Poems by Alda Merini

Translated by Claudia Rey

"I poeti lavorano di notte"

I poeti lavorano di notte
quando il tempo non urge su di loro,
quando tace il rumore della folla
e termina il linciaggio delle ore.
I poeti lavorano nel buio
come falchi notturni od usignoli
dal dolcissimo canto
e temono di offendere Iddio.
Ma i poeti, nel loro silenzio
fanno ben più rumore
di una dorata cupola di stelle

Poets work at night
when time does not press on them
when the crowd’s noise is hushed
and the hour’s lynching is over.
Poets work in the dark
like night hawks or nightingales
whose song is so sweet
and fear they are offending God.
But poets, in their silence
make a higher noise
than a golden dome of stars


"Ti aspetto e ogni giorno"

Ti aspetto e ogni giorno
mi spengo poco per volta
e ho dimenticato il tuo volto.
Mi chiedono se la mia disperazione
sia pari alla tua assenza
no, è qualcosa di più:
è un gesto di morte fissa
che non ti so regalare.

I wait for you and every day
I die down little by little
and I have forgotten your face.
They ask me if my despair
is the same as your absence
no, it is something more:
it’s an immovable death gesture
I can’t give you as a gift.


"Ho conosciuto in te le meraviglie"

Ho conosciuto in te le meraviglie
meraviglie d'amore sì scoperte
che parevano a me delle conchiglie
ove odoravo il mare e le deserte
spiagge corrive e lì dentro l'amore mi sono persa come alla bufera
sempre tenendo fermo questo cuore
che (ben sapevo) amava una chimera.

I met wonders in you
love wonders so new
they looked like shells
where I could smell the sea
and simple empty beaches
I got lost in that love as in a storm
but I kept my heart very still
because I knew so well that it loved an illusion.



Alda Merini was one of Italy's most important and beloved poetic voices. She won many of Italy’s major national literary prizes and was twice nominated for the Nobel Prize, once by France and once by Italy. She was born in Milan and died there in November 2009 at the age of 78.

Photograph by Giuliano Grittini. Use permitted under the GNU Free Documentation License.

White and Sun-Stained Flags

by Lyla Abi-Saab

There is something about it that is so rich. Heavy. Culture is cultivated into the dirt, intertwined with air and dust and piano keys of sunlight. The song sounds along tops of the mountains, sharp, cutting through the breeze and into layers of skin and bone and brick. The cracks in the stone and clay weather below my feet, the moths and mosquitos spiral slowly overhead, the clear sky is strewn with pink and orange in the distance and I can do nothing but kneel as my knees grow weak, nothing but submit my eyelids shut to powerlessness in a bittersweet surrender.

There is something about it that is so fleeting. The laughter that streams, like ripples of a stone-harrased river from opaque infant-white to the most sun-spotted wrinkles, the distance between year and face measured only in worlds, or maybe just shallow breath. The tears; unspoken but understood, fingers and bodies tangeled to one, sleepless eyes pressed tightly together holding back the blood of seas and stories away. Questions lit, ignited and burned to rubble like my father’s home in the face of no answers, the gaps in the story running deep like the lengths from wet grains of salt and sand to the most majestic of snow-capped summits. We can do nothing but breathe, the thick perfume of fruit and blossom seeping into us. The moon awaits dawn to dusk again and the dogs bark and things still go unnoticed as they do, but we are and we are anyway.

The Invisible People

by Luis Cuauhtemoc Berriozabal

The people were
invisible.
The way they talked
without their mouths
was strange. On their
faces a new
foot-like appendage
supported their eyes,
noses, and mouths.
The entire head
was foot-like, but
they were mere ghosts,
invisible.
I was able
to see them because
I have this gift,
to see things others
cannot see.
But sometimes I
just see what I
want to see and
that is a problem.

The Bitter End is a Bar

by William Shaw

Poetry,
Like sex,
Is best when it’s angry.

Sweetness loses its savor,
And if you’re that sorry slick type,
You’ll last about two seconds,
Before a real man,
Decks your sorry ass,
And makes you bleed like a bitch.

So come at me son,
Come the fuck at me.

Anyways,
In other news,

Fat lips squirm like a red worm,
Wriggling obscenely in screaming half seen memories,
And infuriating implications.
Pulse pumping like an eel crashing through my veins,
And eyes seeing nothing,
Besides the insides,
Of my head, and the other, that bled,
A bittersweet red.

Drugs only get you so far.
Blowing a line off her bare thigh,
At the Heart of Texas motel,
Off Highway 290.
A bottle of Jack in one hand,
And the other slowly sliding,
Steadily down,
The smooth flesh of today’s freshest catch,
To where I’m sure your imagination has already led.
And then out.
Into the warm night air.
Onto the pale moonlit street.
Where summer lounges in sultry heat.

And I light a cigarette,
With a silvery flick of my wrist,
And make my way down these city streets,
My streets, though cold, graying and old.
Like the bony grasping fingers of a lecherous mayor,
Fervently clawing at the soft young body of a dead whore,
Whose glassy eyes gaze at starry skies like rotting fish scales,
Reflecting pale will o’ wisps,
Suspended amongst the turbulent motion,
Of the merciless ocean.

And I’ll traverse these city streets,
Cracking his knuckles with every clacking impact,
Of the riding heels,
Of my black ostrich hide boots.
Or singe the Old Man’s sensibilities
In my daddy’s white truck
Too big to be softy slick, but just the size for a hard fuck
And to lie in afterwards
In dizzy sex sweat drenched dazed ecstasy
And marvel at the will o’ wisps
Watching beyond the fogged windows

At the Bitter End
There’s a bar, a bogie, and a light
Once you’ve gotten kicked out of the one
And smoked the other
There ain’t much left to do
But light yourself on fire
And then drown in the gutter
Ever burning soul outliving charred corpse
Remaining in eternal, beautiful agony

Anarchy of Dusk

by Bobbi Sinha-Morey

In the anarchy of
dusk, despair returns
each minute like a
drop of moonshine
and, with less salva-
tion, the voices of
birds quiver in each
song, shattering the
stillness that swallow
a man's spirit. The
heart's rainy darkness
is no solace for my
soul, only a map of
brightness, but I've
nowhere to go. The
distance that divides
us leaves me feeling
so isolated. My anger's
been buried and stolen
back from the soil.
Trust and love is white
dust on dark furniture;
layers of the past you've
shared with me without
any sign of you in the
future. If I wait, time is
nothing but an endless
bridge. Yet your memory
remains. You leave traces
of yourself wherever you
go.

Duet

by Tatiana Ambrose

Heart

Drawn in a red sharpie-
encased with a plastic coat,
peeling from heart break
this happened months ago.


Bed Fellow

He looked like a rich brown beard,
as yawns snuck through his torn gap-
weaving off the bedroom boards,
until I slumbered off to sleep

Fire Water

by Subhankar Das

I am too sleepy my treasure. It is not that this fragile desire of the body is too tired. Just feeling sleepy in this tiresome living. You also must be sleeping now. You do not get up this early. When did you last get up to see the dawn breaking? I only learned it from you that if I want dawn I must stay awake the whole night. You know I also stayed up the whole night and at day break rushed out in the city. I always loved the cold morning air. Just like hunting the crows on the roof top days, when I was a kid. The wooden gun never made any sound or no bullets can be fired from it. So I tried making sounds like gun firing and aimed but not a single crow would die. ‘Why they are not dying father’? I asked. And my father gave that infallible reply – ‘They will go home and die’.

Glutton

by Sarah Anne Stinnet

You’re dead now.
Your life spent
celebrating with cake, cookies, candies, Pi.
Math counted when you saw the numbers
under your feet,
under your legs,
under your hips curving up to the tip
top of your head,
now calculate your sum,
you’re dead.
As bees in honey drown
you take too much, you
take too much, you take
too much.
The persistent hum of your heart
stopped.
You are a tire I slashed
a penny I placed on train tracks
the paint I spilled
on a canvas of your face
so I will always know
you’re dead now.
On your tombstone, iron cast,
It reads, “Thin At Last.”

I Hide the Core Heap Under the Bed

by Jessica Poli

Balsa hands and
red sugar on hot fingers;
you used to have a hold on me.

We loved caffeine and
made love under black lights.
Teeth glowing as they crashed together.

Lint behind the washer
tends to settle on my lips. Remember,
you used to brush it away. Used to call me things.

I’ve been a lot of things -
sea monsters and bridesmaids.
You said them all while you traced my thighs.

Let me melt, I always said.
You fed me apples in the morning;
you told me not to cry and fed me apples.

Kite Strings

by Sadie Harris

Having moved easily away
beyond the vitreous drink
past perpetual reefs
where choppy, lapping waves
laugh at old tales,

Cutting through effervescence
into an aubergine vast,
there, no delineation
or compulsions
define boundaries
or deprive the existence of
one's precarious balances.

Unfixed, sentient,
the shoreline
has receded from view.
Distance, but a blur.
Silence altering,
rippling this present capacity .
Succor?
But a hand flying
with the wings of paradise.

Once a Boy

by Taufiq bin Abdul Khalid

Once a boy

I was once a boy,

And I came upon the shore of a mighty sea,

I tarried by her awhile,

But soon I grew scales and gills,

And swam in her depth, as a fish,

Then I sprouted wings,

Flying high across the sea,

Skimming over her waves,

As a seagull,

Later I turned into a fisherman,

Finding rich bounty in

Her deep blue mercy

To feed my family.

Finally I returned to the boy that I was,

And into the water I peered,

To see a reflection of myself

Looking back at me, and asking

“Who are you?”

Sacrificial Lambs

by Mike Perkins

not all die
but many do
they come back
sometimes whole in body
but wounded in the mind
or maybe in pieces
missing one ancillary appendage or another
such as an arm
or a leg
or some creative combination
or perhaps all four
it is all
subject to
the vagaries of war
all based on a spinning moment
a probability
of timed confusion
the moment
which becomes the epicenter
the fall from grace
youth gushing from the man made spring
of traumatic fluids
framed by odd angles
with boundary markers of unnatural holes
from which something emerges
struggling
as if from a cocoon
in swaddling bandages
something new
yet old and unchanged
a vague resemblance of something before
but nothing stays the same anyway
during the recovery
which is never complete
just scabbed over
rubbed raw by prosthetics
chemical as well as mechanical
how do you salute without hands?
march without feet?
there is no parade rest for the deboned weary
then a medal
some recognition
awkward silences
inane comments
a jolly brave laugh attempt at humor
the bystanders feel wounded
and are comforted
by the victims themselves
in a
punch and cookie reception
then a check
then perhaps a pension of sorts
before the big forgotten

Southern Boulevard

by Alan Britt

Give blood.

That’s right.

Donate blood: O negative,
B positive, A whichever way
the windmill blows,
but give blood to future governors
and presidents in incubators,
blood enough to clot glaciers,
razor-blue glaciers crumbling
daily into Eagle Lake.

Sure, you could legislate
the gradual demise of blueblade glaciers
crumbling into the Pacific,
raising sea level by a mere
twelve to eighteen inches,
(that’s one and a half feet, to you and me),
but blood, my friends,
my terrestrial brothers and sisters;
there’s simply no substitute
for good ‘ol red and white corpuscles,
generations in hindsight, of course, that end
with a fist and a sickle spilling blood like oil
through the plaster walls and Venetian blinds
and wooden frames of Afghan, Iraqi
and Palestinian apartments.

You think oil and blood
are the same thing?

Regular citizens crucified
for another 2,000 years?

Well, friend, and I say this
with critical sincerity,
our sand, like all sand,
struggles tooth and nail
through the hourglass hips
of a black hole,
or an outdated religion,
or whatever else you
might call it.

But the point is,
this newest bullshit version
of a monarchy, planetary domination
via your tax dollars and mine,
well, I just have to say
that plain speech is sometimes underrated.

Plain speech can alert us
to a whole host of priorities
(sometimes known as periodic corrections
to the moral market);
plain speech can deliver us
from the depths of wretchedness
not unlike Rapunzel,
Hansel and Gretel, the Emperor in designer nudity,
or those train tracks revealed one afternoon,
tracks buried in the front yard
of a dingy white clapboard house
just off Southern Boulevard.

The Vending Machine

by Robert E. Petras

Life is like a vending machine
the woman with the secret wrote,
you spin the shelves around
and choose what you want
just by pushing the buttons
of visualization and self-talk
and positive thinking.
The law of quantum physics is
irrefutable.

At an ATM machine I visualized
a return of 40 dollars
for my 40 dollars in
and a $2.25 service fee
and received enough vending power for a week.
“I am in the process of spinning
the world around,”
I told myself.
“I am Atlas twirling a circle
of quarks upon my fingertips.”
I rubbed my hands together,
I licked my lips
and stepped into line.
When my turn came
to give the machine a spin
only baloney sandwiches remained.

Time Wears Away The Stone

by Patrick Walsh

net of fishes shores of plenty
cast of blind hooks for foolishness
words from farside going crazy
you mustn't look I mustn't see

so once you gave though I doubted
the song of truth if that's what was
others couldn't grasp your lightness
yet raged to live in fire's doublet

now the bells toll these old church stones
for message dulled need not be lost
years are fossils as hearts stonecold
no dreams indulged on hard life's coast

Wednesday's Soliloquy

by Emma Eden Ramos

Closing Wednesday's soliloquy in a pine box,
August's heat afflicts only the living for whom Demeter's willowy hands hold parched pupils.
Wednesday's lyrics have gone underground with black martian dresses and a sterling silver pentacle.
Above, Sunday's Arian daughter is tap dancing on grandpa's hedge stone.
Now words are pretentious and black is a flavor.
Funeral dresses taste like expired breast milk while an ancient tree lends her branches to horny pigeons.
A Catholic service.
The dead excrete only evaporated flesh and calcified bone.
Wednesday's words can't remember their meaning; they've simply become anorexic.
Invisible.
The trees are rapists and the wind has SARS.
A beggar's banquet, this here graveyard.
Wednesday swallows the cemetery pollution like a heavy sob.
The alphabet has now rearranged itself and there is a strong odor of mango shaving cream.
Words are useless because people are hollow.

The Spirit Rock

by Peter Magliocco

It is whatever hardens
the nocturne of beauty
eluding you like a Tennessee Williams
heroine. Making your own play
up during life's boring moments,
at work in the pedestrian pawn shop
dominated by amber mugs & ashtrays.

Rising like pernicious Indian spirits at Red Rock
fast as febrile airs
perambulating through Vegas streets
you loved to cruise with boyfriends,
even your dialogue was premeditated
& meticulously scripted for
any routine noir felon

to emulate.
Long ago you figured out
the perfect crime
all thieves dream about
casing the expensive jewelry
so many customers ogled, daily.
Despite how common in-house theft is,

"we'll get away with it," you winked;
"we'll kiss this rat race adios, man,
& travel the Caribbean beaches forever."
Far from these deserts where scorpions
lurk under a plethora of chiseled rocks,
waiting endlessly, their crooked tails
yellowing from venom's excess.

One bit you in the form of a real policeman,
& whatever spoils esthetic distance
did you in, whatever illusions
real existence unkindly disseminates
to draw down a curtain on
a wannabe porn star
whose dreams

some disease vitiates.
Then security cams
catch you, red-handed
clutching diamonds,
to portray your final role
stealing a forbidden stone
eternal deserts burn.

Digging My Way to China

by Isabel Kestner

We dug holes. Before the home computer,
when there was only one TV in every home
and video games were only machines at the arcade,
we dug holes. Shovels went missing.

Constantly, all the kids in the neighborhood
taking their unscheduled turns dug into
the sandy dirt of the vacant lot three
houses from where I lived.

Sometimes we had several holes.
Not everyone always agreed on where
to dig and occasionally there was some
competitive digging. Our useless dent
in the earth is bigger than your useless
dent in the earth.
But they weren’t really useless.
Sometimes, scrap wood would cover part
of a bigger hole and they would often be
six or eight feet wide. It was not a useless
hole now. Now it had a roof. Now the
temporary runaways seeking shelter from
beatings for a few hours had somewhere
to run to, somewhere safe to call their own
and rest for a while.

We dug a lot of holes.

When they got so deep that the really
little kids couldn’t crawl out on their own
someone’s mother always made a few
older kids fill in the hole and thus
we had to start digging another.

We were going somewhere with our stolen
but sort of barrowed shovels. The kids my age
still thought we could dig our way to China.
We didn’t know anything about China.
I didn’t care about China. I just knew it
wasn’t Jersey and I wanted to get away.
I was digging to China. I thought
it would be better there.

We dug a lot of holes.

No one ever got to China. But every once
and a while one of the big kids would hand me
a broken shovel. Big kids never dug with little kids.
Age determined status. But every once and a while,
the big kids would let me dig a hole with them.
They knew I was trying to get to China.
They knew why I wanted to dig my way to China.
They knew I couldn’t dig my way to China.
But they gave me a shovel and hoped for my sake
I would find a way to dig my way there.

Madness

by April A.

I'm riding the cloud of bright blanket dreams,
The coconut smoke entwines with the mist,
The potion of madness in violet streams
Is carving the urge that I cannot resist.

The mysteries find me still lying in bed,
Enjoying the pleasures of drunken grapefruit.
Just several gulps, and a room painted red
Will turn to a princess' incredible suit.

I'm a swift errand girl of my fortunate fate,
When my fantasies leak, the reality hides
In the weirdest world I could ever create
With my eyes tightly shut, with my heart as a guide.

A rose with sharp yet invisible thorns
Will bloom in my gardens in endless July -
The country of fairies and pink unicorns
Beneath the enchanting and welcoming sky.

I trust in the might of the element Earth,
However, the Air attracts me much more.
I'm hovering free, and I feel the rebirth.
This madness is tempting like never before.

I'm a swift errand girl of my fortunate fate,
When my fantasies leak, the reality hides
In the weirdest world I could ever create
With my eyes tightly shut, with my heart as a guide.

I giggle and slap the reality's face,
I found salvation in madness' embrace.

I'm a swift errand girl of my fortunate fate,
When my fantasies leak, the reality hides
In the weirdest world I could ever create
With my eyes tightly shut, with my heart as a guide.

GUADALUPE

by Claudia Rey

At five in the morning the sky is black and clear over Amelia’s courtyard, and peppered with a million stars. Plastic chairs are arranged in front of a niche, where the Virgen de Guadalupe stands surrounded by flowers, palm leaves and candles. Bananas and oranges are scattered on the floor among the candles, red and green plastic balloons hang overhead – the pagan token in an otherwise Catholic celebration.

We sit in the first row, huddled against the cold. Other people smile their greetings, or whisper a shy Hola. They know who I am, but the moment is probably too solemn for the occasional chit-chat.

A scrawny dog wanders around, and today no one chases it off. But when sacred music blasts all of a sudden from two loudspeakers arranged on a windowsill near the statue, it runs away with a yelp.

The music sounds like popular songs rather than hymns, and after a while I realize that they are songs: they tell the legend of La Virgen appearing to a Juan Diego six centuries ago, or they wish her happy birthday, or ask for her blessing.

“Todavía esperamos los Mariachis”, We are waiting for the mariachis, explains Amelia. Apparently they have been singing in the nearby village but should be here any minute. And they soon arrive, four men with guitars and four more to sing along. No black costumes studded with round knobs, no gold trimmed sombreros. Today they wear civilian clothes.

As they start singing – beautiful tenor voices – everyone stands up and joins them in an impromptu chorus. “Tu crees que yo puedo cantar con ellos?” I ask Carlos. His face brightens. “Claro que sí!” So I do, and sing the lines that I’ve learned earlier: Desde el cielo una hermosa mañana – la Guadalupana – la Guadalupana – bajó el Tepeyac... An old lady near me smiles approvingly.

When the music stops half an hour later, the same lady steps in front of the altar and collects from a vase a branch of small white flowers. She murmurs a prayer, then chooses someone among the crowd: a pregnant girl, a boy wearing a SALVAVIDA sweatshirt, a kid. She brushes the branch over them, from head to toe – a sacred metal detector against misfortune – chanting what must be a special blessing.

The spell breaks when Amelia starts handing around glasses filled with hot chocolate and big, oblong brioches obviously called guadalupanas. I nibble at mine, I drink some chocolate, then Carlos, my son-in-law, decides that it’s time for him to go to work. Amelia gives me a second guadalupana for my daughter, and I thank her with a hug. It’s nearly seven, and in the pink sky hundreds of birds sing and chirp.

In spite of my cynicism, I feel a sort of peace. And I will sing La guadalupana, la guadalupana... for the rest of the day.