Dead Sea Dance for Sodom
Diya Abbas
the music drew
we come quick
                minor boltings
                               for her slow rumble
                               I dance poorly, refusing the prophet
                shucking god off my lip I mirror
the bodies, a clap
storm with her hot need in our heads.
                two white girls kiss
                               I do not mimic their safety.
first time I saw my other paki
                how miracle
                               she tells me her name
                the one that kept her secret/alive
the phosphorescent glow of distance
                between her feet and the ground
                               between her last name and knowing
                from the sky to the street
I won't tell them
                no matter who comes to kill us
they know our moves
                like prophecy etched in stone
                               I know fear
                               as this dark curl
                down we pummel,
atmospheric pulling the sky
                                                 towards us.
                               the click of the key lock
to the keeper of my heart I surrender
                her marvel lapping in my mouth
                                come in current
come in curse and wheel
                with enough reverb
                                enough leather rope
we outlast the makers of the rain.
from the journal BAHR MAGAZINE 
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In the Quran there is a story about the people of Sodom from the city of Lut who were stoned to death for homosexuality. Often, choosing your life is the scariest thing to do. At a dance party I met another Queer Pakistani for the first time as it began to pour rain, not stones. As I danced with my lover, I knew this pleasure could never be a coincidence.
James Chung McKenna Interviews Daniel Borzutsky

"I started this new book as an attempt to answer that question: how do you quantify the murmuring grief of the Americas? I’m not trying to statistically analyze anything, but I feel like the collection, to the extent that it is an 'extension,' is thinking about the possible ways in which grief manifests, is quantified, and interferes with or coincides with bureaucratic and administrative state structures."

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cover of "of no country I know" by David Ferry
What Sparks Poetry:
Robert Pinsky on David Ferry's "Johnson on Pope"


"Tell all the truth but tell it slant—. The moment I begin saying to myself Emily Dickinson’s first line, my tongue flicks rapidly to the roof of my mouth for the first sound in the first word “Tell.” The same exact little movement happens at the end of the line’s last word, “slant.” In this pre-industrial, bodily way the reader becomes the poet’s instrument. In a way, it is as though they were one. But in another way, the bodily nature of the line enacts the double solitude: the reader’s body absolutely itself, utterly separate from the equally solitary poet who made the line: solitaria. Ferry’s poem is about the empathic loneliness Johnson’s prose suggests but cannot embody."
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