Poem 204 ± December 25, 2015

Patricia Kay
Did You Hear Our Song?

In the early 90’s I was one of the members of the medical team for the opening of Bailey Boushay House, the first AIDS hospice in Seattle. As one of the nurses working with an amazing team of assistants, physicians, social workers, massage therapists, volunteers, and religious groups, we walked the final journey with our clients. Today, the same house has transitioned into a place for all chronic illnesses. During those years, writing poems was my only way to salvage my broken heart each day. I preceded each poem with a short paragraph about the special person in our care.

A letter was sent to the Phantom of the Opera cast by his mother. She wrote, “Because of my son’s illness, he has missed two performances of Phantom. Would you consider coming to sing to him?” And they did. Dressed in street clothes, the cast came singing, their voices filled the room, and their eyes never left his. For a brief moment their music brought us all together, humming softly, a mother, father, a partner, and a nurse.

Did You Hear Our Song?

We shared for a moment the healing of a heart;
Through our music world and your medical world we each had a part.
Our song passed gently over a body broken by disease,
Our eyes sympathized and hoped to place him at ease.

Where did our music take you today?
Away from the pain, or did it delay,
A Moment when your muscles cry in pain,
Or helped the breathing of exhausting strain?

Did our music help you remember when
Life was good, or could have been?
You waited, we came—can your journey start?
Did we leave you one last memory to seal in your heart?

(4/94 Patricia)

Patricia KayPatricia Kay is a retired registered nurse whose last clinical experience was at a Seattle AIDS hospice. Though it has been over twenty years, she holds fast the memories of every client who entrusted to her their life journey. To this day, Patricia is still in contact with the friends and families of those who were in her care. After retiring five years ago, Patricia pursued her writing passion. She looks forward to publishing her Gentleman Companion Trilogy, whose main character, Lawrence, honors the memory of Patricia’s AIDS patients while embracing the reality that AIDS/HIV still exists twenty years later.

Poem 203 ± December 24, 2015

Sarah Sadie
We Pass the Bechdel Test Every Day

Curtailed, contained, boundaried in a way we did not anticipate,
we find ourselves squeezed into an unmapped region that smells
of pumpkin. Travelers are advised to bring their own cinnamon,
ginger and cloves. Nutmeg is optional. I recommend it.
Half the guidebooks will tell you it’s flyover territory, the other half
say it’s a must-see. No one describes it, not really.
All the rivers run left, or west, towards dream, towards twilit shadows.
There is a common grammar to be learned. It trades mostly in silence.
Once there, you must learn to speak in signs and gestures, eyebrows
and lipstick. I have never mastered the language.

Do we ever come back? How can I tell you, except to say
seven of us, travelers, gather in a coffee shop to share our stories,
searching for ways to explain it, and one of us speaks of
nuns and orphans and AIDS in Haiti. Another describes a forest,
invisible, that’s guarded by shapeshifters. Someone encountered
Civil War amnesiac ghosts and the women they love. My friend
met a young woman from the Sixties who suffers from endometriosis
and Betty Friedan’s dangerous book. Someone I don’t know
befriended a psychic woman and was rescued by helicopters;
another stopped to aid a woman with multiple personalities and angels;
someone found themselves trapped in a post-apocolyptic
fantasy soap opera in three unknown acts and no way home.

Sarah SadieSarah Sadie is the author of the poetry collection Somewhere Piano (Mayapple Press, 2012) as well as the chapbooks Quiver (Red Dragonfly Press, 2009), Given These Magics (Finishing Line Press, 2010), and Do-It-Yourself Paper Airplanes (Five Oaks Press, 2015). The collection We Are Traveling Through Dark at Tremendous Speeds is forthcoming. She teaches at the Loft and the University of Iowa Summer Writing Festival and works with poets individually. She participated in Tupelo Press’s 30/30 poetry marathon in December 2015. Find her multimedia blog at sarahsadiesadiesarah.tumblr.com and follow her on Twitter @sarahsadie1313.

This poem appeared on the Tupelo 30/30 blog for December 2015 which, I can say as a fellow Tupelo 30/30 poet for December, does not necessarily constitute prior publication. So this poem is not previously published-ish.

Poem 202 ± December 23, 2015

CAConrad

AIDS SNOW FAMILY

—for anyone who loved someone who died of AIDS

“The poem is restorative, rather than fragmenting.”
—Alexandra Grilikhes

In January gather snow; this is intimate, this calling to honor the shock of being alive. I made one tiny snowman named CAConrad, and one tiny snowman named Tommy Schneider. For six months they held hands in the privacy of my freezer while I visited the streets and buildings in the Philadelphia of our Love. Snow crystals travel miles out of clouds into the light of our city. My snowman read to his snowman the letters I brought home to the freezer. It’s 2010, AIDS is different in this century you didn’t live to see. The used bookshop where you worked on South Street is now a clothing store. Our first kiss in the Poetry section is a rack of blue jeans and I resist hooking my thumbs in the belt loops to pull you in—I FEEL you everywhere today.

In March an old friend was visiting and she said, “But you wrote poems for Tommy after he died.” I said, “But it’s sublime retracing our Love in this exercise.” She shook her head, “No, it’s sad, it’s very sad. Can’t you see this beautiful day?” OF COURSE I see the beautiful day, in fact I SEE IT MORE THAN EVER, and I don’t need her choreography to enter it. The point of experiencing Love is to engage the greater openings. It’s important to ignore the directives of others when investigating the way these doors swing on their hinges. Months of spring into summer, my snowman told your snowman the memories. One night you had asked if I was upset at something. I said, “I have no right to complain, all the men are dying in our city and I don’t have AIDS!” You said, “Well I have no right to complain because I have a wonderful boyfriend who loves me and I DO have AIDS!”

Macrobiotics, herbal infusions, massages, sensory deprivation tanks, reflexology, music by Soft Cell, music by Siouxsie and the Banshees, music by Cocteau Twins, music by Patti Smith. Of course we’re all dying, you’ll never kiss someone who isn’t dying, I know that, which is why the fear of this is not allowed to stop me from missing you the way I want. The streets were filled with men in wheelchairs that year. We were kids in love while you vanished in the funnel with them. The day after Summer Solstice I took our snowmen out of the freezer. 90 degrees, we melted quicker than expected, even sooner than I could have imagined. I burned the letters, mixed their ash with our slush. And I read to the puddle a poem that came to me years ago in a dream soon after you died: he wrote “I have AIDS / and kissed this wall” / X marked the spot / I wrote “I’m not afraid” / and kissed him back / wherever he is. I took many notes during the life of our snowmen in the freezer until they vanished. Those notes became a poem.

QUALM
CUTTING AND
ASSEMBLAGE

—for Tommy

“What do you think
of the cosmic
proletariat?”
—Debrah Morkun

deshrouded
against
a ton of
ears a five
pound
song
broke
them all
it is
rare to
remember
where we
are from
listen
I am on
earth
not sure
how long
our documents
under rubble
an hour
prying this
fucking
drawer
open to
find handles
and screws
instead of
your poem
we came into
the quiet like
we had to
survive their
ridicule
to die
in their
sleeping
conscience
bleeding
as when
bathed in
the hunt
you fund
me with
kisses
face a
spoken
promise
the written
has been
burned
only a
memory
can perish
every
cell
resold to
sharpest
set of
incisors
“viruses are
hungry too”
you said
our documents
shot into
outer space
what is
more fortunate
than the
will to
proceed
bliss
cascading
in the
candy you
make as
a sword
gathers
me into
solitude
cradling
a five
pound
song for
you in
my ear
I hate many
but won’t halt
loving you
set this
down to know
a little night
time
heads, macaroni
tails, execution
edit our bigger
part of credit
the cop
Frank O’Hara
not the poet
Frank O’Hara
told us
STOP
GETTING
NAKED
IN THE
BUSHES
TOGETHER
he’s gonna have
to arrest us he’s
gonna have to
arrest us he’s
trying so
hard to
be nice
remembering
half finished
poems falling
off table
falling off
truck falling
off cliff
what’s that
fucking cliff
trying to
do to us
this is how
if feels
traffic lights
in dark
in rain
no cars even
pink hat in
sidewalk drain
it’s the
comfort
you get
some
times
I molded
my body
around
you to
hold your
winter to a
sanctum of
flame
we agree
to ignore
the
deafening
knock
lingering at
dollhouse
doors
large
sentimental
songs at
dollhouse
doors
dolls yelling
FUCK OFF
an anger
traces the
outline of
each it
enters
it is
and is
not a private
act to involve the
thawing choir
our bones
our muscles
get rising
to one
and
two
breaths
the common
lung this
world a
mouth into
a mouth
breathing
back
and
forth
so
then
so
then
mouth
sings to
mouth
so then
mouth
sings to
mouth
so then
all night
so then
a day
then a
day so

CAConradCAConrad’s childhood included selling cut flowers along the highway for his mother and helping her shoplift. He is the author of eight books of poetry and essays, the latest, ECODEVIANCE: (Soma)tics for the Future Wilderness (Wave Books), is the winner of the 2015 Believer Magazine Book Award. He is a 2015 Headlands Art Fellow and has also received fellowships from the Lannan Foundation, MacDowell Colony, Banff, Ucross, RADAR, and the Pew Center for Arts & Heritage. He conducts workshops on (Soma)tic Poetry and Ecopoetics. Visit him online at http://CAConrad.blogspot.com

Poem 201 ± December 22, 2015

Walidah Imarisha
Three Poems

Broken
I am
Broken
And no one will
Play
With me
For fear
Of cutting themselves
On my sharp
Edges.

Shattered Haiku
He shattered my thighs
I rain down his cheeks and streak
Cum/tears/rainwater

Scars
Don’t ask about my scars
Just don’t cause any new ones

Walidah ImarishaWalidah Imarisha—author, educator, organizer and poet—is the author of the poetry collection Scars/Stars (Drapetomedia, 2013) and the forthcoming Angels with Dirty Faces: Three Stories of Crime, Prison and Redemption (AK Press, 2016). With adrienne maree brown, Walidah co-edited the anthology Octavia’s Brood: Science Fiction Stories from Social Justice Movements (AK Press, 2015). Visit her website, www.walidah.com.

These poems appeared in Scars/Stars.

Poem 200 ± December 21, 2015

Dorothy Alexander
Trip to Wyuka

for Paul Brandhorst, 1966-1998

His first night at support group he wore
a western hat low over his eyes, a toothpick
in the side of his mouth, thumbs hooked
in Levi pockets, pretended to be a cowboy.

He said nothing save his name but afterwards
followed me out to ask a question, the kind you
just know is an excuse for conversation. I had seen
enough before this night to know how it would go.

His family had scattered like quail
at the mention of AIDS, were still in hiding.
He was driven by the unfairness, injustice,
bitterness, loneliness. Under the brim
of the Stetson he was desperate to connect.

Near the end he asked to see his mother’s grave
in Nebraska. We walked the streets of Lincoln,
while he pointed out landmarks, his mother’s
grave in Wyuka Cemetery, the pauper’s plot
of infamous Charlie Starkweather.

Our second time in Lincoln, I carried him
in an urn, left him in that place where mothers,
sons and murderers lie down together, all injustice
and bitterness swallowed up in the dirt.

Dorothy alexanderDorothy Alexander is the author of The Art of Digression (Village Books Press, 2015) and Lessons from an Oklahoma Girlhood (Village Books Press, 2008). Her work has appeared in Women Writing Nature, Malpais Review, Blood & Thunder, and Cooweescoowee Journal, among others, as well as in the anthologies Raising Lilly Ledbetter: Women Poets Occupy the Workspace (Lost Horse Press, 2015) and Times They Were A-Changing: Women Remember the 60s & 70s (SheWrites Press, 2013). Dorothy lives in Oklahoma City, where The Oklahoma Center for the Book selected her as recipient of the Glenda Carlile Distinguished Service Award for her services to the Oklahoma literary community in 2013.

This poem was awarded the 2013 Christopher Hewitt Poetry Prize and appeared in Art & Understanding Magazine.

Poem 199 ± December 20, 2015

Khafre Kujichagulia Abif
Who Can I Tell?

Who can I tell, “I think I like boys”
Who can I tell?
Who can I tell, “A man from my neighborhood raped me”
Who can I tell?
Who can I tell, “My uncle made me take nude pictures of him”
Who can I tell?
Who can I tell, “That I walked to the bridge to jump”
Who can I tell?
Who can I tell, “That I longed for a big brother’s protection”
Who can I tell?
Who can I tell, “The Preachers said, God doesn’t love me”
Who can I tell?
Who can I tell, “I had sex with a man”
Who can I tell?
Who can I tell, “I want to take this mask off”
Who can I tell?
Who can I tell that I tested positive for HIV?
Who can I tell?
Who will take the news in stride?
Who will begin to micromanage my life?
Who will ask me, “Are you eating and taking your meds?”
Who will not be able to move past my status?
Who can I tell, “All I ever wanted was to be myself”
Who can I tell, “See Me, Not HIV”

Khafre Kujichagulia AbifKhafre Kujichagulia Abif is the author of Cornbread, Fish & Collard Greens: Prayers, Poems and Affirmations for People Living with HIV/AIDS (AuthorHouse, 2013). Khafre is the Founder/Executive Director of the HIV/AIDS awareness project Cycle for Freedom. Khafre is one of five men in the inaugural class of The HEALTH (Health Executive Approaches to Leadership and Training in HIV) Seminar Program developed by My Brother’s Keeper, Inc. He has also served as the Community Co-Chair for the New Jersey HIV Prevention Community Planning Group. As a librarian in his first career, Khafre was the first recipient of the Dr. John C. Tyson Emerging Leader Award from the Black Caucus of the American Library Association.

This poems appeared in Cornbread, Fish and Collard Greens: Prayers, Poems & Affirmations for People Living with HIV/AIDS.

Poem 198 ± December 19, 2015

John Anthony Frederick
So....

I cannot sit through certain movies without crying uncontrollably
Angels in America
The Hours
Soul-food
Beasts of the Southern Wild, when Hushpuppy declares her existence
Scrooge, at the end when he has his conversion from miser to generous giver

It’s the calcified hardness of my heart
Being melted
Cleansed
Opened
Washed clean by the idea of
Redemption
Of Angels hovering, towering o’er me
Of a child’s fierce innocence
Of sclerotic old age made
New again
By Grace

So,
The Tao says
In life, things are soft and supple
In death, things are stiff and brittle, and so
Whosoever is flexible and flowing
Is a disciple of Life, and
Whosoever is hard and unyielding
Is a disciple of death
Which beings me back to this:

To change; to become like
A little child
Is the short road to Heaven
So......

Childlike innocence and joy and
Wonder at every little thing, these
Are the healing
Tears flowing
Joy; sorrow.....

Awe at the marvelousness of music
And in the deep night sky
And in a meal made from scratch
And in a visit from your ghosts
And in the death of the poet
And in every scrap of human majesty
Uncontrollably
To weep so,
For the very joy of it
All....

John Anthony FrederickJohn Anthony Frederick is a muscian, singer, poet, politician, ordained Interfaith minister, spiritual seeker, teacher, pool player, and magic bean buyer, living Pozitively with his two dogs in Albany, NY....until he moves to Paris.

This poem is not previously published.

Poem 197 ± December 18, 2015

Vita E
Words from my Mother

I sat down with my mother the other day, and noticed her tears falling down the cheeks for the concrete.

I said, “Mother, why are you crying?”

She said to me:
“Child, I am in pain.
My core is shattered by the screams of police sirens and gunshot smoke.
My beautiful children are being sent back to me covered in blood-soaked clothing,
And the tears of their loved ones are not enough to wash away the soot and gunpowder of the next full clip that slices its way into the budding heart of a young flower,
As it’s cut down long before it was ever given a chance to blossom.
My tears are overflowing for our kin, who are pauperized instead of being treated like royalty.
Their lives are being treated as a spoil of the war on their existence….my heart hurts child.”

I say, “Mother, what can I do? How can I help change things?”
She said:
“You must tell your story child; you must seek out those who wish to do the same.
Seek out the soldiers who defy defeat, simply by defying death.
Seek out the storytellers whose mouths have yet to be muted and amplify their energy into a crown of amethyst.
Give the fallen a chance to speak through you,
Before their memories are possessed by those who would seek to celebrate their deaths by devaluing their lives
Beware those who request your spirit in exchange for tangible gains
Know you owe them nothing for your existence,
No apologies or debts necessary for your purpose or pulse in this planet,
They forget that this home is meant for everyone, and so they attempt to claim your spirit as one would a possession.
But you my child, and all of my children, are so much more than what they wish to hold in their hands.”

I said, “but Mother, why do you feel WE can make it?”

She said to me, through a sea of tears that could transform puddles into lakes:

“My children, look behind you.
Your shoulders have carried the souls and aspirations of others for centuries, and the scars are there as proof.
Your minds created exit strategies in the stars and escape routes through melodies, lyrical liberations, and harmonic hope.
Your feet have marched through fields, to concrete roads, to the hot streets of the cities, all in the name of your freedom.
Your hands have given to those who would just as soon take a finger more after they could take no more fruit from your branches.
And yet, you still hold the hands of your brethren and make a bond that no mortal can break.

If you look beside you, you will see that in the present, you are blossoming, as are your siblings, and they cannot cut you down this time,
For you have evolved into a movement that is bulletproof,
And those strong feet, those giving hands, and those strong shoulders will pave the way to the future,
One where your souls contain no shackles, and your minds have no chains.
A future, where your mother can once again, smile.”

VITA_EVita E is the founder of TWOC Poetry, a brand/YouTube channel she created to increase media representation and knowledge for marginalized groups, focusing primarily on experiences as a trans woman of color. Her series, Tea (T)ime, touches on subjects from racism to respectability politics, and everything between and outside. Vita E has performed at Campus Pride in North Carolina, competed as a finalist in the Capturing Fire Queer Poetry Slam in Washington, DC, and worked with Black Lives Matter in the Midwest. She has recently formed a duo with J Mase III, known as #BlackTransMagick, which is scheduled for multiple performances in 2016. When she is not performing, she spends much of her time as the Social Media/Communications Coordinator for awQward the first talent agency to specifically uplift the work of trans and queer artists of color.

This poem is not previously published.

Poem 196 ± December 17, 2015

Beth Aviv
Mushrooms

Detroit, 1992

I know I’m not supposed to fall in love with Robert, but I am. At night I dream of him, by day, we’re best friends, nothing more. We talk on the phone every night while cooking dinner or cleaning up. We double date, he and Grant, my boyfriend and I.

I go over to his house to visit, to learn how to cook Chinese. Grant is in his leather Mission chair in the den watching The Heiress with Olivia de Haviland and Montgomery Clift. Next to him, a chrome IV pole hangs with bloated bags of itraconazole and foscarnet dripping into the catheter implanted in his chest. Robert has lived with Grant, whom he sometimes calls Carol, for ten years.

In the kitchen, with Robert leaning back into his new stainless steel counter, we laugh. We laugh despite the AIDS that has invaded his house, despite the fact that the man he’s loved for ten years weighs half of what he weighed two years before, despite the new Sub-Zero refrigerator filled with bags of drugs, despite the new kitchen drawers filled with bottles of iodine, hypodermic needles, gauzes and vitamins.

Behind Robert mounded on the new polished steel counter are piles of silk-white tofu, broccoli, onion, gluten, carrots, and a bowl of straw mushrooms. “These are circumcised mushrooms,” he says, pincing a straw mushroom between his thumb and forefinger. “Before they’re canned they have a tight skin that’s peeled back like a foreskin.” Robert holds the glistening bone-brown mushroom and pulls back a flap of mushroom flesh offering it to me to feel. I do. It is shiny and slippery.

“What I’d really like,” he says as he pours sesame oil into his charred wok, “Is some guy to come up to me and say in a deep voice, “I’ve got five hours.” His eyes drop to his crotch. So do mine. He is wearing tight black jeans.

I can’t stop myself from wanting him and wanting him to want me. He was the only one who called every day for six weeks—even if just to leave a message on my answering machine—while my six-year-old daughter was in the hospital. He helped me decorate my new, smaller house after I divorced. He taught me to garden: how to empty his columbine’s seeds like tiny pearls of onyx into my palm; how to turn my kitchen’s refuse into rich, sweet-smelling compost; how to split overgrown patches of bee balm and hosta from his garden and plant them in my garden.

“What about a woman?” I ask.

“Maybe in Windsor. Maybe I could go across the river and pick up a woman at a bar in Windsor.”

I watch Robert smash garlic cloves with the side of a cleaver, chop iridescent cloves, then stir them into his wok. The kitchen crackles with the garlic’s warm aroma. He adds onions and carrots and broccoli. In the wok the oranges get oranger, the greens greener. He is stirring quickly, moving vegetables up from the hot center to the sides where they stay warm. Then he adds the tofu and gluten and mushrooms.

After sitting down at the dining room table to a meal of brown rice and vivid vegetables that we share with Grant, after getting the dishes into the dishwasher, Robert complains that his back aches. He’s been working out and lifting weights in order to stay strong to carry Grant—when Grant can no longer walk. He knows what’s coming. He’s witnessed the demise of other friends, the slow decline in muscle and dexterity. Grant keeps losing weight and getting lighter. Carrying him from his bed to his wheel chair (when that time comes) won’t be as difficult.

I massage Robert’s back, rubbing his shoulders, rolling my thumbs into his well-built muscles, pressing the heel of my palms into his shoulder blades, running my open thumbs up his spine. Somehow he leans into my hands and both his feet rise as if he is levitating, as if he is the bridegroom in a Chagall painting. It feels like I’m making him fly.

“Oooooh,” he giggles. “I’ve never had a woman touch me like that.”

Grant, gaunt, glaring, stands in the kitchen doorway; the ceiling light reflects off his glasses. “What’s going on?” he asks.

Robert’s thick-soled shoes return to the ceramic floor and he is standing upright again. We’re both smiling, our faces red. Our hands fall to our sides.

“I was getting a massage,” Robert says.

Grant, who will die in six months, tightens his jaw and clutches the doorknob. Robert grabs a damp towel and rubs it in wide circles on the counter until the stainless steel shines. Then he turns to me and says, “I’ll never get used to this.”

Beth AvivBeth Aviv is the author of Bearing Witness: Teaching about the Holocaust (Heinemann, 2001). Her essays have most recently appeared in Salon, the Michigan Quarterly Review, New Letters, Raw Vision, and soon, Story Magazine. Beth lives in New York City.

This piece is not previously published.

Poem 195 ± December 16, 2015

Rosemary Davis
The War

Editor’s note: In order to preserve the formatting of this poem, I am posting it as a PDF that will open when you click on the link below.

The War by Rosemary Davis

Rosemary DavisRosemary Davis’s poetry and prose has appeared in Brevity, Minnesota Literature, A View from the Loft, the Open 2 Interpretation book series, and a number of anthologies. Rosemary lives Minneapolis in a 1940 post-modern apartment near the Art Institute where she tends a large overgrown garden. She earned an MFA at Hamline University in Saint Paul and has written a memoir about living in San Francisco during the 1970s and 80s.

This poem is not previously published.