Each Wednesday, Editor's Choice brings you a poem from a new book selected as a must-read. Our feature editor this week is Sandra Lim.
Sherwin Bitsui
The city’s neon embers
stripe the asphalt’s blank page
where this story pens itself nightly;
where ghosts weave their oily hair
into his belt of ice,
dress him in pleated shadows
and lay him fetal
on the icy concrete—
the afterbirth of sirens glistening over him.

We drain our headlights
on his scraped forehead
and watch the December moon
two-step across his waxen eyes;
his mouth’s shallow pond—
        a reflecting pool
        where his sobs leak into my collar.

One more, just one more, he whispers,
as he thaws back into the shape of nihitstilí
bruised knees thorning against his chest.

We steal away,
our wheels moan
through sleet and ash.

Death places second, third,
and fourth behind us.

At home on the Reservation:
Father sifts dried cedar leaves
over glowing embers,
Mother, hovering
above cellphone light, awaits:
                    He’s okay,
                    never went out,
                    watched a movie instead.

But tonight,
my speech has knives
that quiver at the ellipses
of neon Budweiser signs
blinking through the fogged windshield,
and I text:
            I’ve only rescued a sliver of him,
            he’s only twenty-five
            and he smells like blood and piss,
            his turquoise bracelet snatched for pawn,
            by the same ghost who traded his jacket
            for a robe of snow and ice,
            before inviting him
            back into the Caravan
                        for one more, just one more.
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Collaged image of Carl Sandburg and Pittsburg's industrial silhouette
"From Prisoner to Poet to Pulitzer"

Carl Sandburg enjoyed a life-long relationship to the city of Pittsburgh, despite his first visit's ending with a stint in jail. “O the poetry and romance over this Pittsburg town! Slopes and hillsides with electric lights twinkling bluish and flashing long banners of gleam along the river—and every once in a while we pass shadowy hulking sheds with yellow hell-mouths flaming—and the grim steel workers moving around like devils put to use.”

via PITTSBURGH POST-GAZETTE
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"[O]nce a poem is out in the world, there’s no way to predict the different uses, appropriations, misappropriations, readings and anti-readings to which it might be put, nor the places and times where it might emerge, uncanny, as if with fresh meaning.  Bei Dao’s 'The Reply' ('Huídá,' sometimes also translated as 'Answer') is one such poem, with an intense career all its own.”
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