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This April, help us to celebrate National Poetry Month by writing about your favorite poem showcased on Poetry Daily.  We'll publish the most interesting responses throughout April, and send a free book to everyone whose work is featured. 

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What Sparks Poetry is a series of original essays that explores experiences and ideas that spark the writing of new poems. In our occasional series, Building Community, we spotlight connections between our work on the page and our work in the community. Each Monday's delivery brings you a poem and an excerpt from the essay.
Poem with Corpse Flowers & No Corpses
José Olivarez
Translated from the English by David Ruano González

 

           in conversation with
          Alan Chazaro & Kim Sousa

Hundreds line up for blooming “corpse flower” at abandoned East Bay gas station.
—The Mercury News, May 20, 2021
begin with the mourning breath of the corpse
flower. consider what rots might feed the veins.
alternatively: all vanity requires stink.
on the other end of the best steak of your life
is a cow moaning a song of agony.
somewhere there is a producer flipping that cow's
last word into something that can hold a snare drum.
one of the first questions our ancestors had to answer
was what to do with the ones who die.
at some point, they started feeding the dead
back to the ground & naming babies after them.
so when a corpse flower opens up
in an Alameda gas station it's a minor miracle:
not a Warriors game, or a funeral or a wedding
but the whole block gathered to watch a flower
remind us of our family—not dead
& not gone—ready to bloom again.



Poema con flores cadáver & sin cadáveres

en conversación con
Alan Chazaro & Kim Sousa

Cientos hacen fila para ver florecer a la “flor cadáver” en la gasolinera
abandonada de East Bay.

—The Mercury News, 20 de mayo de 2021

empieza con el aliento de luto de la flor
cadáver. considera qué putrefacción podría alimentar las venas.
alternativamente: toda vanidad requiere apestar.
en el otro extremo del mejor filete de tu vida
hay una vaca gimiendo una canción de agonía.
en algún lugar hay un productor que convierte la última palabra
de esa vaca en algo que puede retener un tambor.
una de las primeras preguntas que nuestros ancestros tenían que responder
era qué hay que hacer con aquellos que mueren.
en algún punto, comenzaron a alimentar a los muertos
de vuelta a la tierra & nombraron a los bebés igual a ellos.
así que cuando una flor cadáver se abre
en una gasolinera de la Alameda es un pequeño milagro:
no era un juego de los Warriors, ni un funeral, ni una boda,
sino que toda la cuadra se reunió para mirar una flor
que nos recuerda a nuestra familia—no la muerta
ni la que se ha ido—lista para florecer de nuevo.
from the book PROMISES OF GOLD / Henry Holt and Company
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Photograph of Katey Funderbergh and Nicholas Ritter and two fellow teaching artists in the Poetry Alive! program
What Sparks Poetry:
Katey Funderbergh and Nicholas Ritter on Building Community


"This program proves to me, again and again, that poetry is a liberatory force. Prisons shouldn’t exist, but each time I’m in the classroom with our students, I remember that this craft is an avenue for free expression and self-exploration. The poems allow me to connect with the students, to share my own memories, dreams, struggles, and to relate to them about both the content of the poems we read, and the content of the poems they write."
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This April, Poetry Daily would like to turn the spotlight on YOU, the loving READER of poetry. What is it that makes you give yourself over to a poem? Which poem in Poetry Daily made you think, surprised you, moved you, or changed your world just a little?

Choose any poem from our archive of more than two thousand poems since 2018 and tell us about it in 100 words or so. We’re not expecting a “professional” answer but one from your heart, nothing is too trivial—for a chance to be featured in our groundbreaking What Sparks Poetry series and win a free book!
 
Submissions to: 
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(subject: National Poetry Month) 
by March 24, 2025 
Blsck-and-white photograph of a standing Joyce Mansour
Grace Byron on Joyce Mansour

"Mansour’s tremendous voice still sparkles. She howls like a banshee, commanding orgasms and throbbing convulsions among the tombstones. Love is not a directive here. It’s an obsession. Down the hatch, into the glittering maw we go, lost all the way down. It’s time for a tryst, the reader and the sign, the symbol and its lust. Perhaps her words can offer a unifying cry, la petite mort, one that stands for more than simple desire. The kind of erotics that breaks us open instead of merely hollowing us out."

via THE POETRY PROJECT
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