Poetry

what do you call
a skeleton
unburied, performing

a slow dance
in the wind,
limbs akimbo?

TUVIA RUEBNER HAS earned the lament he wrote for King David, Israel’s better-known sorrow bearer. The poet came into the world 91 years ago in Pressburg-Bratislava, Slovakia, under Nazism’s shadow. It is a shadow he managed to separate himself from physically, but which sticks to him philosophically and is at the core of his poetry. The parched sound of random loss is the root sound in many of his poems. The spawn of an unimaginable yesterday, Tuvia Ruebner is more than anything a poet of today.

His parents, his grandparents, and his little sister Litzi all perished at Auschwitz in 1942, a year after he immigrated to British Mandate Palestine. Forty years after their deaths, Ruebner’s first son, Moran, was sent to fight in Israel’s first Lebanese war. Moran left for South America the following year, estranged from his country and its wars, and after a few letters, was never heard from again.

In Ruebner’s poem “[My father was murdered],” one by one he enumerates his losses:

CRIMINAL JUSTICE REFORM in the United States is gaining momentum with each graphic video showing fatal police abuse. In the aftermath of the many deaths of unarmed black men and women and the city-wide protests that erupted in Ferguson, Baltimore, and Cleveland, it is not surprising that presidential hopefuls are making bold public statements about the need to change a system that is profoundly unjust, overly punitive, and excessively costly to run.

At the other end of the spectrum, away from TV cameras and political wrangling, activists such as Tara Libert and Kelli Taylor, co-founders of the Free Minds Book Club and Writing Workshop, are dealing with decades of draconian anti-crime policies that have resulted in mass incarceration rates marked by racial disparities that have had a devastating impact on families and communities.

The numbers speak for themselves. Although the United States makes up less than 5 percent of the world’s population, it has nearly 25 percent of its prison population. According to The Sentencing Project, a research and advocacy organization working to reform the U.S. criminal justice system, more than 2.2 million Americans are now locked up in prisons and jails across the country—a 500-percent increase over the past 30 years. Furthermore, those who are incarcerated come largely from the most disadvantaged segments of the population.

While statistics, tweets, marches, and articles can bolster and enliven movements, art brings in the endurance. Art makes injustice a song that gets stuck in your head. Art makes murals out of obituaries, and hope out of statistics. Below, check out some of the art surrounding the Black Lives Matter movement:

1. Epitaph as protest. In “All Eyes Are Upon Us” (Sojourners April 2015) Gene Grabiner references 14 fallen people of color—men, women, and children, from 1973 to 2014—all casualties of “this war against the people.”

2. Nightmares. In her spoken word poem “black. anathema.”Jessica Edwards mourns the feared death of her unborn black child: “My soul mourning you prematurely, / clutching my empty womb bitterly.”

POET BRUCE WEIGL inhabits two places in his life, in his work. Two places that could not be more different. But in the course of our conversations, I come to think of them as a single place, the way two hands are part of a single body. One place is Lorain, Ohio. The other is Vietnam.

Ever since the Vietnam War ended, the life of this mill worker’s son has swung between those two far-flung poles.

I met Weigl at a Starbucks in Manhattan’s East Village. I was interviewing a friend of his, Adrie Kusserow, about her book of poems on South Sudan. Weigl was content just to drink his coffee and listen to us talk. He intervened only once, when Kusserow and I began decrying public indifference to South Sudan’s pre-independence history of slaughter, enslavement, and banishment by Sudan.

“If I may defend my fellow human beings here, there are so many places in the world today where there is suffering. It is understandable that people may miss one or two,” he said.

The suffering of the Vietnamese, and of soldiers like himself who fought in Vietnam, is still burned into his psyche like some gory tattoo. It is to be found in every one of his 13 books.

Wizards! Caspar! Melchior! Balthasar!
Why fly straight to Fox Herod? Through
Unbounded night—! Bringing only news
Ripe for bloodletting. How black a star
You follow. Herod knows. How bizarre
A kingly claim. Will he oppose? Muse
Like Mary? Ha—! Mothers’ sons lose
Heads to swords & axes. Herod bars
The throne to Jesus. Who kills first?

Boys on a beach,
women with cookpots,
men bombing tender patches of mint.

There is no righteous position.
Only a place where brown feet
touch the earth.

Maybe you call it yours.
Maybe someone else runs it.
What do you prefer?

On September 21, Leonard Cohen Turned 80. With or Without a Cigarette, It’s Time to Celebrate.

“I hope I stay on the road a little bit longer - but you may not be so enthusiastic when you hear my reason. You see I want to start smoking next year when I'll be 80. It's been a long barren time. I think it’s the right age to recommence.” —Leonard Cohen

I dreamed you were in Florence, singing on some stage. Your back was to the men, the women by your sides. Your melody was tranquil, just humming do-re-me-fa, la-fa-re-me-do. And when there was commotion, some men quarreling behind the scene, you turned and faced them calmly, beseeching, “Gentlemen, let’s sing.”

You have left us these past months, ceased your universal tour. It gives us time to miss you, and wonder what you mean. This week you will be eighty, there’s no question, you are old. Your bones may creak or ache and I’ll guess your heart’s a little tired, but from outside looking in you seem settled in a pretty gentle space.

So in the dream your melodies kept coming, like a river from its source. “You’re doing it,” someone shouted. “It’s exactly what we want!” People were casually swaying until your voice started to get hoarse. “Well, I’m glad you like it,” you croaked joyfully, “I call this solemn mingling my little Florentine Prayer.”