Mi no wani wan ati di n’ abi kra I wish for no heart without a soul #BlackLivesMatter #poem Surinam

Surinam is a country with the rule of law and a democracy in Latin America, but counted under the Caribbean like Trinidad and Tobago. Sranantongo is the language. The language is part Dutch, part Indonesian and also has traces of Indian-Indonesian and Chinese-Indonesian. Surinam was a country partly build by slaves and taken from many Indigenous peoples. Google it.

Awese (Winti religion: a good spirit)
Light in the everlasting Dark Moon
Johanna Schouten/Elsenhout

a mindri fu strei fu aladei
In the midst of the struggle of everyday
te midden van de strijd van alledag

.
Duman

Mi no wani
wan ati
di n’ abi kra
mi wani
wan yeye d’ e libi

mi n’e wer’
susu
di n’e fit’mi
m’e wer’
mi eigi krompu

mi n’e sdon
luku
a fesi fu sma
m’e luku ini
mi eigi spikri

Human of the Deed

I wish for
no heart
without a soul
I want
a mind who lives

I wear
no shoes
that do not fit me
I wear
my own clogs

I am not
watching
the faces of others
I look in
my own mirror

Mens van de daad

Ik wil
geen hart
dat geen ziel heeft
ik wil
een geest die leeft

ik draag
geen schoenen
die mij niet passen
ik draag
mijn eigen klompen

ik zit niet
te kijken
naar het gezicht van anderen
ik kijk in
mijn eigen spiegel

klompen: slippers met houten zool
klompen: slippers with wooden sole

.

More to read here 

Tekstredactie en vertaling D.Fance Olivieira
Libertas
ISBN 978 99914 7 048 1
145 blz.

The Gods Wrote #blacklivesmatter South Africa

THE GODS WROTE
We are breath of drop of rain
Grain of sea sand in the wind
We are root of baobab
Flesh of this soil
Blood of Congo brush elegant
As breast of dark cloud
Or milk flowing through the groaning yearsWe also know
Centuries with the taste
Of white shit down to the spine…The choice is ours
So is the life
The music of our laughter reborn
Tyityimba or boogaloo passion
Of the sun-eyed gods of our blood
Laughs in the nighttime, in the daytime too
And across America vicious cities
Clatter to the ground. Was it notAll written by the gods!
Turn the things! I said
Let them things roll
To the rhythm of our movement
Don’t you know this is a love supreme!
John Coltrane  John Coltrane tell the ancestors
We listened we heard your message
Tell them you gave us tracks to move

Trane and now we know
The choice is ours
So is the mind and the matches too
The choice is ours

So is the beginning
‘We were not made eternally to weep’
The choice is ours
So is the need and the want too
The choice is ours
So is the vision of the day

 

Natalie Diaz It Was The Animals

#

It Was the Animals

BY NATALIE DIAZ

Today my brother brought over a piece of the ark
wrapped in a white plastic grocery bag.
He set the bag on my dining table, unknotted it,
peeled it away, revealing a foot-long fracture of wood.
He took a step back and gestured toward it
with his arms and open palms —
            It’s the ark, he said.
            You mean Noah’s ark? I asked.
            What other ark is there? he answered.
            Read the inscription, he told me,
            it tells what’s going to happen at the end.
            What end? I wanted to know.
            He laughed, What do you mean, “what end”?
            The end end.
Then he lifted it out. The plastic bag rattled.
His fingers were silkened by pipe blisters.
He held the jagged piece of wood so gently.
I had forgotten my brother could be gentle.
He set it on the table the way people on television
set things when they’re afraid those things might blow-up
or go-off — he set it right next to my empty coffee cup.
It was no ark —
it was the broken end of a picture frame
with a floral design carved into its surface.
He put his head in his hands —
            I shouldn’t show you this — 
            God, why did I show her this?
            It’s ancient — O, God,
            this is so old.
            Fine, I gave in, Where did you get it?
            The girl, he said. O, the girl.
            What girl? I asked.
            You’ll wish you never knew, he told me.
I watched him drag his wrecked fingers
over the chipped flower-work of the wood —
            You should read it. But, O, you can’t take it — 
            no matter how many books you’ve read.
He was wrong. I could take the ark.
I could even take his marvelously fucked fingers.
The way they almost glittered.
It was the animals — the animals I could not take —
they came up the walkway into my house,
cracked the doorframe with their hooves and hips,
marched past me, into my kitchen, into my brother,
tails snaking across my feet before disappearing
like retracting vacuum cords into the hollows
of my brother’s clavicles, tusks scraping the walls,
reaching out for him — wildebeests, pigs,
the oryxes with their black matching horns,
javelinas, jaguars, pumas, raptors. The ocelots
with their mathematical faces. So many kinds of goat.
So many kinds of creature.
I wanted to follow them, to get to the bottom of it,
but my brother stopped me —
            This is serious, he said.
            You have to understand.
            It can save you.
So I sat down, with my brother wrecked open like that,
and two-by-two the fantastical beasts
parading him. I sat, as the water fell against my ankles,
built itself up around me, filled my coffee cup
before floating it away from the table.
My brother — teeming with shadows —
a hull of bones, lit only by tooth and tusk,
lifting his ark high in the air.

Source: Poetry (March 2014).

“Is Spot in Heaven?” David Kirby

1410792_10201773201145672_1092475997_oBest American Poetry 2015 (Sherman Alexie ed) is very disappointing- 5 good poems. 4 women, 1 man. This one is fabulous.
The others: It Was The Animals by Natalie Diaz; Endnotes on Ciudad Juarez by Natalie Scentres-Zapico; Goodness in Mississippi by LaWanda Walters; Dear Black Barbie by Candace G. Wiley.

“Is Spot in Heaven?” David Kirby

In St. Petersburg, Sasha points and says, “they’re restorating
this zoo building because someone is giving the zoo an elephant
and the building is not enough big, so they are restorating it,”

So I say, “Wheres, um, the elephant?” and Sasha says,
“The elephant is waiting somewhere! How should I know!”
When I was six, my dog was Spot, a brindled terrier

with the heart of a lion, though mortal, in the end, like all
of us, and when he died, I said to Father Crifasi, “/is Spot in heaven?” and he laughed and asked me if I were really

that stupid, insinuating that he, holy father of the church,
had the inside track on heaven entry, knew where
the back stairs were, had mastered the secret handshake.

Later we saw a guy with a bear, and I said, “Look a bear!”
and Sasha said, “Ah, the poor bear! Yes, you can have your
picture with this one, if you like,” but by then I didn’t want to.

Who is in heaven? God, of course, Jesus and his mother,
and the more popular saints: Peter, Michael, the various
Johns, Jospehs, and Catherines. But what about the others?

If Barsanuphius, Frideswide, and Jutta of Kulmsee,
why not Spot or the elephant or the bear when it dies?
Even a pig or a mouse has a sense of itself, said Leonard

Wolff, who applied this idea to politics, saying no single
creature is important on a global scale, though a politics that recognizes individual selves is the only one that offers

a hope for a future. Pets are silly, but the only world
worth living in is one that doesn’t think so. As to the world
beyond this one, as Sam Cooke says, I’m tired of living

But afraid to die because I don’t know what’s coming next.
I do know Spot was always glad to see me, turning,
himself inside out with joy when I came home from school,

wears Father Crifasi took no delight at the sight of me
or anyone, the little pleasure that sometimes hovered
about his lips falling out of his face like the spark from

his cigarette when the door to the classroom opened
and we boys filed in as slowly as we could. Those
years are covered as by a mist now, the heads of my parents

and friends breaking through like statues in the square
in a foreign city as the sun comes over my shoulder
and the night creeps down cobblestoned streets toward

The future I can’t see, though across the river, it’s still dark,
but already you can hear the animals stirring:
the first birds, then an elephant, a bear, a little dog.

From The Cincinnati Review

 Buy from an Indie bookstore here 

Leila Chatti, 14, SUNDAY SCHOOL, 3 DAYS LATE. Funny and short. Muslim American brilliance!

Only recently I discovered Rattle. I think it is a great resource full of energy- never mind their youthful statement that in this century (!!) poetry has become obscure and dusty.

Typically North-American attitude and fresh from high school poetry assignments. Well, I guess they will go find other countries on their own or they won’t.

I am so glad in the Netherlands learning foreign languages is a must. I need to brush up my French and German and I have forgotten most of the ancient Greek and Latin I learned, but I was fortunate to read poetry in high school in all those languages: to feel how impossibly different a german poem is such that you can’t translate without putting your own voice in it. My english teacher said the best english was spoken and written in Ireland. It’s true. Australian english has a shorter feel/sound to it and is languid and you can read from the words, the sentences how different the landscape is.

Anyway, subscribe to Rattle- it is well worth it!  http://www.rattle.com/poetry/print/current/

Leila Chatti

14, SUNDAY SCHOOL, 3 DAYS LATE

I’m not stupid—
I know how it works.

But there was a time when
she was just some virgin nobody, too,

small purse of her womb
and her ordinary eggs
waiting like loose pearls.

.

—from Rattle #45, Fall 2014
Tribute to Poets of Faith
http://www.rattle.com/poetry/print/40s/i45/
__________

Leila Chatti: “People are always surprised to find out that I’m Muslim, which is funny because I was raised pretty much as Muslim as you can get—Sunday school, Qur’an classes, Fridays at the masjid.

I don’t wear the hijab and so the common assumption is that I’m not religious.

The truth is, I became a poet largely because of my faith.

As a child, I wasn’t allowed to listen to music, but I could listen to recordings of the Qur’an. If you’ve ever heard it read, you know how gorgeous it is.

It was my first realization that language, particularly beautiful language, can hold power. I wanted to try my hand at crafting language that brought people to their knees, too.”

http://leilachatti.blogspot.ca

Cavalry Way and After Reading Mickey In The Night Kitchen for the Third Time Before Bed.

Because The Oxford Anthology of African American Poetry is one of the best, most satisfying, fat books of poetry I have, you should go buy it too. Poets get paid and editors get paid and we get more poesie. This leads to joy.

NEW and USED: Abebooks.com The Oxford Anthology of African-American Poetry
NEW at independent bookstores: http://www.indiebound.org/book/9780195125634

One sad, one happy poem.

Calvary Way

How did you feel, Mary,
Womb heavy with Christ Child,
Tasting the dust of uncertain journey?
Were you afraid?
When, winding the swaddling clothes,
You laid him in the manger,
Were you afraid?
Could you trace nail holes
Under his curling fingers,
Thorn pricks on the forehead?
Could you trace them?

I should bear a warm brown baby,
A new dark world of wonder;
But I fear the nails that pierce the spirit,
The unseen crosses.
How did you feel, Mary,
On the road beyond the star-lit manger,
Up to the hill to crucifixion?
Were you afraid?

May Miller

A graduate of Howard University; did graduate work at Columbia. Teacher of Speech and Dramatics in Baltimore schools.

 

After Reading Mickey In The Night Kitchen for the Third Time Before Bed 
Rita Dove

I’m the milk and the milk’s in me!… I’m Mickey!

My daughter spreads her legs
to find her vagina:
hairless, this mistaken
bit of nomenclature
is what a stranger cannot touch
without her yelling. She demands
to see mine and momentarily
we’re a lopsided star
among the spilled toys,
my prodigious scallops
exposed to her neat cameo.

And yet the same glazed
tunnel, layered sequences.
She is three; that makes this
innocent. We’re pink! 
she shrieks, and bounds off.

Every month she wants
to know where it hurts
and what the wrinkled string means
between my legs. This is good blood
I say, but that’s wrong, too.
How to tell her that it’s what makes us —
black mother, cream child.
That we’re in the pink
and the pink’s in us.

.

Thank you Wiki: From 1993 to 1995 she served as Poet Laureate Consultant in Poetry to the Library of Congress. She is the first African American Poet Laureate. Dove is the second African American to receive the Pulitzer Prize for Poetry (1987). 2011 National Medal of Arts from President Barack Obama.

The documentary film Rita Dove: An American Poet by Argentinean-American filmmaker Eduardo Montes-Bradley premiered at the Paramount Theater (Charlottesville, Virginia) on January 31, 2014.

The annual “Rita Dove Poetry Award” was established by Salem College Center for Women Writers in 2004.

.

Chilling Out Beside the Thames- John Agard, black British poet.

What I did in the London month. Too. I love the humour of Agard talking about the little pidgeon looking on, Anansi the spider and the church’s promises on English ground. Ending with the day’s little pleasure strawberry.

Summer come, mi chill-out beside the Thames.
Spend a little time with weeping willow.
Check if den Trafalgar pidgeon still salute
old one-eyed one-armed Lord Horatio.

Mi treat gaze to Gothic cathedral
Yet me chant forget how spider spiral
Is ladder aspiring to eternal truth…
Trickster Nansi spinning from Shakespeare sky.

Sudden so, mi decide to play tourist.
Tower of London high-up mi list.
Who show up but Anne Boleyn with no head on
And headless Ralegh gazing towards Devon.

Jesus lawd, history shadow so bloody.
A-time for summer break with strawberry.

.

Cool video of the editor chatting about finding the poems! https://www.youtube.com/watch?v=0qz4m6AVONE

Agard is Afro-Guyanese, Jamaican and British.

USED: http://www.abebooks.com/servlet/BookDetailsPL?bi=13869647203
NEW: http://www.indiebound.org/book/9781852247331

New Year’s Poems. Happy 2015! 3/3

New Year’s Eve

“I have finished another year,” said God,
“In grey, green, white, and brown;
I have strewn the leaf upon the sod,
Sealed up the worm within the clod,
And let the last sun down.”

“And what’s the good of it?” I said.
“What reasons made you call
From formless void this earth we tread,
When nine-and-ninety can be read
Why nought should be at all?

[…]

“Strange that ephemeral creatures who
By my own ordering are,
Should see the shortness of my view,
Use ethic tests I never knew,
Or made provision for!”

She sank to raptness as of yore,
And opening New Year’s Day
Wove it by rote as theretofore,
And went on working evermore
In her unweeting way.

The Darkling Thrush

I read this poem not in its original form but in different order. The numbers are what their place really is (see below for full correct poem).

BEST: “In blast-beruffled plume”

3.
At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited;
An aged thrush, frail, gaunt, and small,
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.

2.
The land’s sharp features seemed to be
The Century’s corpse outleant,
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervourless as I.

4.
So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.

1.
I leant upon a coppice gate
When Frost was spectre-gray,
And Winter’s dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.

Thomas Hardy

I leant upon a coppice gate
When Frost was spectre-gray,
And Winter’s dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.

The land’s sharp features seemed to be
The Century’s corpse outleant,
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervourless as I.

At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited;
An aged thrush, frail, gaunt, and small,
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.

So little cause for carolings
Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air
Some blessed Hope, whereof he knew
And I was unaware.

Thomas Hardy

 

Yusef Komunyakaa and God.

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Photo: True Groove Records

Interesting spiritual lines, (more beautiful in the poem, so read it all). Yusef Komunyakaa’s first book was the christian bible, and he was a black muslim for some time. The cadence of the bible drew him closer to the texture of language. Komunyakaa is the last name of one of his grandfathers before becoming enslaved and given the name of his owner.

Komunyakaa considered desertion due to his opposition of the Vietnam war; however, he remained in the service in order to “bear witness.”

“Someone could stand here
contemplating the future, leafing
through torn pages of St. Augustine
or the prophecies by fishermen,…

& till the church-steeple birds
fly sweet darkness home.
Whoever this friend or lover is,
he intones redemptive harmonies.

To lie down in remembrance
is to know each of us is a prodigal
son or daughter, looking out beyond land
& sky,

the mind comes back to rest,
stretching out over the white sand.”

 

ISLANDS
For Derek Walcott
An island is one great eye
gazing out, a beckoning lighthouse,
searchlight, a wishbone compass,
or counterweight to the stars.
When it comes to outlook & point
of view, a figure stands on a rocky ledge
peering out toward an archipelago
of glass on the mainland, a seagull’s
wings touching the tip of a high wave,
out to where the brain may stumble.But when a mind climbs down
from its high craggy lookout
we know it is truly a stubborn thing,
& has to leaf through pages of dust
& light, through pre-memory & folklore,
remembering fires roared down there
till they pushed up through the seafloor
& plumes of ash covered the dead
shaken awake worlds away, & silence
filled up with centuries of waiting.

Sea urchin, turtle, & crab
came with earthly know-how,
& one bird arrived with a sprig in its beak,
before everything clouded with cries,
a millennium of small deaths now topsoil
& seasons of blossoms in a single seed.
Light edged along salt-crusted stones,
across a cataract of blue water,
& lost sailors’ parrots spoke of sirens,
the last words of men buried at sea.

Someone could stand here
contemplating the future, leafing
through torn pages of St. Augustine
or the prophecies by fishermen,
translating spore & folly down to taproot.
The dreamy-eyed boy still in the man,
the girl in the woman, a sunny forecast
behind today, but tomorrow’s beyond
words. To behold a body of water
is to know pig iron & mother wit.

Whoever this figure is,
he will soon return to dancing
through the aroma of dagger’s log,
ginger lily, & bougainvillea,
between chants & strings struck
till gourds rally the healing air,
& till the church-steeple birds
fly sweet darkness home.
Whoever this friend or lover is,
he intones redemptive harmonies.

To lie down in remembrance
is to know each of us is a prodigal
son or daughter, looking out beyond land
& sky, the chemical & metaphysical
beyond falling & turning waterwheels
in the colossal brain of damnable gods,
a Eureka held up to the sun’s blinding eye,
born to gaze into fire. After conquering
frontiers, the mind comes back to rest,
stretching out over the white sand.

The African Burial Ground

They came as Congo, Guinea, & Angola,
feet tuned to rhythms of a thumb piano.
They came to work fields of barley & flax,

livestock, stone & slab, brick & mortar,
to make wooden barrels, some going
from slave to servant & half-freeman.

They built tongue & groove— wedged
into their place in New Amsterdam.
Decades of seasons changed the city

from Dutch to York, & dream-footed
hard work rattled their bones.
They danced Ashanti. They lived

& died. Shrouded in cloth, in cedar
& pine coffins, Trinity Church
owned them in six & a half acres

of sloping soil. Before speculators
arrived grass & weeds overtook
what was most easily forgotten,

& tannery shops drained there.
Did descendants & newcomers
shoulder rock & heave loose gravel

into the landfill before building crews
came, their guitars & harmonicas
chasing away ghosts at lunch break?

Soon, footsteps of lower Manhattan
strutted overhead, back & forth
between old denials & new arrivals,

going from major to minor pieties,
always on the go. The click of heels
the tap of a drum awaking the dead.

You created the night, I created the lamp. Iqbal!

Mount-Everest-2
www.pakistantoday.com.pk

You created the night, I created the lamp
You created clay and I made the pottery
You created the deserts, the mountains and jungles
And I produced the rice fields, the gardens and the orchards
It was I who turned rock into mirrors
And poison into cures

Iqbal

“…one blue-colored cloak, I had considered to be the sky”

Iqbal

Iqbal was born in 1877 in what is now Pakistan: the Punjab Province of British India. From a Brahmin family converted to Islam, he studied in Cambridge, became a lawyer, did his phd in Germany and wrote poetry in Persian and Urdu. He was a favourite of the Iranian revolution in 1979 and stood at the birth of the nation of Pakistan.

“Le sporting-club de Monte Carlo (for Lena Horne)” James Baldwin. Daughter of the thunder!!

enhanced-29505-1396378252-4

REX USA/Sten Rosenlund

Oh, I love these lines! G-d struts a little.

the lady is the apple
of God’s eye:
He’s cool enough about it
but He tends to strut a little
when she passes by

http://www.pugetsound.edu/news-and-events/campus-news/details/1097/

 

“Le sporting-club de Monte Carlo (for Lena Horne)”

The lady is a tramp

a camp
a lamp

The lady is a sight
a might
a light
the lady devastated
an alley or two
reverberated through the valley
which leads to me, and you

the lady is the apple
of God’s eye:
He’s cool enough about it
but He tends to strut a little
when she passes by

the lady is a wonder
daughter of the thunder
smashing cages
legislating rages
with the voice of ages
singing us through.

Countee Cullen: for my grandmother

cuc0003 allen_cullen

Countee Cullen, black poet.

For my grandmother

This lovely flower fell to seed;
Work gently sun and rain;
She held it as her dying creed
That she would grow again.

index

NYer, born in 1903, raised a strict methodist and turned pagan. NY university, Harvard. Published works “Color”, “The Ballad of the Brown Girl” and “Copper Sun”.

His greatest wish was to be read as a poet, not to be judged on the brown colour of his skin. I am pointing out they are black, because otherwise most people assume Countee Cullen was white. And everyone needs bright, shining examples, especially when their bodies are walked over, shot, fetishized, taken, used to scare and control and whitewashed and hidden– on a daily basis.

From the Dark Tower.

We shall not always plant while others reap
The golden increment of bursting fruit,
Not always countenance, abject and mute
That lesser men should hold their brothers cheap;
Not everlastingly while others sleep
Shall we beguile their limbs with mellow flute,
Not always bend to some more subtle brute;
We were not made eternally to weep.

The night whose sable breast relieves the stark
White stars is no less lovely being dark,
And there are buds that cannot bloom at all
In light, but crumple, piteous, and fall;
So in the dark we hide the heart that bleeds,
And wait, and tend our agonizing seeds.

Words can never hurt. Unless you hear them again and again.
The incident.

Once riding in old Baltimore,
Heart-filled, head-filled with glee,
I saw a Baltimorean
Keep looking straight at me.

Now I was eight and very small,
And he was no whit bigger,
And so I smiled, but he poked out
His tongue, and called me, ‘Nigger.’

I saw the whole of Baltimore
From May until December;
Of all the things that happened there
That’s all that I remember.

CullenYoungnPretty

 

 

From Caroling Dusk. See http://www.abebooks.com for your own copy!!

“Reconciling Life With Death,” Early Verses by Jan Jacob Slauerhoff, ship’s doctor.

Early Verses by Jan Jacob Slauerhoff, ship’s doctor. Loose translation by me.

Autumn comes with storm and gusts of wind around the forests
Those, moaning, shake their leafage loose,
Make bunched-up-fruits cascade from branches,
Over-ripe summer fruit plop down to earth,
In moist soil-layers silently forming,
Composting into elemental matter:
All life obeys the seasons.
 
This then is reconciling life with death:
That all harvests are rooted in decaying matter;
That drab gray grounds paint roses blushing red;
That out of moulding thickets; out of the unwanted,
A Freedom will arise, a blossoming laden with fruit.

— Eerste Verzen. J.J. Slauerhoff

Herfst komt met storm en floersen om de bosschen
Die van hun loover kreunend zich verlossen,
Doet vruchtentrossen uit de takken storten,
Het vooze zomerooft ten gronde ploffen,
In vochtige bodemlagen stil verworden,
Verteren tot oorspronkelijke stoffen:
Het leven is gehoorzaam aan seizoenen.
 .

Dit is het leven met den dood verzoenen:
Dat alle oogsten wortlen in het doode,
Dat grauwe gronden rozen overrooden;
Uit de vermolmde woeker, het verfoeisel,
Zal Vrijheid stijgen, een volvruchtig bloeisel.