Kristen Kaschock

Yellow light, burnt honey from the hanging
lamp, a wicker light, the jade plants in the window
eating smoke while the wine poured itself, me
a knot beneath the table, four, unwholly made.
1976—the summer denim people celebrated
America outside with late barbecues and slip-n-
slides and sparklers, the gnats down by the crick
terrorized by older kids with punks on nights fire-
flies flashed up the hill and the word thicket made
something out of sound, and bramble. Holed up
in that kitchen, listening to the sighings of I’d
guess my own and other monsters, I prayed never
to grow tits, get caught inside this fog, a cigarette
life, hating on skin-cells lit up in shafts of sun. Why
should anyone vacuum the shag if all it did was suck
away daytime starlight? I wished for a dog
but when we got one it died, and I never wanted
in charge of life again. From down between
their knees I heard women saying all the things
they weren’t, not really, and felt more and more not
here, not home, and this was how I came to
being. Hunting light, disquieted, mine a brittle nest
among the half-shadow of motherbodies. Mine
a double life: Glow-watcher. Cindergrasp. The second-
hand. Call me Ashqueen—no, don’t. I’m Mote.
from the journal CRAZYHORSE
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The quality of the light in memories is fascinating to me. This poem began as an exploration of that.

Kristen Kaschock on "Coming To"
Color photograph of a smiling Joe Heithaus sitting in an armchair
"Poetry on the Moon"

"Some poetry lovers might say Joe Heithaus’s work is out of this world. Heavenly. Otherworldly. Come this summer, they’ll be literally correct. “Silence,” a sonnet written by the DePauw English professor, is headed to the moon, part of a poetic payload arranged by Samuel Peralta, a physicist, entrepreneur and art aficionado."

via DEPAUW STORIES
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Amaud Jamaul Johnson's handwritten copy of "A Lovely Love"
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Amaud Jamaul Johnson on Gwendolyn Brooks's "A Lovely Love"


"I was twenty and an undergraduate at Howard University, taking Dr. Jon Woodson’s Survey of African American Poetry. He was suspicious of labels and spent the first weeks of class arguing against his own course title. His first lecture began with a summary dismissal of Maya Angelou, who a year earlier was Bill Clinton’s Inaugural Poet. He would hand out poems with the authors’ names blacked out, and ask: “What makes this a Black poem, or is this good or bad?” We had to defend our answers. Our shortcomings were immediately evident. This is how I was introduced to Gwendolyn Brooks’s 'A Lovely Love.'"
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