I drew wildebeest on the caves at Lascaux;
I lived a grim life
hunting peccary and maize
in some godforsaken mudhole in the veldt.
“Ode to the Alien,” by Diane Ackerman Read More »
I drew wildebeest on the caves at Lascaux;
I lived a grim life
hunting peccary and maize
in some godforsaken mudhole in the veldt.
“I am arms and legs, pulse, / and my secret interior that has said nothing this time, nothing bad.”
“Reading the Smithsonian Magazine,” by Fleda Brown Read More »
“I am arms and legs, pulse, / and my secret interior that has said nothing this time, nothing bad.”
Men standing out in storms,
talking,
telling us how violent the wind is,
showing us they can still stand up to it
“The Weather Channel,” by Dan Gerber Read More »
Men standing out in storms,
talking,
telling us how violent the wind is,
showing us they can still stand up to it
Here, the trees pay their respects, mourn openly,
wear dreadlocks of hanging Spanish moss
sun bleached ash-blue and swaying; in seawind
they become prayer shawls
salted with dust, grief threads of every kind
“Yom Hashoah in Florida,” by Rick Hilles Read More »
Here, the trees pay their respects, mourn openly,
wear dreadlocks of hanging Spanish moss
sun bleached ash-blue and swaying; in seawind
they become prayer shawls
salted with dust, grief threads of every kind
“I think so much of engaging in poetry (and in all art, at least art that’s not terrible and designed to preserve structures of power and oppression) is an exercise in empathy. Maybe at its base, poetry is paying close attention and then putting intentional language to communicate to another person what you’ve found.”
On “Floating, Brilliant, Gone”: An Interview with Franny Choi Read More »
“I think so much of engaging in poetry (and in all art, at least art that’s not terrible and designed to preserve structures of power and oppression) is an exercise in empathy. Maybe at its base, poetry is paying close attention and then putting intentional language to communicate to another person what you’ve found.”
