“Glass” by Kim Addonizio

In every bar there’s someone sitting alone and absolutely absorbed
by whatever he’s seeing in the glass in front of him,
a glass that looks ordinary, with something clear or dark
inside it, something partially drunk but never completely gone.
Everything’s there: all the plans that came to nothing,
the stupid love affairs, and the terrifying ones, the ones where actual happiness
opened like a hole beneath his feet and he fell in, then lay helpless
while the dirt rained down a little at a time to bury him.
And his friends are there, cracking open six-packs, raising the bottles,
the click of their meeting like the sound of a pool cue
nicking a ball, the wrong ball, that now edges, black and shining,
toward the waiting pocket. But it stops short, and at the bar the lone drinker
signals for another. Now the relatives are floating up
with their failures, with cancer, with plateloads of guilt
and a little laughter, too, and even beauty—some afternoon from childhood,
a lake, a ball game, a book of stories, a few flurries of snow
that thicken and gradually cover the earth until the whole
world’s gone white and quiet, until there’s hardly a world
at all, no traffic, no money or butchery or sex,
just a blessed peace that seems final but isn’t. And finally
the glass that contains and spills this stuff continually
while the drinker hunches before it, while the bartender gathers
up empties, gives back the drinker’s own face. Who knows what it looks like;
who cares whether or not it was young once, or ever lovely,
who gives a shit about some drunk rising to stagger toward
the bathroom, some man or woman or even lost
angel who recklessly threw it all over—heaven, the ether,
the celestial works—and said, Fuck it, I want to be human?
Who believes in angels, anyway? Who has time for anything
but their own pleasures and sorrows, for the few good people
they’ve managed to gather around them against the uncertainty,
against afternoons of sitting alone in some bar
with a name like the Embers or the Ninth Inning or the Wishing Well?
Forget that loser. Just tell me who’s buying, who’s paying;
Christ but I’m thirsty, and I want to tell you something,
come close I want to whisper it, to pour
the words burning into you, the same words for each one of you,
listen, it’s simple, I’m saying it now, while I’m still sober,
while I’m not about to weep bitterly into my own glass,
while you’re still here—don’t go yet, stay, stay,
give me your shoulder to lean against, steady me, don’t let me drop,
I’m so in love with you I can’t stand up.

“Glass” by Kim Addonizio, Tell MeBOA Editions Ltd.

“Telling Him I Kissed A Woman” by Megan Falley

I cut the pill of truth
and served it with honey.
A half-lie, I said

we were drunk.

Painted us starved,
in dresses of gin, egged
on by the barstools.

Painted myself stumbling
onto her face,
more so than an actual kiss.

Painted it as if cameras were rolling.
An image he could beat
off to, instead of curse. Said

it meant nothing

And how could it?
I was straight
as a wedding aisle.

I touched
his beard. Begged him
to stay. Insisted

it was only a kiss

and hoped he wouldn’t hear it
in my voice, how it sounded like

it was only a decade.
It was only a war.

I didn’t say there was no bar,
no audience except
the magnetic poetry falling

to the floor as she pressed me
up against the refrigerator, beaming.

That I felt more in that
one kiss than anytime he thrust
his tongue down my throat,

or wouldn’t get a condom,
or wanted it facedown.
I swore

it will never happen again.

He called me a whore.

I said

I love you.

He called me a bitch.
I said

yes.

 

Megan Falley (@megan_falley), tumblr.

 

“Before Aspirin” by Nazih Abou Afach

Think of pain
As Michelangelo thinks of the rock’s suffering
Think of pain.
Think of the boredom of the worm, the soil’s virgin
Naked and helpless
Creeping into the tunnel of its despair.
Think of the plants’ sorrows
Of what the bird endures
Of what the seeds bear
And of what the severed branch dreams.
Think of the snail’s headache:
(Have you ever thought of a snail suffering?)
Think of the shy calf
Of her wounded cry
Flowing on the bed of her first motherhood.
Think of the virgin calf, under her scale’s death,
Squeezing the air with her eyes
And pleading for the compassion of her brother, the butcher
Think of pain.
. . .
. . .

Think of the noises of pain before they turn into an idea
Of the music’s sighs before they turn into a wedding song
Think of the dry tears of the dead soldier’s mother
Crying before history’s camera:
“I am proud of his death.”
Think    of    pain.

I do not say to you: cry
I do not invite you to a mass of pity
I do not beg you: pray for this or that
But only think
Think as hard as possible
Think as deep as possible
Think that you are the snail, the bird,
the woman, and the severed branch
Even more: be, yourself, this and that and more
Think that you are the one who is suffering
And that – perhaps because of shyness –
you cannot say: “I suffer.”
And that you – the helpless – as you plead in secret
you are pleading for walls and people and icons
which cannot cure pain
Think of “you” and of pain
And be aware: pain is not just an idea
Pain is the matter
Pain is the memory of elements.
. . .

Think and believe in what you think of
For, how could anyone know?
Perhaps the air is the cry of the bird’s wound
Perhaps darkness is the rock’s gasps
And the green is the tear of the plant’s heart
Think
of
pain.
. . .

And do not ask for the help of anyone, any thing
Your cry cannot be heard
And your hand’s wave cannot be seen
The cry of pain is silence
Therefore,
Think pain.
. . .
. . .

Think of (before aspirin)
The time when people were dreaming life with their teeth
And curing the pains of death with cries of desperate hearts:
Before aspirin
Before languages and letters and rituals
Before the major questions and the major religions
Before “help me” and “save me”
and before “lull with your compassion my heart’s agony”
Before aspirin
Before fire and drums and flags
And the bottles of dying sailors
Floating over the oceans of death.
Think of the nightmares of those times
And the cries of those people
Think of the suffering of weak, helpless, puzzled, dumb creatures
Think of this and that
Of the pain of this and that,
Not like someone taking part in a banquet of regret or pity
But like some one suffering on behalf of all mankind.

Think of pain
And you will discover the official language of your sad ancestor:
God.

***
* Special thanks to Matti, a very kind and supportive friend of Words, for suggesting this poem to us.
* Do you have a suggestion or special request? Send it our way either via our Contact page or Twitter.

“The Story of Ferdinand the Bull” by Matt Mason

Dad would come home after too long at work
and I’d sit on his lap to hear
the story of Ferdinand the Bull; every night,
me handing him the red book until I knew
every word, couldn’t read,
just recite along with drawings
of a gentle bull, frustrated matadors,
the all-important bee, and flowers—
flowers in meadows and flowers
thrown by the Spanish ladies.
Its lesson, really,
about not being what you’re born into
but what you’re born to be,
even if that means
not caring about the capes they wave in your face
or the spears they cut into your shoulders.
And Dad, wonderful Dad, came home
after too long at work
and read to me
the same story every night
until I knew every word, couldn’t read,
just recite.

“The Story of Ferdinand the Bull” by Matt Mason, from The Baby That Ate Cincinnati. © Stephen F. Austin State University Press, 2013

“A Struggling Artist’s Guide to Retail” by Omar Holmon & Brian Dillon

~Omar “Ion” Holmon and Brian “Omni” Dillon