Bradley Trumpfheller
I won’t explain. My aunts spell
                                                                                           around the vanity mirror
& centerpiece me, my lips plummed,                                               
                                                             my neck belled mid-flight.
 
               After the food’s uncooked, the heirloom paring knife
stitched up the bell peppers & dark meat,
                                                                           after the fiddle leaves
                               left their fiddles, the porch undressed of wasps & us
our old names—
                                              right here. As if even the evening
                didn’t let on. No parking lot, no gas stations. A scythe
of emptied prisons shudder
                                                             alongside the highway; bougainvillea
& gun oil in the sheets. All my cousins slow-dancing
                              in their cowboy boots & antlers.
 
                                              My mothers singing to the dogwood tree
                blooming black across my arm.
 
Your hand finally on the small of my back, without any kind of fear.
 
This time, I’ll be a girl & you can be anything
alive. Take the rope off your wrists.
                                                             Somewhere far away from here,
                a star’s unspooling its star-white curtain.
 
                                               What happens if we begin already angels?
Press your ears to my wingspan. Hum a little.
 
We are the most possible kind of daughterhood.
                                                                                              I promise.
 
Step into the light.
               Let me see the mark our rapture left behind.
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Roman depiction of Odysseus and the Sirens
"The Usefulness of Artistic Fury"

Fiona Sampson discusses four recent releases, including collections from Alice Oswald and Stephen Sexton. "Across the English-speaking world, new work in every genre is demonstrating impatience with older, static verse forms. The best new writing has a kind of velocity that seems to burst open the traditional idea of single poems pinned and mounted on the page."

via THE GUARDIAN
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Cover of Cesar Vallejo's Complete Posthumous Poetry
What Sparks Poetry:
Sandra Lim on Self-Interrogation


"I don’t read this poem and think of the practical relevance or irrelevance of poetry, but I do get the sense of being both cursed and culpable from the way Vallejo renders conscious (and consciousness of) suffering. It may seem strange to say that the poem feels like a chance to notice when it expresses so much restless melancholy, but the speaker’s honesty with his doubts keeps his sense of compassion from hardening into self-congratulation."
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