tyrannies of silence. They all gave me a strength and concern without which I could not have survived intact. Within those weeks of acute fear came the knowledge– within the war we are all waging with the forces of death, subtle, and otherwise, conscious or not– I am not only a casualty, I am also a warrior.
What are the words you do not have yet? What do you need to say? What are the tyrannies you swallow day by day and attempt to make your own, until you will sicken and die of them, still in silence? Perhaps for some of you here today, I am the face of one of your fears. Because I am a woman, because I am black, because I am myself, a black woman warrior poet doing my work, come to ask you, are you doing yours?
And, of course, I am afraid– you can hear it in my voice– because the transformation of silence into language and action is an act of self-revelation and that always seems fraught with danger. But my daughter, when I told her of our topic and my difficulty with it, said, “tell them about how you’re never really a whole person if you remain silent, because there’s always that one little piece inside of you that wants to be spoken out, and if you keep ignoring it, it gets madder and madder and hotter and hotter, and if you don’t speak it out one day it will just up and punch you in the mouth.”
On the cause of silence, each one of us draws her own fear– fear of contempt, of censure, or some judgment, or recognition, of challenge, of annihilation. But most of all, I think, we fear the visibility without which we also cannot truly live. Within this country where racial difference creates a constant, if unspoken, distortion of vision, black women have on one hand always been highly visible, and so, on the other hand, have been rendered invisible through the depersonalization of racism. Even within the women’s movement, we have had to fight and still do, for that very visibility which also renders us most vulnerable, our blackness. For to survive in the mouth of this dragon we call america, we have had to learn this first and most vital lesson– that we were never meant to survive. Not as human beings. And neither were most of you here today, black or not. And that visibility which makes you most vulnerable is also our greatest strength. Because the machine will try to grind us into dust anyway, whether or not we speak. We can sit in out corners mute forever while our sisters and ourselves are wasted, while our children are distorted and destroyed, while our earth is poisoned, we can sit in our safe corners as mute as bottles, and still we will be no less afraid.
In my house this year we are celebrating the feast of Kwanza, the African-American festival of harvest which begins the day after Christmas and lasts for seven days. There are seven principles of Kwanza, one for each day. The first principle is Umoka, which means unity, the decision to strive for and maintain unity in the self and community. The principle for yesterday, the second day, was Kujichagulia– self-determination– the decision to define ourselves, name ourselves, and speak for ourselves, instead of being spoken for by others. Today is the third day of Kwanza and the principle for today is Ujima– collective work and responsibility– the decision to build and maintain ourselves and our communities together and to recognize and solve our problems together.
Each of us is here now because in one way or another we share a commitment to language and to the power of language, and to the reclaiming of that language which has been made to work against us. In the transformation of silence into language and action, it is vitally necessary to teach by living and speaking those truths which we believe and know beyond understanding. Because in this way alone we can survive, by taking part in a process of life that is creative and continuing, that is growth.
And it is never without fear; of visibility, of the harsh light of scrutiny and perhaps of judgment, of pain, of death. But we have lived through all of those already, in silence, except death. And I remind myself all the time now, that if I was to have been born mute or had maintained an oath of silence my whole life long for safety, I would still have suffered, and I would still die. It is very good for establishing perspective.
And where the words of women are crying to be heard, we must each of us recognize our responsibility to seek those words out, to read them and share them and examine them in their pertinence to our lives. That we not hide behind the mockeries of separations that have been imposed upon us and which so often we accept as our own: for instance, “I can’t possibility teach black women’s writing– their experience is so different than mine,” yet how many years have your spent teaching Plato and Shakespeare and Proust? Or another: “She’s a white woman, what could he possibly have to say to me?” Or, “She’s a lesbian, what would my husband say, or my chairman?” Or again, “This woman writes of her sons and I have no children.” And all the other endless ways in which we rob ourselves of ourselves and each other.
We can learn to work and speak when we are afraid in the same way we have learned to work and speak when we are tired. For we have been socialized to respect fear more than our own needs for language and definition, and while we wait in silence for that final luxury of fearlessness, the weight of that silence will choke us.
The fact that we are here and that I speak not these words is an attempt to break that silence and bridge some of those differences between us, for it is not difference which immobilizes us, but silence. And there are so many silences to be broken.
*This speech by Audre Lorde was originally delivered at the Lesbian and Literature panel of the Modern Language Association’s December 28, 1977 meeting. It was then published in many of Audre’s books, including “The Cancer Journals” and “Sister Outsider.” It contains a poem that was originally published in Audre’s “The Black Unicorn” (1978).
This is the version appearing in “The Cancer Journals,” published 1980 by spinsters press.
“In Winter,” Michael Ryan
At four o’clock it’s dark.
Today, looking out through dusk
at three gray women in stretch slacks
chatting in front of the post office,
their steps left and right and back
like some quick folk dance of kindness,
I remembered the winter we spent
crying in each other’s laps.
What could you be thinking at this moment?
How lovely and strange the gangly spines
of trees against a thickening sky
as you drive from the library
humming off-key? Or are you smiling
at an idea met in a book
the way you smiled with your whole body
the first night we talked?
I was so sure my love of you was perfect,
and the light today
reminded me of the winter you drove home
each day in the dark at four o’clock
and would come into my study to kiss me
despite mistake after mistake after mistake.
“I Want to Eat Bugs with You Underground,” Julie Danho
The scientist on the radio said that humans
will survive, and, at first, I was buoyed,
but she meant only some of us, the ones
living in tunnels, eating crickets to survive
when the rest had died from mass starvation
after droughts lasted longer and seas rose faster
and wars killed bigger because everyone
wanted what little was left. I’d be fine
with being one of the billions dead unless
you were still alive. Under a down comforter
or by a trash fire, I want to be where
you are. You know how poorly I dig holes,
how angry I get when I’m cold, how twice
I’ve accidentally maced myself and still
you’d take me with you down into the earth,
give me more than my fair share of caterpillar.
Few believe we’re in the middle of the end
because ruin can happen as slowly as plaque
blocking arteries, and only later feels as true
as your hand resting on my hip, both of us
quiet as roses waiting for the bees to arrive.
