Poem 201 ± December 22, 2015

Walidah Imarisha
Three Poems

Broken
I am
Broken
And no one will
Play
With me
For fear
Of cutting themselves
On my sharp
Edges.

Shattered Haiku
He shattered my thighs
I rain down his cheeks and streak
Cum/tears/rainwater

Scars
Don’t ask about my scars
Just don’t cause any new ones

Walidah ImarishaWalidah Imarisha—author, educator, organizer and poet—is the author of the poetry collection Scars/Stars (Drapetomedia, 2013) and the forthcoming Angels with Dirty Faces: Three Stories of Crime, Prison and Redemption (AK Press, 2016). With adrienne maree brown, Walidah co-edited the anthology Octavia’s Brood: Science Fiction Stories from Social Justice Movements (AK Press, 2015). Visit her website, www.walidah.com.

These poems appeared in Scars/Stars.

Poem 200 ± December 21, 2015

Dorothy Alexander
Trip to Wyuka

for Paul Brandhorst, 1966-1998

His first night at support group he wore
a western hat low over his eyes, a toothpick
in the side of his mouth, thumbs hooked
in Levi pockets, pretended to be a cowboy.

He said nothing save his name but afterwards
followed me out to ask a question, the kind you
just know is an excuse for conversation. I had seen
enough before this night to know how it would go.

His family had scattered like quail
at the mention of AIDS, were still in hiding.
He was driven by the unfairness, injustice,
bitterness, loneliness. Under the brim
of the Stetson he was desperate to connect.

Near the end he asked to see his mother’s grave
in Nebraska. We walked the streets of Lincoln,
while he pointed out landmarks, his mother’s
grave in Wyuka Cemetery, the pauper’s plot
of infamous Charlie Starkweather.

Our second time in Lincoln, I carried him
in an urn, left him in that place where mothers,
sons and murderers lie down together, all injustice
and bitterness swallowed up in the dirt.

Dorothy alexanderDorothy Alexander is the author of The Art of Digression (Village Books Press, 2015) and Lessons from an Oklahoma Girlhood (Village Books Press, 2008). Her work has appeared in Women Writing Nature, Malpais Review, Blood & Thunder, and Cooweescoowee Journal, among others, as well as in the anthologies Raising Lilly Ledbetter: Women Poets Occupy the Workspace (Lost Horse Press, 2015) and Times They Were A-Changing: Women Remember the 60s & 70s (SheWrites Press, 2013). Dorothy lives in Oklahoma City, where The Oklahoma Center for the Book selected her as recipient of the Glenda Carlile Distinguished Service Award for her services to the Oklahoma literary community in 2013.

This poem was awarded the 2013 Christopher Hewitt Poetry Prize and appeared in Art & Understanding Magazine.

Poem 199 ± December 20, 2015

Khafre Kujichagulia Abif
Who Can I Tell?

Who can I tell, “I think I like boys”
Who can I tell?
Who can I tell, “A man from my neighborhood raped me”
Who can I tell?
Who can I tell, “My uncle made me take nude pictures of him”
Who can I tell?
Who can I tell, “That I walked to the bridge to jump”
Who can I tell?
Who can I tell, “That I longed for a big brother’s protection”
Who can I tell?
Who can I tell, “The Preachers said, God doesn’t love me”
Who can I tell?
Who can I tell, “I had sex with a man”
Who can I tell?
Who can I tell, “I want to take this mask off”
Who can I tell?
Who can I tell that I tested positive for HIV?
Who can I tell?
Who will take the news in stride?
Who will begin to micromanage my life?
Who will ask me, “Are you eating and taking your meds?”
Who will not be able to move past my status?
Who can I tell, “All I ever wanted was to be myself”
Who can I tell, “See Me, Not HIV”

Khafre Kujichagulia AbifKhafre Kujichagulia Abif is the author of Cornbread, Fish & Collard Greens: Prayers, Poems and Affirmations for People Living with HIV/AIDS (AuthorHouse, 2013). Khafre is the Founder/Executive Director of the HIV/AIDS awareness project Cycle for Freedom. Khafre is one of five men in the inaugural class of The HEALTH (Health Executive Approaches to Leadership and Training in HIV) Seminar Program developed by My Brother’s Keeper, Inc. He has also served as the Community Co-Chair for the New Jersey HIV Prevention Community Planning Group. As a librarian in his first career, Khafre was the first recipient of the Dr. John C. Tyson Emerging Leader Award from the Black Caucus of the American Library Association.

This poems appeared in Cornbread, Fish and Collard Greens: Prayers, Poems & Affirmations for People Living with HIV/AIDS.

Poem 198 ± December 19, 2015

John Anthony Frederick
So....

I cannot sit through certain movies without crying uncontrollably
Angels in America
The Hours
Soul-food
Beasts of the Southern Wild, when Hushpuppy declares her existence
Scrooge, at the end when he has his conversion from miser to generous giver

It’s the calcified hardness of my heart
Being melted
Cleansed
Opened
Washed clean by the idea of
Redemption
Of Angels hovering, towering o’er me
Of a child’s fierce innocence
Of sclerotic old age made
New again
By Grace

So,
The Tao says
In life, things are soft and supple
In death, things are stiff and brittle, and so
Whosoever is flexible and flowing
Is a disciple of Life, and
Whosoever is hard and unyielding
Is a disciple of death
Which beings me back to this:

To change; to become like
A little child
Is the short road to Heaven
So......

Childlike innocence and joy and
Wonder at every little thing, these
Are the healing
Tears flowing
Joy; sorrow.....

Awe at the marvelousness of music
And in the deep night sky
And in a meal made from scratch
And in a visit from your ghosts
And in the death of the poet
And in every scrap of human majesty
Uncontrollably
To weep so,
For the very joy of it
All....

John Anthony FrederickJohn Anthony Frederick is a muscian, singer, poet, politician, ordained Interfaith minister, spiritual seeker, teacher, pool player, and magic bean buyer, living Pozitively with his two dogs in Albany, NY....until he moves to Paris.

This poem is not previously published.

Poem 197 ± December 18, 2015

Vita E
Words from my Mother

I sat down with my mother the other day, and noticed her tears falling down the cheeks for the concrete.

I said, “Mother, why are you crying?”

She said to me:
“Child, I am in pain.
My core is shattered by the screams of police sirens and gunshot smoke.
My beautiful children are being sent back to me covered in blood-soaked clothing,
And the tears of their loved ones are not enough to wash away the soot and gunpowder of the next full clip that slices its way into the budding heart of a young flower,
As it’s cut down long before it was ever given a chance to blossom.
My tears are overflowing for our kin, who are pauperized instead of being treated like royalty.
Their lives are being treated as a spoil of the war on their existence….my heart hurts child.”

I say, “Mother, what can I do? How can I help change things?”
She said:
“You must tell your story child; you must seek out those who wish to do the same.
Seek out the soldiers who defy defeat, simply by defying death.
Seek out the storytellers whose mouths have yet to be muted and amplify their energy into a crown of amethyst.
Give the fallen a chance to speak through you,
Before their memories are possessed by those who would seek to celebrate their deaths by devaluing their lives
Beware those who request your spirit in exchange for tangible gains
Know you owe them nothing for your existence,
No apologies or debts necessary for your purpose or pulse in this planet,
They forget that this home is meant for everyone, and so they attempt to claim your spirit as one would a possession.
But you my child, and all of my children, are so much more than what they wish to hold in their hands.”

I said, “but Mother, why do you feel WE can make it?”

She said to me, through a sea of tears that could transform puddles into lakes:

“My children, look behind you.
Your shoulders have carried the souls and aspirations of others for centuries, and the scars are there as proof.
Your minds created exit strategies in the stars and escape routes through melodies, lyrical liberations, and harmonic hope.
Your feet have marched through fields, to concrete roads, to the hot streets of the cities, all in the name of your freedom.
Your hands have given to those who would just as soon take a finger more after they could take no more fruit from your branches.
And yet, you still hold the hands of your brethren and make a bond that no mortal can break.

If you look beside you, you will see that in the present, you are blossoming, as are your siblings, and they cannot cut you down this time,
For you have evolved into a movement that is bulletproof,
And those strong feet, those giving hands, and those strong shoulders will pave the way to the future,
One where your souls contain no shackles, and your minds have no chains.
A future, where your mother can once again, smile.”

VITA_EVita E is the founder of TWOC Poetry, a brand/YouTube channel she created to increase media representation and knowledge for marginalized groups, focusing primarily on experiences as a trans woman of color. Her series, Tea (T)ime, touches on subjects from racism to respectability politics, and everything between and outside. Vita E has performed at Campus Pride in North Carolina, competed as a finalist in the Capturing Fire Queer Poetry Slam in Washington, DC, and worked with Black Lives Matter in the Midwest. She has recently formed a duo with J Mase III, known as #BlackTransMagick, which is scheduled for multiple performances in 2016. When she is not performing, she spends much of her time as the Social Media/Communications Coordinator for awQward the first talent agency to specifically uplift the work of trans and queer artists of color.

This poem is not previously published.

Poem 196 ± December 17, 2015

Beth Aviv
Mushrooms

Detroit, 1992

I know I’m not supposed to fall in love with Robert, but I am. At night I dream of him, by day, we’re best friends, nothing more. We talk on the phone every night while cooking dinner or cleaning up. We double date, he and Grant, my boyfriend and I.

I go over to his house to visit, to learn how to cook Chinese. Grant is in his leather Mission chair in the den watching The Heiress with Olivia de Haviland and Montgomery Clift. Next to him, a chrome IV pole hangs with bloated bags of itraconazole and foscarnet dripping into the catheter implanted in his chest. Robert has lived with Grant, whom he sometimes calls Carol, for ten years.

In the kitchen, with Robert leaning back into his new stainless steel counter, we laugh. We laugh despite the AIDS that has invaded his house, despite the fact that the man he’s loved for ten years weighs half of what he weighed two years before, despite the new Sub-Zero refrigerator filled with bags of drugs, despite the new kitchen drawers filled with bottles of iodine, hypodermic needles, gauzes and vitamins.

Behind Robert mounded on the new polished steel counter are piles of silk-white tofu, broccoli, onion, gluten, carrots, and a bowl of straw mushrooms. “These are circumcised mushrooms,” he says, pincing a straw mushroom between his thumb and forefinger. “Before they’re canned they have a tight skin that’s peeled back like a foreskin.” Robert holds the glistening bone-brown mushroom and pulls back a flap of mushroom flesh offering it to me to feel. I do. It is shiny and slippery.

“What I’d really like,” he says as he pours sesame oil into his charred wok, “Is some guy to come up to me and say in a deep voice, “I’ve got five hours.” His eyes drop to his crotch. So do mine. He is wearing tight black jeans.

I can’t stop myself from wanting him and wanting him to want me. He was the only one who called every day for six weeks—even if just to leave a message on my answering machine—while my six-year-old daughter was in the hospital. He helped me decorate my new, smaller house after I divorced. He taught me to garden: how to empty his columbine’s seeds like tiny pearls of onyx into my palm; how to turn my kitchen’s refuse into rich, sweet-smelling compost; how to split overgrown patches of bee balm and hosta from his garden and plant them in my garden.

“What about a woman?” I ask.

“Maybe in Windsor. Maybe I could go across the river and pick up a woman at a bar in Windsor.”

I watch Robert smash garlic cloves with the side of a cleaver, chop iridescent cloves, then stir them into his wok. The kitchen crackles with the garlic’s warm aroma. He adds onions and carrots and broccoli. In the wok the oranges get oranger, the greens greener. He is stirring quickly, moving vegetables up from the hot center to the sides where they stay warm. Then he adds the tofu and gluten and mushrooms.

After sitting down at the dining room table to a meal of brown rice and vivid vegetables that we share with Grant, after getting the dishes into the dishwasher, Robert complains that his back aches. He’s been working out and lifting weights in order to stay strong to carry Grant—when Grant can no longer walk. He knows what’s coming. He’s witnessed the demise of other friends, the slow decline in muscle and dexterity. Grant keeps losing weight and getting lighter. Carrying him from his bed to his wheel chair (when that time comes) won’t be as difficult.

I massage Robert’s back, rubbing his shoulders, rolling my thumbs into his well-built muscles, pressing the heel of my palms into his shoulder blades, running my open thumbs up his spine. Somehow he leans into my hands and both his feet rise as if he is levitating, as if he is the bridegroom in a Chagall painting. It feels like I’m making him fly.

“Oooooh,” he giggles. “I’ve never had a woman touch me like that.”

Grant, gaunt, glaring, stands in the kitchen doorway; the ceiling light reflects off his glasses. “What’s going on?” he asks.

Robert’s thick-soled shoes return to the ceramic floor and he is standing upright again. We’re both smiling, our faces red. Our hands fall to our sides.

“I was getting a massage,” Robert says.

Grant, who will die in six months, tightens his jaw and clutches the doorknob. Robert grabs a damp towel and rubs it in wide circles on the counter until the stainless steel shines. Then he turns to me and says, “I’ll never get used to this.”

Beth AvivBeth Aviv is the author of Bearing Witness: Teaching about the Holocaust (Heinemann, 2001). Her essays have most recently appeared in Salon, the Michigan Quarterly Review, New Letters, Raw Vision, and soon, Story Magazine. Beth lives in New York City.

This piece is not previously published.

Poem 195 ± December 16, 2015

Rosemary Davis
The War

Editor’s note: In order to preserve the formatting of this poem, I am posting it as a PDF that will open when you click on the link below.

The War by Rosemary Davis

Rosemary DavisRosemary Davis’s poetry and prose has appeared in Brevity, Minnesota Literature, A View from the Loft, the Open 2 Interpretation book series, and a number of anthologies. Rosemary lives Minneapolis in a 1940 post-modern apartment near the Art Institute where she tends a large overgrown garden. She earned an MFA at Hamline University in Saint Paul and has written a memoir about living in San Francisco during the 1970s and 80s.

This poem is not previously published.

Poem 193 ± December 14, 2015

Mary Carroll-Hackett
The List of Dangers

Mama knew by heart, a home health care nurse in the 80s, only one of three in our frightened town willing to keep doing the work she loved. I took an oath, she said, to care for the sick, don’t recall it making no exceptions. She loaded her nursing bag, boxes of supplies, into that battered old Chevy, setting and running as many as fifteen infusions a day, praying as she drove, not for them, the patients even our priest called sinners, but for herself. I pray for me, she said, that I can do what they need, make it easier somehow. They called her Miz Elizabeth, and thanked her for coming, again and again, despite all those who warned her against them. God made us all, she’d say, laughing and getting to work, and only at home did we see how much she loved, how she mourned them when they went, how they each took a part of her heart in their passings.

Mary Carroll-HackettMary Carroll-Hackett is the author of the collections The Night I Heard Everything (FutureCycle Press, 2015), Trailer Park Oracle (Kelsay Books, 2015), If We Could Know Our Bones (A-Minor Press, 2014), Animal Soul (Kattywompus Press, 2013), and The Real Politics of Lipstick (Slipstream, 2010). Her work has appeared in Carolina Quarterly, Superstition Review, Drunken Boat, Slipstream, and The Prose-Poem Project. Mary lives in Farmville, Virginia, where she teaches at Longwood University and with the low-residency MFA faculty at West Virginia Wesleyan College.

This poem is not previously published.

Poem 192 ± December 13, 2015

Prince Lamaj
Awaken

You wanna know why HIV is important to me because the numbers are far
more than I could believe all the babies crying cause mom and dad’s
life has ceased if wanna know why HIV is important to me

You want to know why HIV is important to me because unprotected sex is
seen as cool and free it’s stupid and causes our populations to
decrease so wrap it up before you enter the sheets

You wanna know why HIV is important to me because I’m a black man and
I’m affected directly
My gender has larger numbers and my women have more than me if you
wanna know why HIV is important to me

You wanna know why HIV is important to me because I have friends who
live with this daily always questioning why, contemplating suicide,
from this bullet’s boom to their pride if you wanna know why HIV is
important to me

You wanna know why I research this wicked disease why I track its
progression with cunning and ease
To bring all the naysayers down as I please because HIV is important to me

Do you wanna know why I educate my youth And lay out to them the
despicable truth, That most that are dying look a lot like you, If
you want to know why HIV is important to me

Do wanna know why HIV is important to me because its existence is
hushed in the secrets we keep
Which doesn’t turn up til your next doctors visit screen if you wanna know
why HIV is important to me

Now don’t get me wrong not picking on those affected
Not targeting you please don’t feel neglected
Just bringing consciousness to clear public vision
For knowledge is power and power is worth living

Prince LamajPrince Lamaj was born and raised in Charleston, SC, and studied psychology at South Carolina State University. He currently lives in Washington, DC, where he is active in the spoken word poetry scene.

This poem is not previously published.