˜

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

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.

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/

niya by Lindsay Nixon

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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

To the Man Who Shouted “I Like Pork Fried Rice” at Me on the Street by Franny Choy.

Frédéric.Arps.blogs's avatarAwesome poetry from all over.

ImageImage

http://youtu.be/GS56hTj4XT4 Spoken Word by Frannie Choy!!!

To the Man Who Shouted “I Like Pork Fried Rice” at Me on the Street by Frannie Choy.

you want to eat me
out. right. what does it taste like
you want to eat me right out
of these jeans & into something
a little cheaper. more digestible.
more bite-sized. more thank you

come: i am greasy
for you. i slick my hair with msg
every morning. i’m bad for you.
got some red-light district between
your teeth. what does it
taste like: a takeout box
between my legs.
plastic bag lady. flimsy white fork
to snap in half. dispose of me.

taste like dried squid. lips puffy
with salt. lips brimming
with foreign so call me
pork. curly-tailed obscenity
been playing in the mud. dirty meat.
worms in your stomach. give you

a fever. dead meat. butchered girl
chopped up & cradled
in…

View original post 99 more words

#BlackHistoryMonth I love black men by Kukumo #TransIsBeautiful

Tiq Milan in NOW Magazine and the NYT.

http://www.blackgirldangerous.org/2013/07/2013714black-transwoman-to-black-cistransman-an-open-letterpoem-for-trayvon-and-the-rest-of-us/

Two extracts below. For full poem click on link.
Donate monthly to BlackGirlDangerous here.
07/14/13

By KOKUMO

ATTENTION WORLD:

I, LOVE, BLACK* MEN.

From the drug dealers, heart surgeons, stuck at rock bottom, ten years sober, servin’ a dime to life, ex-con turned youth-minister, trans*, gay, D.L., paraplegic, Olympic gold-medal winnin’, current U.S. presidency presidin’, illiterate, artistic, broke as a joke, ballin’, dark-skindid, light-skindid, country-bama, Brooklyn-bred, OG, GD, Rasta bombaclot, to the European transplant and etc.

And no matter how many Jim Crow laws you revise, nothin’ can change that. I grew up with black* men. I’ve fought with black* men. And black* men have fought, for me. Hell, I was supposed to be, a black*, man. I’ve been insulted by black* men. I’ve been consoled by black* men. I’ve been schooled, had my socks knocked off, and mind blown by black* men. I’ve loved black* men, and had the privilege of having them love me back.

(…)

ATTENTION BLACK MEN:

Black* transwoman to black* cis/trans* man. I revere and respect you for living brave in a world that hunts you with hypocritical indignation. I thank you for living in the body I couldn’t and doing it with such swag, intellect, and a vengeance.

As a black* transwoman I want you to know that I never abandoned you or took the easy way out. A war was waged on black* bodies the moment the first slave touched Virginian soil in the 1600′s. So I transitioned from “male” to “female” because I just needed to be in more comfortable battle fatigues.

(…)

“KOKUMỌ is an African-American transgender woman and product of Chicago’s South Side. To KOKUMỌ surviving is passé. Therefore, she believes in sanctioning artistic, political, and actual space for other Trans, Gender Non-Conforming, and Intersex (TGI) people of color to thrive in. In accordance to this belief and her name, she created KOKUMỌMEDIA. KOKUMỌMEDIA uses film, music, and literature to create and generate realistic depictions of TGI people of color.”

Click on link: http://www.blackgirldangerous.org/2013/07/2013714black-transwoman-to-black-cistransman-an-open-letterpoem-for-trayvon-and-the-rest-of-us/

Donate to BlackGirlDangerous here: http://www.blackgirldangerous.org/donate/

 

Velvet shoes by E. Wylie #christmasweek #winter #solstice

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Photo by Theresaurus.

No snow yet…But that silence after the first snow. The sounds suddenly different! The thick quiet blanket and little paw prints! I’m actually looking forward. That is a first for this Aruban exile.

Velvet Shoes

 

Let us walk in the white snow

In a soundless space;

With footsteps quiet and slow,

At a tranquil pace,

Under veils of white lace.

 

I shall go shod in silk,

And you in wool,

White as white cow’s milk,

More beautiful

Than the breast of a gull.

 

We shall walk through the still town

In a windless peace;

We shall step upon white down,

Upon silver fleece,

Upon softer than these.

 

We shall walk in velvet shoes:

Wherever we go

Silence will fall like dews

On white silence below.

We shall walk in the snow.

 

Elinor Wylie

E.J. Scovell Geese on the Park Water #CanadaReads

1012926_tcm9-138318.jpg

Photographer unknown.

The Geese on the Park Water

1
The Canada geese
Pose in the light and dark of ripples,
And in and out of narrow shadows
Pose, compose, improvising
Their endless eloquent line.

 

The Swan’s Feet

Who is this whose feet
Close on the water,
Like muscled leaves darker than ivy
Blown back and curved by unwearying wind?
They, that thrust back the water,
Softly crumple now and close, stream in his wake.

These dank weeds are also
Part and plumage of the magnolia-flowering swan.
He puts forth these too—
Leaves of ridged and bitter ivy
Sooted in towns, coal-bright with rain.
He is not moved by winds in air
Like the vain boats on the lake.

Lest you think him too a flower of parchment,
Scentless magnolia,
See his living feet under the water fanning.
In the leaves’ self blows the efficient wind
That opens and bends closed those leaves.

 

Edith Joy Scovell, called Joy, was born in Sheffield, South Yorkshire, in 1907 and she went up to Somerset College, the women’s college founded at Oxford University in 1879.

Scovell accompanied her husband, the distinguished Oxford ecologist and naturalist Charles Elton, to Central and South America and the West Indies as a recorder and field researcher.

#ForgottenFire Suzy La Follette #iNeedFeminismBecause

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Nothing is gentle for me here. The fire’s
heat is brief, occasional. it’s their eyes
that burn the back of my neck. I was hired
through the same requirements and I’ll rise
through the ranks with the same tests. Yet, somehow
I’ll have more. With every alarm I prove
my strength, prove my skill prove my worth. My brow
furrowed, clothes soaked with sweat. But all my moves
are soon forgotten, disappear like steam
rising from my head, with helmets removed.
Surely, when they tell stories they don’t mean
to forget me, but they do. In their truth
it must’ve been one of the guys, that pulled
that body from the car. Now who’s the fool?

Suzy La Follette

Career firefighter, poet, singer Arti Twit and the Alibis. From Austin, Texas.

http://www.girlsrockaustin.org
http://www.annrichardsschool.org

From: We Will Be Shelter, edited by Andrea Gibson.

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