˜

Evan Jones, “The Song of the Banana Man”

Touris, white man, wipin his face,
Met me in Golden Grove market place.
He looked at m’ol’ clothes brown wid stain ,
An soaked right through wid de Portlan rain,
He cas his eye, turn up his nose,
He says, ‘You’re a beggar man, I suppose?’
He says, ‘Boy, get some occupation,
Be of some value to your nation.’
I said, ‘By God and dis big right han
You mus recognize a banana man.

‘Up in de hills, where de streams are cool,
An mullet an janga swim in de pool,
I have ten acres of mountain side,
An a dainty-foot donkey dat I ride,
Four Gros Michel, an four Lacatan,
Some coconut trees, and some hills of yam,
An I pasture on dat very same lan
Five she-goats an a big black ram,
Dat, by God an dis big right han
Is de property of a banana man.

‘I leave m’yard early-mornin time
An set m’foot to de mountain climb,
I ben m’back to de hot-sun toil,
An m’cutlass rings on de stony soil,
Ploughin an weedin, diggin an plantin
Till Massa Sun drop back o John Crow mountain,
Den home again in cool evenin time,
Perhaps whistling dis likkle rhyme,
Praise God an m’big right han
I will live an die a banana man.

‘Banana day is my special day,
I cut my stems an I’m on m’way,
Load up de donkey, leave de lan
Head down de hill to banana stan,
When de truck comes roun I take a ride
All de way down to de harbour side—
Dat is de night, when you, touris man,
Would change your place wid a banana man.
Yes, by God, an m’big right han
I will live an die a banana man.

‘De bay is calm, an de moon is bright
De hills look black for de sky is light,
Down at de dock is an English ship,
Restin after her ocean trip,
While on de pier is a monstrous hustle,
Tallymen, carriers, all in a bustle,
Wid stems on deir heads in a long black snake
Some singin de sons dat banana men make,
Like, Praise God an m’big right han
I will live an die a banana man.

‘Den de payment comes, an we have some fun,
Me, Zekiel, Breda and Duppy Son.
Down at de bar near United Wharf
We knock back a white rum, bus a laugh,
Fill de empty bag for further toil
Wid saltfish, breadfruit, coconut oil.
Den head back home to m’yard to sleep,
A proper sleep dat is long an deep.
Yes, by God, an m’big right han
I will live an die a banana man.

‘So when you see dese ol clothes brown wid stain,
An soaked right through wid de Portlan rain,
Don’t cas your eye nor turn your nose,
Don’t judge a man by his patchy clothes,
I’m a strong man, a proud man, an I’m free,
Free as dese mountains, free as dis sea,
I know myself, an I know my ways,
An will sing wid pride to de end o my days
Praise God an m’big right han
I will live an die a banana man.’

http://www.favoritepoem.org/poems/the-song-of-the-banana-man/, from The Penguin Book of Caribbean Verse in English Copyright © 1986.
Painting by Dusabe King Christian from Kigali, Rwanda. https://komezart.com/collections/dusabe-king-christian

Untitled by Pamela Sneed

generally I try hard

Not to lose my temper

Even when people piss me off and do mean or shady things I’ll barely respond

But I once taught a class full of guys

All cis hetero that challenged every word I said

Smirked when I tried to give feedback and instructions

They banded together in their disrespect

Then they were all absent going to the protests to stop the genocide in Gaza

One wrote, I encourage you to bring our colleagues during this historic moment

Pamela Sneed

Pamela Sneed is a poet, writer, visual artist, and spoken word & musical performer (Big Mama Thornton). She is the author of Funeral Diva (2020), Imagine Being More Afraid of Freedom than Slavery (1998) and many more. She is a painter, a political artist, and an assemblage and collage artist.
Teaching: She teaches online for the low-residency MFA program at the School of the Art Institute of Chicago and is a visiting artist in the summer MFA program. She is an adjunct assistant professor at the Columbia University School of the Arts.

https://publictheater.org/productions/joes-pub/2024/p/pamela-sneed/

https://www.mrqd.org/events-2024/sneed

The Hive | Carol Ann Duffy

The Hive | Carol Ann Duffy

All day we leave and arrive at the hive, concelebrants. The hive is love, what we serve, preserve, avowed in Latin murmurs as we come and go, skydive, freighted with light, to where we thrive, us, in time’s hum, on history’s breath,

industrious, identical…

there suck we, alchemical, nectar-slurred, pollen-furred, the world’s mantra us, our blurry sound along the thousand scented miles to the hive, haven, where we unpack our foragers; or heaven-stare, drone-eyed, for a queen’s star; or nurse or build in milky, waxy caves, the hive, alive, us – how we behave.

Carol Ann Duffy is Scottish born, she is openly gay (bi/lesbian), lives with another poetess and together they raise a daughter. Her parents were Glasgow working-class radicals.

Laurie Uttich poem on domestic violence and support from women*

Laurie Uttich

TO MY STUDENT WITH THE DIME-SIZED BRUISES ON THE BACK OF HER ARMS WHO’S STILL ON HER CELLPHONE

Oh honey, you can text him, you can like his meme, you can 

follow him on Twitter and to Target, you can ride shotgun, hold 

his anger on your lap, pet his pride, be his ride or die. You can 

wear those jeans he likes. You can discover Victoria’s 

secret, buy a bra with a mind of its own. You can 

recite I’m sorry like it’s a Bible verse and Snapchat the shit out 

of those purple roses he bought you at Publix. You can try 

every one of Cosmo’s 30 Ways to Give an Ultimate Blowjob

You can remember the name of his mother, his best friend 

in 2nd grade, the lunchroom lady who gave him extra 

chicken strips on Tuesdays. You can grow out your bangs, toss 

your hometown over your shoulder, sleep facing north 

with your cheek in his back. 

You can strip yourself for parts.        But, baby, 

it still won’t be enough. You can love him, but you can’t pull 

his story out of the dark and slide your arms into it. You can’t 

wash it and lay it flat in the sun to soften. You can’t 

hold his face in both of your palms and watch tomorrow 

bloom from the sheer wanting and waiting of it. It doesn’t 

matter if his daddy talked with his hands        or his bloodline 

is marinated in booze        or his mama loved his brother best. 

You can’t fix what somebody else broke. 

So, girl, put down your phone and pick up 

your pen. Take a piece of the dark and put it on a page. 

Sylvia Plath waits to wash your feet. And look, 

Virginia Woolf has built you another room and painted 

it pink. There’s a place for you at the table. Sit next to me; 

I got here late.        Oh, baby, don’t you feel it? You were knit 

for wonder in your mother’s womb. 

You were born for the driver’s seat.

from Rattle #69, Fall 2020
Tribute to Service Workers

https://www.laurieuttich.com/ is the website of author Laurie Uttich. You can buy her poetry here: https://riotinyourthroat.com/product/somewhere-a-woman-lowers-the-hem-of-her-skirt-by-laurie-rachkus-uttich/

And follow her on instagram https://www.instagram.com/laurieuttich/

Another poem on rattle.com https://www.rattle.com/my-88-year-old-mother-in-law-decides-to-make-new-years-resolutions-by-laurie-uttich/

How to burn a woman

Claire Askew

You will not need kindling.
I think I’ll go up quick
as summer timber, my anger
big and dry as a plantation
that dreams of being paper:
the updraft already made
in the canopy, and heading down.

Bring your axe to split me
into parts that you can stack
over the dry leaves, over the coals:
my old coat and my bedding box,
the things given to me by women.
You’ve heard of spontaneous human
combustion. They say it’s fat:
once lit, it flares so white-hot fast
the bones give in.
Make your touch-paper long.

Spread the word that the crowd
who will gather should stand
well back. I am coated
in the accelerant of men:
my craving for their good necks,
their bodies in button-downs
crisp as a new book.

As you douse the embers
I will smell like ground elder
choking the cemetery —
roots looping up
out of dead women’s mouths,
a problem thing
you’ll never get cleared.

Make the stake thick, the bonds
stiff on my innocent wrists.
Burn me the same way
you burned her: do it
because we took the plain
thoughts from our own heads
into the square, and spoke.

From How to burn a woman (pub. Bloodaxe, 2021)

After the horrendous anti-women hatred from Donald and his cult and anyone who voted for him, this poem is raw and fits perfectly in this evening of motors revving dying away and leafs smacking the window.

Mental innit

Mental innit

I got a fork stuck in the dishwasher

And now I cant stop crying

Whoever said depression was glamorous

Had clearly never considered dying

Over a peanut butter covered utensil

And that’s not the worst of all

The wet clothes hanger fell over

So I punched my fist into a wall

I’d rather smell than have a shower

The thought of socialising’s scary

I can’t even binge on chocolate

Because happy me cut out dairy

This is boring, I feel knackered

All I wanted was some toast

But if I can’t even handle that

Then I’m obviously going to die alone.

Charly Cox, 21, true story.

Great poem that is build out of depression and peanut covered forks and toast.

New Exile Poems by Tuhin Das translated from Bengali

Splitthisrock.org posted the poem.

By Tuhin Das

Translated from Bengali by Arunava Sinha

1.
I am a writer,
the light burns late
into the night in my room.
My friend cycles past my house on his way to work
at Casey Industrial Park at 4 AM.
When we meet he asks whether I could not
sleep last night because of thoughts of homeland. 

2.
In the album on the bookshelf was a photo of
my father and me together,
beside a yellow taxi.
Behind us, the departure terminal
of Dhaka International Airport.
A friend said,
‘‘Where’s your mother? You don’t exist without her.’’

3.
It is the rainy season in Bangladesh now.
Three out of four parts of my country
are under water.
Outside the City Council Building
I saw the other day a teenager holding,
all by herself,
an environmental placard.
She’s our representative.
She wants a world everyone can live in.
Come, let’s all go stand next to her.

rosanna deerchild, calling down the sky

From the publisher:
Calling Down the Sky is a poetry collection that describes deep personal experiences and post-generational effects of the Canadian Aboriginal Residential School confinements in the 1960’s when thousands of First Nations, Métis, and Inuit children were placed in these schools against their parents’ wishes.

Many were forbidden to speak their language and practice their own culture. Rosanna Deerchild exposes how the Residential Schools systematically undermined Aboriginal culture across Canada and disrupted families for generations, severing the ties through which Aboriginal culture is taught and sustained, and contributing to a general loss of language and culture.

The devastating effects of the residential schools are far-reaching and continue to have significant impact on Aboriginal communities.

rosanna deerchild, calling down the sky

people ask me all the time
about residential schools
as if it’s their business or something

ever since that white guy
nete in ottawa said he was sorry

as if
he knows anything about those places

he wasn’t there
he doesn’t know

he wasn’t there
when i needed comfort
when i cried

he doesn’t know
what that priest did
what those nuns did

you can’t say sorry
for those things
for what happened there

he’s got no right

share your story he says
what does that even mean

boy these misti-gu-su
and their fancy talk

share your story
as if it’s that easy

anyway
it was a long time ago

fifty years since those days
fifty years i said nothing

the words
they get caught right here
in my throat

where the nuns would grab
when we spoke Cree

as if grabbing a dead duck’s neck
haul us up in front of that class

stand there so long,
we pissed ourselves

you learn pretty quickly
to stay quiet after that boy

no
we never talk about it

not back home
not with each other
not even when it was happening,

you just tried to forget about it
leave it behind

some of us did
some of us are still trying

it always finds you though
drags you back

don’t make up stories
that’s what they told us kids

when we went back home
told them what was going on
in those schools

still got sent back
every year
less of us came home

still they said nothing
until we were nothing
just empty skins

full of broken english
ruler broken bones
bible broken spirits

and back home
became a broken dream

no damage done
for all but five years

that’s what it said in the letter
about my residential school story

dear claimant
no records
no proof

sorry

nine years
that’s how long
they kept me in there

i was just a baby
when they came for me

father died on the trapline
mother in the tb sanatorium

didn’t even get to say goodbye
never saw them again

nine years
you know what i got for that

deaf in one ear
blind in one eye

scars all over my head
my legs don’t work
arthritis

diabetes
from what we ate there
you know i never once saw fruit

can’t get no damn sleep
the dead keep me awake eh
ask me for forgiveness

but you can’t forgive and forget
the unnameable

there is no word for what they did
in our language

to speak it is to become torn
from the choking

money got no cure for that

now
i’m almost seventy

and you want me to
share my story

ok then
here it is
here in the unwritten
here in the broken lines
of my body that can never forget

Trans Rights Are Human Rights- love, joy, sadness

To Love Somebody

By Jada Renée Allen

There’s a light, a certain
     kind of light that has never
shone on me—

     Nina’s version. 
Not the Bee Gees
     or even Janis Joplin,

but the way Nina
     sings it, almost a plea.
Not the studio
     version either. No, her
performance in Antibes.
     Her earrings

dangling their own mute
     musics, her silk headwrap
an aureole of sorts.
     The sheen of her face
a thesis in Black glamor
     sui generis.

I want to be glamorous
     in the way she was
glamorous. The way
     women I knew growing 
up were glamorous: campy,
     yes, but regal.

If I knew of Nina then
    I would have drawn
her. Drawing being
     how I coped
with the expurgated chorus
     of my girlchildhood.

I drew women then
     because I could not be
one. Nina knew
     a life of could-nots
too. Little girl blue rejected
     from music school.

Aye, I knew the blues; still do.
     My godmother Pat whupped
my ass when she caught
     a glimpse of me at her vanity
tracing my mouth with her
     carmine matte lipstick

blues. I’m still afraid to touch
     my face with shade #309 blues.
The same hue of blues
     that would make someone want
to cry, I’m a woman. . .Can’t you see
     what I am? I live & I breathe

for you! But Nina?
     Oh Nina—
the way she sings it.
     I imagine myself singing
the same way to the deferred girl
     at the vanity, assuring her:

Baby, you don’t know
     what it’s like to love somebody,
to love somebody—I ain’t finished—

     to love somebody,
oh, to love somebody,
     to love somebody

the way that I love you.

Follow the poetess https://www.jadarenee.com/

Tribute to Service Workers by Laurie Uttich. November is Women abuse Prevention Month.

Laurie Uttich

TO MY STUDENT WITH THE DIME-SIZED BRUISES ON THE BACK OF HER ARMS WHO’S STILL ON HER CELLPHONE

Oh honey, you can text him, you can like his meme, you can
follow him on Twitter and to Target, you can ride shotgun, hold
his anger on your lap, pet his pride, be his ride or die. You can
wear those jeans he likes. You can discover Victoria’s
secret, buy a bra with a mind of its own. You can
recite I’m sorry like it’s a Bible verse and Snapchat the shit out


of those purple roses he bought you at Publix. You can try
every one of Cosmo’s 30 Ways to Give an Ultimate Blowjob.
You can remember the name of his mother, his best friend
in 2nd grade, the lunchroom lady who gave him extra
chicken strips on Tuesdays. You can grow out your bangs, toss
your hometown over your shoulder, sleep facing north
with your cheek in his back.
You can strip yourself for parts. But, baby,


it still won’t be enough. You can love him, but you can’t pull
his story out of the dark and slide your arms into it. You can’t
wash it and lay it flat in the sun to soften. You can’t
hold his face in both of your palms and watch tomorrow
bloom from the sheer wanting and waiting of it. It doesn’t
matter if his daddy talked with his hands or his bloodline
is marinated in booze or his mama loved his brother best.
You can’t fix what somebody else broke.


So, girl, put down your phone and pick up
your pen. Take a piece of the dark and put it on a page.
Sylvia Plath waits to wash your feet. And look,
Virginia Woolf has built you another room and painted
it pink. There’s a place for you at the table. Sit next to me;
I got here late. Oh, baby, don’t you feel it? You were knit
for wonder in your mother’s womb.
You were born for the driver’s seat.

—from Rattle #69, Fall 2020
Tribute to Service Workers

niya by Lindsay Nixon

16E92582-A128-426E-B4E1-CACDAA17E42Fniya

Lindsay Nixon

When the stranger bumps his shoulder into me, hard, without an ounce of concern, I can feel the fire bubbling inside of me. The heat from the concrete rising up, through my feet, reverberating like electricity about to erupt magma through every orifice of my body. Lava that will oxidize every atom and molecule of his body on contact. The city as embodied trauma. The trauma of settlement. I spin around to yell after him, letting the anger fully consume my spirit as it has so many times before. I don’t know where the empowerment ends and the dissolution begins anymore.

 

Lindsay Nixon, “niya” from “Toxic Masculinities” in Nîtisânak. Text licensed under Creative Commons NY-NC-ND 4.0 2018 by Lindsay Nixon. Reprinted by permission of the author.

Source: Nîtisânak (Metonymy Press, 2018)

 

Poem published on https://www.poetryinvoice.com/poems/niya

Photo by Jackson Ezra

 

 

 

 

 

 

#Home #poem Homesteader

I thought this was about a woman! Still is for me.

The ’37 Chevy pickup, retired to a rest
of rust and thistles, sloughed off its front
wheels—the better to munch the sod and
ruminate on great loads hauled: lumber,
a keg of nails, the tools and paint
for their first frame farmhouse, then
the bed, a castiron cookstove with its
clatter of pans, plus the barbwire and
feedbags, a pump… later, kids
and hogs and heifers to the county fair.
Lasting out the War to End All Wars, and
then Korea, she earned her ease, turned
out to pasture by the old woodlot, where
time and the weather wrought a work of art,
making her a monument to herself.

by John Haag

Born in Idaho in1926, John Haag was a member of the Merchant Marine during World War II and a naval veteran of the Korean conflict.

Archilochus #Greek #poetry #love

According to the editors of The Greek Poets, Archilochus was an a-hole. Some of his poetry does make him sound like a piece of work, rape, wishing rape upon friends. Other poems are beautiful and funny.

The first one makes me think of the woman I am with, her long curly hair falls down like that. The second one make me grin.

“She took the myrtle branch and sang in turn
another song of pleasure, in her left hand still
the flower of the rose tree, and let loose
over her naked shoulder, down her arm
and back, the darkness of her hair.”

Translated by Brooks Haxton

The fox knows many tricks, the hedgehog only one.
One good one.

Translated Richmond Lattimore

Hanlan’s Point, Souster #poem #Canada #children

I saw the same doors to underwater cities and secret woods and children hidden in a realm behind a rosebush and a cloaked parallel world entered through one door in one building on mid summer’s day right before noon. A lot of them were our own retellings of stories we read. Bless libraries and hurrah for writers of fairytales and fantasies. The joy they brought.
I wish I had my Dutch children’s books here in Canada. My twenty packed boxes of books are still back there. Dutch poetry, literature, YA novels…And coffee table books of penguins and aerial photography.

“Lagoons, Hanlan’s Point”

By Raymond Souster

[…]

And in one strange

dark, tree-hung entrance,

I followed the sound

of my heart all the way

to the reed-blocked ending,

with the pads of the lily

thick as green-shining film

covering the water.

And in another

where the sun came

to probe the depths

through a shaft of branches,

I saw the skeletons

of brown ships rotting

far below in their burial-ground,

and wondered what strange fish

with what strange colours

swam through these palaces

under the water…..

—-
(1)
Mornings

before the sun’s liquid

spilled gradually, flooding

the island’s cool cellar,

there was the boat

and the still lagoons,

with the sound of my oars

the only intrusion

over cries of birds

in the marshy shallows,

or the loud thrashing

of the startled crane

rushing the air.

(4)
A small boy

with a flat-bottomed punt

and an old pair of oars

moving with wonder

through the antechamber

of a walking world.

From: Oxford Book of Canadian Verse by Margaret Atwood. I found this a very dry and monotonous selection.