Poetry
Illustration by Jon Krause
Why wouldn’t they drop by, stare up
approvingly at the point of the minaret?
Perpetual connoisseurs of the loving work
of centuries, the stacked stones, nails pounded
until synagogues, temples, shrines
little houses of worship rise from the land.
Illustration by MUTI
This seep of droplets sponged by moss leaked
from a cleft in the rock; the waters in the cleft
rose osmotically from earth:
the aquifers of earth rained down
from cloudburst skies;
HUMANITY HAS BEEN reaching ever since Eve put her hand out and plucked the forbidden fruit. Since then, our acts of extension have been plagued far too often with violence and, in the end, death and despair. Philip Kolin’s new book of poetry, Reaching Forever: Poems, takes on those stretches and examines them with grace. His book is a fresh take on what it means to be loved and loving.
In the poem “God Comes to the Eternal Gate Holiness Church,” Kolin makes short work of people whose reaching is unsuccessful, via one of my favorite lines: “Bystanders down country roads reach out to him.” In other words, the spiritual life is not one for spectators but for those who do God’s will.
Screengrab from ‘I don’t want to be in my body no more: a visual poem’
Writing poetry has helped me face all the fear and uncertainty that surrounds a lifelong diagnosis.
Via Shutterstock
In my Mexican heaven, my grandfather's hands would be calloused from turning pages of poetry. He would be sitting at the dinner table, sipping coffee, and reading, looking up as I walked out the door to tell me “que dios te bendiga mijo.” He wouldn’t sing hymns or shout hallelujah, but every evening at the same time he’d sing the song “Gema” to my grandmother.
Irish poet Micheal O’Siadhail. Photo by Julia Hembree Smith
IRISH POET Patrick Kavanagh famously said, “Any poet worth his salt is a theologian.”
In The Five Quintets, a poetic tour de force by Micheal O’Siadhail, Kavanagh’s quip is flavorfully borne out. Quintets offers a sustained reflection on Western modernity (and its yet unnamed aftermath) in the vein of The Divine Comedy, Dante’s sustained reflection on medieval Europe (and its aftermath, the Renaissance).
O’Siadhail (pronounced O’Sheel) inspects 400 years of Anglo-Atlantic culture—artistic creativity, economics, politics, science, and “the search for meaning”—with the skillful hand of a citizen-poet, refracted through an Irish Catholic soul. Dublin born and educated, now poet in residence at Union Theological Seminary in New York, O’Siadhail embodies the vatic tradition of the Hibernian Gael—poet, prophet, priest, and, at times, jester.
His blind guide for the modern era is Madame Jazz—who encompasses klezmer from the Jewish shtetls and céilí music from famine Ireland as well. Jazz is the consummation of all that is truly human, the best of our polyphonic harmonies, a wild, joyful freedom born of shared suffering. Her chilling counterpoint, who ends the age of monarchs, is Madame Guillotine, whose shadow reaches forward into our War on Terror.
Steve Shreve / Unsplash
The first cast in the ochre light of the dawning sun is a morning prayer, filled with hope and faith that ceremonies sought in earnest will feed the soul. I reel dutifully, waiting for a faint tap on the end of my line. My father stands at the front of the boat, scanning for ripples on the water in the low light. “Wachale!” he exclaims in joking Spanglish as he reels in the first largemouth of the day. Two Mexican-Americans bass fishing in Texas. This is the face of the Reconquista.
Debby Hudson/Unsplash
As a poet, I used to compartmentalize my poetry. Christian poetry, poetry of the body, and Spanglish poetry all had their unique boxes until I came across the term theopoetics in academic scholarship. We all know how language and scholarship work. While white men are busy naming theopoetics to utilize in scholarship, women, women of color, black women, and indigenous peoples have been theopoeticizing since before Sor Juana Inés de la Cruz to the time of Macuilxochitzin.
Voter registration booth in the 1960s. Kheel Center, Cornell University Library.
In the black community, voting has always been complicated.
We voted and yet you lynched us.
We voted and yet you incarcerated us.
We voted and you poisoned our water.
EVERY POLITICAL LEADER on the planet should be stuck aboard a jet and taken north to see the Greenland ice sheet—it would be well worth the carbon emissions to show them just how fast climate change is now happening.
Case in point: I was aboard a boat en route to the Qaterlait glacier in August when I looked up at the GPS unit above the captain’s head. It showed an icon of the boat, steaming rapidly across ... solid land. That’s because when the chart was drawn a decade ago, the bay we were crossing didn’t exist: It was still solid ice.
I had the great fortune of journeying to the ice sheet with two young poets—a Greenlander named Aka Niviâna and a native of the Marshall Islands, Kathy Jetñil-Kijiner. These two remarkable women were at opposite ends of the same story—as the ice melted, the traditional life of Greenlanders was beginning to disappear. And the water that poured into the oceans is now drowning low-lying islands such as the Marshalls.
This mourning begins with eyes:
ours which open
and the eyes a gun closed,
the barrel a chamber in which there is found no heart,
for every latch and mechanism of the machine moves with menace
and every finger entangled and wound around its trigger
draws closed the stage curtains of peace.
This mourning begins with flesh—
our stance under a persistent sun
as a body stretches across a coroner’s table like the hide of a deer.
In such an occasion, a body’s bullet holes
become mouths. They speak of the perils our muscles
hope not to know. They reveal what it’s like
to be whole and come undone
and linger like litter.
Parkland.
Pulse.
Emanuel.
Columbine.
For you, we combine this mourning
with the mournings that have become before it.
Prayer is invisible and advisably secret.
If we could hear the inaudible contents
it might sound like the roiling of a mighty river
over scrabbly rocks, or the whirr of infinite
prayer wheels generating the world-winds
atop some hidden mountain.
All I know is that the breath of the heart
escapes its bounds.
The tail of the comet streaks into the ether
burning faster than any silver bullet.
It doesn’t stick in the brain to recoil and rewind,
but flies like a light-arrow toward the stars
by force of desire returning home.
Before the bow-string stops vibrating
it has traveled around the world three times.
Light dimming now the two friends hurry
to lower the body. Joseph’s thumb bleeds,
stuck by thorns when he cradled the head
while servants wrapped limbs in carry sling.
Nicodemus staggers beneath a hundred
pounds of spice-packed jars on his back,
no heavier, he thinks, than the fear which
held him burdened for so long.
In silence they leave
the carrion crowd, wind along stone garden paths,
weave past carved caves. The grave they had readied
for themselves in death, the two now give
the Galilean—though they know now
it was life he had bestowed when first they met
in dark of night, in temple yard.
In silence they perform
the ancient rituals. Wash the body,
anoint with aloe, wind the myrrh-filled cloth
encircling feet, legs, arms, hands,
strips of linen woven under the scarred
small of his back, stretched across his yielding
torso, layer upon layer of burial resin
mixed with aloe filling
the stone chamber with the scent of death.
Light dimming now the two friends hurry
to shroud the head, cover the beloved’s face.
Their hearts say linger but day is gone
so they pull the stone in place, rush to wash
for Sabbath prayers.
In silence the garden sighs.
Plants furl in the dark. The rising wind keens
the song a thousand spices cannot mask,
the dark a tombed heart
too heavy for even night to bear.
There are days when I think about going to live with the monks.
My brother Richard did this in the early sixties. He never discussed
the idea with me. A day simply came and my family took him to the
LaGuardia Airport. We said goodbye and then he was gone.
I wonder how many men leave a home each year because of a
spiritual need to either be alone or closer to someone other than a
human being. Richard went away to upstate New York. Growing up
in the South Bronx I never thought about upstate. How many slaves
went to sleep every night tired of picking cotton but never dreaming
of Canada?
Lately I listen to people in cafes or pundits on television talking about
the recent presidential election. I guess this is how our nation felt
after Lincoln’s death. What will become of our Union now? Alas, I look
into the mirror and see a wretched freeman.
There is a way a tree will talk to a black man, how it might guide him
out of the woods and toward freedom. Outside my window I look at the
trees, I notice their naked limbs, their leaves gone from too much
weeping. I feel like a lover who wakes before daybreak only to discover
love is gone.
I feel a longing, a need for prayer and fasting. Where is the choir for
my soul to join? We are a people in need of song—it’s time to compose
new spirituals. We either dream or die.
Joseph Sohm / Shutterstock.com
I saw her in the month of mumps
puffed up in poverty’s robes,
a woman of fragments,
a shuffling quilt with running threads—
more holes, really, than skein.
You could read history in the headlines
she wore, partial untruths, incomplete
fictions. All of her lovers
failed to match the shoes she put on.
Every child she birthed missed having
national sunshine and two names.
She dodged taxes on her home;
it never had an address to speak of and
moved like wind-spinning, clanking aluminum cans
she chased for pennies.
Her boudoir looked like a butcher’s sleeve;
stolen ketchup packets from McDonald’s
provided ambergris for her perfume.
She was disqualified for any entitlements
except for open dumpsters on eyeless streets.
But mail always waited for her
no postage due; she was the patron
of the discarded; on winter nights the USPS
coated her from the leprous jaws of the wind.
She slept at the homes of three different zip codes
one January; always leaving at dawn’s early light;
she thought the flag needed to be washed.
Watching the evening news
He stumbles along in broken gait, pale face frozen
in a blank stare, and all the long, long river of moving
bodies pass him by. Even the frail move faster,
framing him against their blur of anguish, like a film
that runs slow motion, etching one small
centerpiece against the screen of the unwilling eye.
Upon his back—as if coupled there, ribs fused to ribs—
rides an ancient man, more skeletal than fleshed,
skull rocking gently, rhythmically, arms crooked
absurdly over the hard-set slope of shoulders, hands
snatching at the brittle air. Thin-stick shanks
dangle loosely over the young man’s arms, bobbing
with the plunge and stagger of his legs—like
metronomes that pace the broken angle of each step.
And still they come, he comes—this strange, two-
headed creature all its own, with its four unseeing eyes,
its single haunted soul. Like a crab caught in an
unremitting tide—an awful metamorphosis, a horror
that we cannot look upon, nor speak of, nor forget.
Still he comes, inseparable, inexorable. The dying and
the young—a ghost that rides the shoulders of the world.
As I walked through the wilderness of this world, I lighted on a certain place where
was a den, and laid me down in that place to sleep; and as I slept, I dreamed a dream.
—The Pilgrim’s Progress
I stand at the edge of these sharded cliffs
Time and the sea have splintered away
From this rotten stump of island,
Fit only for felons and the likes of me.
The glorious ocean spreads out of sight,
Moving, moving, with no signs of life.
But, beneath the calm I know there lies
An empire old as the birth of time,
A kingdom swollen with citizenry:
Jellyfish, groupers, turtles, rays,
Serpents splitting the currents like grass,
Sharks and the fearsome leviathan.
Freedom? You can’t get there from here.
But from where I stand I could leap out,
Crash through blue mist coiling the shore,
Mesh with the pebbles that constitute
The thread of beach strung out below,
And wait for Jesus to remember me.
On the other hand, I could just crawl
Back into my cave, do my best to ignore
The lost years charcoaled on the walls
And the stench of human occupation,
Lie down, stretch out, fold my hands
Behind my head, and close my eyes,
My last thoughts being, before sleep:
If the deep blue holds such mystery,
What must the secrets of heaven be?
Nancy Bauer / Shutterstock
SHE: ROBED AND WORDLESS, by Sister Lou Ella Hickman, is a word-feast of poetry about often-overlooked women in the Bible.
Hickman creates a beautiful narrative and poetic arc as she explores biblical terrain. I celebrate how the book gives voice and imagery to our foremothers. Each poem is well-crafted, and the book has been organized to guide readers into the question editor Tom Lombardo asks in his introduction to the book: “After Eve, who is the next woman named in the Bible?”
Hickman, a Catholic sister, is an oft-published poet who in this book weaves together with striking lyrical threads scriptural narratives and her own substantive imaginings about the hopes, dreams, and fears of women about whom we know very little. Many women in the Bible are unnamed and have no voice, but Hickman tunes our ears to listen for these ancient unheard ones. In doing so she invites us to see and hear the countless but wisdom-filled “robed and wordless” women in our communities today.
Indypendenz / Shutterstock
Here, nobody stands
for the national anthem.
There’s no debate about
universal healthcare,
no talk of bigger border
walls or who will pay.
Here no one snapchats,
sends selfies or sexts. Google
steals no one’s idle hours.
No political parties here,
no signs to say white
lives matter too: everyone
gets it here. There’s no
NRA, no second amendment,
no bumper-sticker zealots
declaring “if you can read
this you’re in range.”
No,
here at the Pilgrim Home,
just across from the summer
play of a city pool, it’s all
cut-granite reverence
for beloved son, daughter,
dearest husband, moeder,
madre. On this level
expanse no fences
separate black and white,
they enclose. In this green
space the Mexican lies down
with the Dutch, and under
fresh rectangles the refugee
rests with the rich.
Here,
old, sleepy spruces cast
long layers of shadow
among the graves. Lilies
and orchids and roses revere
each silent name and date
and the brief dash between—
briefer than an evening walk,
than a child’s splash.
Artem Z/ Shutterstock
Lighting these candles—porous and buoyant—
Grounds us
Flames draw our eyes to heavens dotted white
With celestial thought
To look back in time through the stars
Hundreds of light-years away
To glimpse God standing
On the shore of God’s self
With outrageous visions and promises
Of hope that strain our belief
What can we do with such promises?
With tradition that grounds us in hope
In stars in candles in souls set alight?