Kimiko Hahn
In the Father's shadowy hoard
pillows belch feathers across
mattress and floors:
what was an oriental rug, now
a carpet of scat, gone-astray socks,
calendars from rescue shelters
angling for checks.
There's nothing to toss
among the vivid tethers to
Mother. Maybe my mother, maybe Father's.
There's no margarine container
any less pathetic than
a netsuke from Kyoto;
no expired sardine tin less urgent
than a dozen aerograms; no
receipt less intimate
than their honeymoon photo
snapped in the local aquarium.
The adult daughter takes in
the spew,
pabulum that a bird feeds its nestling.
from the journal THE YALE REVIEW
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Color head-and-shoulders photograph of Natalie Diaz
A Dangerous Time for Language

"But calling the US 'postcolonial' jars; the term suggests nations riven by imperialism whose healing is incomplete. Yet this is Diaz’s point–the myths of equality and freedom peddled by US founding fathers were a white settler fantasy projected on to a wound stretching from sea to shining sea."

via THE GUARDIAN
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Coming to the Table: "Working together to create a just and truthful society that acknowledges and seeks to heal from the racial wounds of the past, from slavery and the many forms of racism it spawned."
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Cover of Elizabeth Bishop's Poems
What Sparks Poetry:
Michael Collier on Elizabeth Bishop's "The Fish"


"Early in my encounter with poetry 'The Fish' taught me that description has the ability to consecrate and even transubstantiate what’s being looked at, especially if it’s an object or thing, like a fish. In Bishop’s poem, the moment of consecration takes place as the speaker considers his eyes and notices among other things how 'They shifted a little, but not/ to return my stare.'"
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