The Tribute
Jameson Fitzpatrick
I was thinking of a daughter, there
in the crush of a summer
what can save her from. You know the one:

that thick season from which she'll feel everything
that follows, follows. She isn't wrong

to get in the car with the older boy;
in a sense she must,
because she wants to. Headlong dive into the backseat.

Headstrong is the word

her father uses before disappearing
back to his office. For him, the one suffices.

Not me: voluble as our girl, as I ever was

though I have made a study of restraint,
and practiced plenty,
posed at the closed piano when no one's home.

Some nights when she's returned to me, I for a second
think: Changeling!

Of course it's her; it's only that
as her resemblance to me—to a version
I can remember and recognize as self—grows,

it gets harder to see her
grow, at once, ever more distinct from me.
Further and clearer.

Even as she repeats my errors:
the selection of boy, my old white jacket with the fringe.
And wears her seatbelt

always, because her mother made her.

It’s not for her I wait up.
In fact, she never comes.

Still someone has to fill the loud freedom
that someone who must have been me
must have chosen.
from the journal THE NEW YORKER
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For a long time I wanted to write a poem after Anne Sexton's "Menstruation at Forty." Last August, alone and in the middle of my life, I wrote this one, which echoes not only Sexton but also Randall Jarrell's "The Player Piano." As well as the opening number from a musical in which, many summers ago, I once appeared.

Jameson Fitzpatrick on "The Tribute"
Graphic of 100 in red, green and mid-blue against black
"Maya Angelou and Malcolm X Manuscripts On Show in Schomburg Center Centennial Celebrations"

"To celebrate, the new exhibition 100: A Century of Collections, Community, and Creativity will be one of the largest in the Center’s history, and will feature iconic objects from its holdings including manuscript pages from Maya Angelou and Malcolm X, Ossie Davis’s copy of the Purlie Victorious script, and the visitor book from the 1925 opening signed by Zora Neale Hurston, Langston Hughes, and artist Augusta Savage. The exhibition will run through Winter 2026."

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cover of Aharon Shabtai's (translation by Peter Cole) Requiem and other poems
What Sparks Poetry:
Peter Cole on Translation


"The Hebrew word tikkun means, simply, 'repair,' but it is best known beyond spoken Hebrew as a kabbalistic term that has seeped into the popular imagination. In that context it alludes to course corrections of consciousness that lead to tikkun olam—repair, mending, or even healing of a broken world. Rooted in the tradition of the biblical prophets, and critical to classic rabbinic considerations of social viability and harmony, tikkun has, arguably, become a core Jewish concept that calls for working toward a more compassionate social fabric, in part by identifying and combatting injustice."
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