“Speech to the Young: Speech to the Progress-Toward” by Gwendolyn Brooks

Say to them,
say to the down-keepers,
the sun-slappers,
the self-soilers,
the harmony-hushers,
“even if you are not ready for day
it cannot always be night.”
You will be right.
For that is the hard home-run.

Live not for battles won.
Live not for the-end-of-the-song.
Live in the along.

“Speech to the Young” by Gwendolyn Brooks, from BLACKS
(Chicago, IL: Third World Press, 1991). Copyright © 1991 by Gwendolyn Brooks Blakely.

“Hooters” by Jackleen Holton

I’m at Hooters, you tell me when I call, and I make you repeat it because I’m sure that I misheard. But on your third attempt, I catch the word. Oh, Hooters, I say, and wonder if this is the beginning of the end. And the waitress is there, trying to take your order. Can I call you back? Sure, I say and hang up. Go ahead, ogle her, in her little orange shorts and white tank, pulled tight, those owl eyes bulging. She’s probably flirting with you now, the way they’re trained to do, commenting on your accent, asking you where you’re from. And I know she’s not pretty or even beautiful, but gorgeous, because I knew a guy who worked construction at the franchise before it opened, who watched as the girls came in for their interviews, and there was this one who smiled at him, and he remarked to a co-worker,she’s hot, but the other guy shook his head and said maybe, but she wasn’t Hooters-quality gorgeous. And just after college I met a Hooters girl named Stephanie who was a few years younger than me. And as we sat in the Italian restaurant with our mutual friends, an older man stopped by our table to call her that very word: gorgeous. Envy prickled in me, not because I wanted to work at Hooters, but because I probably wouldn’t make the cut, what with the little bump in the center of my nose, my eyes set a bit too close together, not to mention my cup size too small for their requirements. But that was nearly twenty years ago. Even Stephanie the Hooters girl is now past forty, as are you, sitting there waiting for some terrible food to be delivered as you watch the parade. What’s next, I wonder, strip clubs and lap dances? My old boyfriend Dave had a drawer full of other women’s numbers. Is that where we’re headed? The phone rings. You should come here, you say. It’s such a typical American spectacle. I laugh. I’m good. While shopping at Target, you got hungry. Outside, the first thing you saw was Hooters. Of course, I reply, those big eyes. In college, the opening of the restaurant sparked many a debate in my women’s studies classes about the objectification of the female body. But now I’ve accepted the fact that women will continue to objectify themselves. If anything pisses me off about it anymore, it’s that they’ve co-opted the owl. You tell me you’ll try to come by later. But later you call again, your stomach aching. Too much salt on that chicken breast sandwich. You’re going to bed early. Poor baby. I hope you feel better, I say, and mostly I mean it. I look out the window, thinking of owls, the real kind, like the one I saw last week flying from a dark eucalyptus, over my balcony into the canyon; the sound it made, less of a hoot than a harrowing shriek as it flashed a momentary silver then disappeared into a copse of black trees.

from Rattle #43, Spring 2014
Tribute to Love Poems

“The Poem Is a Love Story and Also a Lover and Takes its Last Line Straight from the Wikipedia Entry on Cardinals” by Christina Olson

So one day you’re in the yard,
and this poem pulls up at the curb.
This poem wants to do you in the backseat
of the first car you ever owned,
which it just happens to be driving.
This poem will stick its tongue in your ear,
call you baby. In its backseat, you’ll twist
like a white snake, aroused by the sight
of your own pale calves, when did they get
that muscle tone, you’ve still got it, oh yes
you do. Later, you smoke a cigarette
while the poem names all the North
American ducks it can.

Or you’re on the front porch
of your house, your fingers sucked dry
by cotton and tobacco, and here comes
this poem up the red road, holding a cigar box
guitar. It has a treasure map of Greenwood,
a dotted line to Robert Johnson’s real grave
and X marks the spot. Do you wanna come,
asks the poem. (This poem is full of cheap
tricks and gimmicks. You laugh anyway.)
Or here’s another one: This poem is first,
because if you’re not first, you’re last.
This poem knows that real cornbread
is not sweet and a real guitar is a bloody box
that just happens to make sound. Later,
the poem lists constellations as the rain
drums on the metal roof of the trailer
and you fall asleep like falling off a cliff.

But there’s pain in this poem, too:
long after the slip-sliding in the backseat
and summer nights drowsy with heat.
The years are measured in tax returns
and complimentary toothbrushes. The kids
have been put to bed. Friday night is one
cold beer after a day of wrestling schedule Cs.
Now it’s dark on your mortgaged porch
and the poem is sleeping upstairs. Anyway, it
can’t remember any of its old bird calls.
Damn this poem. Damn this life.
You’re at another crossroads, only this one
has nothing to do with music. Everything
is the blues now.

But then there are more years,
and you’re glad the poem came to you
all those decades ago. It’s a nice life,
and anyway, what else were you expecting?
You think too much. It can’t be all
spray-painted overpasses and playing
the penis game in staff meetings. Sometimes,
the poem tells you, people grow up.
Its hands are busy in the sink, cleaning
a mandoline. You get it binoculars
for Christmas, promise that next year
this time, you’ll go birding in Banff.
When the poem kisses you, you feel
something.

But you don’t make it to Canada.
The poem slinks off and finds a forest
to die in, and you’re the only one who cries.
You used to like the woods, but after that,
you think all trees are bullshit. Your children
grow up and move out. You’re back
in the yard but this time nothing’s coming
up the road to save you. Except this.
Somewhere, a cardinal alights on a branch
and opens its throat: cheer, cheer,
cheer.  What, what, what, what.

Christina Olson

“How to Regain Your Soul” by William Stafford

Come down Canyon Creek trail on a summer afternoon
that one place where the valley floor opens out. You will see
the white butterflies. Because of the way shadows
come off those vertical rocks in the west, there are
shafts of sunlight hitting the river and a deep
long purple gorge straight ahead. Put down your pack.

Above, air sighs the pines. It was this way
when Rome was clanging, when Troy was being built,
when campfires lighted caves. The white butterflies dance
by the thousands in the still sunshine. Suddenly, anything
could happen to you. Your soul pulls toward the canyon
and then shines back through the white wings to be you
again.

“How to Regain Your Soul” by William Stafford from The Darkness Around Us is Deep. © Harper Perennial, 1994.

“Wait” by Galway Kinnell

Wait, for now.
Distrust everything if you have to.
But trust the hours. Haven’t they
carried you everywhere, up to now?
Personal events will become interesting again.
Hair will become interesting.
Pain will become interesting.
Buds that open out of season will become interesting.
Second-hand gloves will become lovely again;
their memories are what give them
the need for other hands. And the desolation
of lovers is the same: that enormous emptiness
carved out of such tiny beings as we are
asks to be filled; the need
for the new love is faithfulness to the old.

Wait.
Don’t go too early.
You’re tired. But everyone’s tired.
But no one is tired enough.
Only wait a little and listen:
music of hair,
music of pain,
music of looms weaving all our loves again.
Be there to hear it, it will be the only time,
most of all to hear
the flute of your whole existence,
rehearsed by the sorrows, play itself into total exhaustion.

“Wait” by Galway Kinnell, from Selected Poems. © Houghton Mifflin, 1983.