Every morning Days of unfettered glory Night’s a dram of tears
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The daffodils can go fuck themselves. I’m tired of their crowds, yellow rantings about the spastic sun that shines and shines and shines. How are they any different
from me? I, too, have a big messy head on a fragile stalk. I spin with the wind. I flower and don’t apologize. There’s nothing funny about good weather. Oh, spring again,
the critics nod. They know the old joy, that wakeful quotidian, the dark plot of future growing things, each one labeled Narcissus nobilis or Jennifer Chang.
If I died falling from a helicopter, then this would be an important poem. Then the ex-boyfriends would swim to shore declaiming their knowledge of my bulbous
youth. O, Flower, one said, why aren’t you meat? But I won’t be another bashful shank. The tulips have their nervous joie-de-vivre, the lilacs their taunt. Fractious petals, stop
interrupting me with your boring beauty. All the boys are in the field gnawing raw bones of ambition and calling it ardor. Who the hell are they? This is a poem about war.
songs taught only in the dark. There is this fear,
this shroud covering me. There is this sway,
this truth. There is this serpent slivering its
way out of reach. There is this enormity.
There is this heresy. There is this
sorrow. There is this cataclysm
raining on the living. There is this
violence that lives in the soul & chokes it
just so. There is this madness flickering
like a lit match in a dry barn. There is this
burning. There is this roof that’s corpsing
itself into a glorious & effervescent ruin.
There is this scream that imbibes blood like
water.
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The first time I saw two men kissing, I was six, Living in 1970s L.A. My mom took care Of an elderly woman who found herself in a fix And moved into a complex of all men, bare Chested men, with cutoff jeans and tinted glasses. My mother’s friend gave me chocolates that matched Her skin—this must be heaven. These sons’ asses Peeked out beneath their shorts, but watched Over her better than mom. Took donations for heat, A sofa and a new wig—all changed her mood. They even did her laundry. They did sweet Better than honey. Did family better than blood. And between duties, two men always off alone So desire, like the dishes, could also get done.
Sit down. Inhale. Exhale. The gun will wait. The lake will wait. The tall gall in the small seductive vial will wait will wait: will wait a week: will wait through April. You do not have to die this certain day. Death will abide, will pamper your postponement. I assure you death will wait. Death has a lot of time. Death can attend to you tomorrow. Or next week. Death is just down the street; is most obliging neighbor; can meet you any moment.
You need not die today. Stay here—through pout or pain or peskyness. Stay here. See what the news is going to be tomorrow.
Graves grow no green that you can use. Remember, green’s your color. You are Spring.
I have a deep and abiding love for Gwendolyn Brooks and her poetry. So much of her work reads like prayer, and nowhere is this more evident than in the line You need not die today. Sometimes, I feel like life kicks us so squarely in the face that it would be easier to lie down and die. And it would be. Death is patient and eager to those who would embrace its precepts. But life…life has so much to offer us. And so we go back to Brooks: You need not die today. You need not die today. You need not die today. You need not die today. You need not die today. You need not die today. You need not die today.
Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.
You stand as rocks stand to which the sea reaches in transparent waves of longing; they are marred, finally; everything fixed is marred. And the sea triumphs, like all that is false, all that is fluent and womanly. From behind, a lens opens for your body. Why should you turn? It doesn’t matter who the witness is, for whom you are suffering, for whom you are standing still.
Louise Glück. Unknown Author. Public Domain.
Note: Louise Glück was the recipient of the 2020 Nobel Prize in Literature. Her collection of poetry, The Wild Iris (1993), won the Pulitzer Prize for Poetry.
Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.
Lull me into oblivion. My attention span is limited. Infinity, space, time— your voice in my ear, bottom lip on my lobe— turning love into cherries into wine. Creamsicle daylight is wasting away while we wait for the song to finish playing. When you were mine life was always a game sweetly played, vollied to & fro like the king’s severed head; no throne. Fade to black. Next reel, please. Pleas to be real with me remain ignored. Love is not a cat chasing shadows on the floor. I feel you watching me caressing my own crooks in the dark. Elbows, not thieves, though everything of value has been stolen at one time or another. Dear lover, take this rambling lullaby & pitch it into the sea where memory goes to sleep in the steadfast arms of the deep.
Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.
The day I learned my wife was dying
I went to read about volcanic eruptions,
earthquakes, fire, bloody war, and murder.
I wanted to discover the most awful, because
I knew her death would be worse than that;
and even crueler would be her absence, not
for a day or a year. It meant not coming back.
That was what I couldn’t imagine. How many
days in Never? How many times would we
hear a car and think, That’s her, or hear
the phone ring and feel suddenly happy,
only to grasp it was basically nobody,
and each burst of knowing would be one
little death, and they will happen all day.