Poem-A-Day April 13: Enough Dead Friends

We Have Enough Dead Friends

Come over. The doors are open,
my flat’s a mess and
so is my heart
but the doors are always open.
Come over. I will make soup,
probably from frozen but
the important thing is
we will both eat.

You don’t have to be dying,
but if you are,
or you feel like you are,
or if living’s been hard,
call me, and I will show up.
It doesn’t have to be that bad,
it doesn’t have to be bad at all,
but if it is, please call.

Do you want me to do the groceries?
Do you want me to mop the floors?
Do you need to be held;
you don’t have to be dying to be held.
If you want me to be there, I want to.

I’m on the bathroom floor again,
and breathing is hard,
and eating’s been hard, and sleeping,
the world is a laden thing
rolling around on my chest lately.
Just being alive is heavy tonight,
but we have enough dead friends.
Come over.


Today’s poem by Lena Oleanderson was featured by Read A Little Poetry.

Poem-A-Day April 12: they ask me to remember

Hello Friends,
If you have 2 minutes to spare, I highly recommend you listen to Lucille Clifton read today’s poem, along with her introduction about the origins of this poem, in a 2007 recording from the University of Arizona Poetry Center. “why some people be mad at me sometimes” appeared in Clifton’s 1987 collection Next.
Enjoy,
Ællen


why some people be mad at me sometimes

they ask me to remember
but they want me to remember
their memories
and i keep on remembering
mine.

Poem-A-Day April 11: A Date with the Ghost of the British Empire

Hello Friends,

Today’s poem by Haudenosaunee poet Kenzie Allen is a longer piece than what I typically send, but I hope you’ll stick with it. “A Date with the Ghost of the British Empire” appears in Allen’s first poetry book, Cloud Missives (2024). Allen is an Assistant Professor of English at York University, and a first-generation descendant of the Oneida Nation of Wisconsin.

Enjoy,
Ællen


A Date with the Ghost of the British Empire

He shows up half-drunk and handsy,
in a polo shirt with exactly six popped collars,
all seersucker and patterned in tiny muskets,
his shorts covered in birds who no longer exist.

It’s five o’clock somewhere, and the sun hasn’t set on him, yet.
He manspreads across three seats at the bar.
He orders mai tais, tries to tell you of a gin joint
in—where else—Bombay, where he left his best stereoscope
and twinned pictures of all the known wonders of the world
or all the known wonders known to him.

He’s three sheets to the wind, brass telescope tuned
to the far-off, the dark heart, another beautiful territory
ripe for harvest, where brown-skinned men bend in the fields
and dream only of night; where women give up
the craft of their hands and bodies at his behest.
In his wallet picture-foldout, he keeps postage stamps
of every land he’s ever held, even briefly, in vast array.

Things were peaceful, he says,
back when he was in charge.
A shame, they’d lost the Colonies,
so early on. She thinks of her ancestors who fought in that war,
who gave up their arrows for guns, who offered
white corn against white starvation.
What did the empire know of starvation?

That’s why they call it a commonwealth, he explains.
For the common—wealth—see?
The next mai tai comes on a place mat made from banana leaf.
The bar itself, a cabinet of estranged curiosities—
yellowed teeth in jars, baby moccasins, carved African masks—
arranged neatly in rows and tacked to the wall overhead;

alcoves of mustached men hidden
behind velvet ropes and brocade curtains
delineated with poppy blossoms and tea leaves and
Chinese screens with tiny white faces;
around the room, every possible shade of ivory;

bronze lamps shaped like monkeys;
chairs upholstered in what might by monkeys;
mosaic vases holding ostrich feathers;
a model giraffe made of cow leather
with limpid, deep glass eyes. Every possible creature
taxidermied into open-mouthed surprise.

Such a fine specimen, he says of her.
He asks to put his calipers around her lovely skull.

His best of everything
belongs to someone else. Malta, Minorca, Gibraltar,
she rolls the names around in her dark mouth,
Zanzibar, Sarawak, British Ceylon
no, Sri Lanka—Mumbai—Myanmar—
think of all the names lost to his sons.
Think of all the tongues
flattened and torn,
or tax, collected.

The beaver
skins. The elephant
tusk. The model armies
splayed across the map.

He doesn’t ask her to call him a cab,
but, of course, she does. She bundles him inside
with his tartan scarf and tweed wool cap,
knowing he’s so prone to cold. Even now,
heaven forfend she be blamed for his death.

He makes on last pass: A protectorate! A dominion!
Come, join the fold.

She whistles to the cabbie, shakes her head,
pats the door as it slides out of sight.

She turns back to the world and its own wonders.
The sun has set, and it is night.

Poem-A-Day April 10: Lost Dog

Hello Friends,

Elizabeth Bishop famously wrote in her masterpiece “One Art”, “Lose something every day.” I think of today’s poem by Ellen Bass as in conversation with Bishop. “Lost Dog” appears in Bass’s 2007 collection The Human Line.

Enjoy,
Ællen


Lost Dog

It’s just getting dark, fog drifting in,
damp grasses fragrant with anise and mint,
and though I call his name
until my voice cracks,
there’s no faint tinkling
of tag against collar, no sleek
black silhouette with tall ears rushing
toward me through the wild radish.

As it turns out, he’s trotted home,
tracing the route of his trusty urine.
Now he sprawls on the deep red rug, not dead,
not stolen by a car on West Cliff Drive.

Every time I look at him, the wide head
resting on outstretched paws,
joy does another lap around the racetrack
of my heart. Even in sleep
when I turn over to ease my bad hip,
I’m suffused with contentment.

If I could lose him like this every day
I’d be the happiest woman alive.

Poem-A-Day April 9: a soft landing

Love Poem: Cavafy

Coming back
from the ski trip
in the back of a van,

it had gotten dark

enough for
the steady hum
of the engine

to lull us all

into a deep sleep—
my best friend
and I having

the backseat

all to ourselves.
Have you ever felt
your body starting

to lean toward

its truest
intentions—head
hoping hard

for a soft landing

on your buddy’s
dozing shoulders?—
a journey in inches

that took me years.


Hello Friends,

Some may be curious about the title of today’s poem, “Love Poem: Cavafy” by Timothy Liu, which appeared in the November 2023 issue of Poetry Magazine. Cavafy (1863-1933) was a Greek poet who published little during his lifetime, instead circulating his poems among friends — possibly because he was gay and “his erotic poems make no attempt to conceal the fact” as W.H. Auden put it. But more specifically what does Cavafy mean to Timothy Liu? Well, Liu wrote in a book review (unrelated to this poem), “As Cavafy knows, love is not the actual moment of arrival in our longed-for Ithakas but in the journey all along — an almost endless foreplay in which the climax is sort of besides the fucking point! Romantic love more a condition of prolonged edging than climactic release!” Liu’s final lines “a journey in inches // that took me years” evokes that kind of long-drawn epic — similar to the journey Cavafy describes in his poem “Ithaka.”

I hope you’re enjoying poetry month! Thanks for reading.

— Ællen

Poem-A-Day April 8: We Have Not Long to Love

Hello Friends,

Queer love could be particularly fragile and difficult to hold onto during the lifetime of Tennessee Williams (1911—1983). Although better known as a playwright, he also published many poems. More, like this one, were published after his death: “We Have Not Long to Love” appeared in the February 1991 issue of Poetry Magazine.

Thank you again for celebrating poetry month with me.

— Ællen


We Have Not Long to Love

We have not long to love.
Light does not stay.
The tender things are those
we fold away.
Coarse fabrics are the ones
for common wear.
In silence I have watched you
comb your hair.
Intimate the silence,
dim and warm.
I could but did not, reach
to touch your arm.
I could, but do not, break
that which is still.
(Almost the faintest whisper
would be shrill.)
So moments pass as though
they wished to stay.
We have not long to love.
A night. A day….

Poem-A-Day April 7: What’s heavy

Ode to Friendship

     Edgewater Beach, 2019

The night so warm I could fall in love
with anything
including myself. My loves. You are the only people
I’d surrender my softness to.
The moon so blue. And yes, what’s gold
is gold. What’s real
is us despite
a country so grieved, so woke, so death.
Our gloom as loud as shells.

Listen. Even the ocean begs.
Put your hands in the sand, my friend.
It’s best we bury ourselves.
What’s heavy.          What’s heavy?
Becomes light.


Poem-A-Day April 5: Lies I’ve told my 3 year old recently

Hello Friends,

Today’s poem by Raul Gutierrez was first published on his blog and more recently featured on Read A Little Poetry.

Thank you again for celebrating poetry month with me.

— Ællen


Lies I’ve told my 3 year old recently

Trees talk to each other at night.

All fish are named either Lorna or Jack.

Before your eyeballs fall out from watching too much TV, they get very loose.

Tiny bears live in drain pipes.

If you are very very quiet you can hear the clouds rub against the sky.

The moon and the sun had a fight a long time ago.

Everyone knows at least one secret language.

When nobody is looking, I can fly.

We are all held together by invisible threads.

Books get lonely too.

Sadness can be eaten.

I will always be there.

Poem-A-Day April 4: On a day when rain surprised me

On a Day When Rain

     for Elizabeth

On a day when rain surprised me,
pain did too.
You kept rising in our conversation,
and we welcomed you.

I could feel your breathing,
in my breath.
In my consciousness of living,
your death.

Two of us who loved you
spoke your name
and you came.
Surprising rain.


Hello Friends,

Sometimes in poetry, the biggest emotions are held in beautiful tension with form, as in the quatrains and simple rhymes of today’s selection by Pat Schneider from her 2003 collection The Patience of Ordinary Things. The rhyme of “name” and “came” at the end of this poem comes as a surprise change in the rhyme scheme (the 2nd and 3rd line of the stanza rhyme instead of the 2nd and 4th) — the rhyme comes a line early, mimicking the surprise arrival of the memories of the lost loved one and of course the rain.

If you are moved by this poem, consider bringing back a loved one in a conversation today with someone who loved them too.

— Ællen