Showing posts with label Norton. Show all posts
Showing posts with label Norton. Show all posts

Wednesday, December 18, 2019

REGINALD DWAYNE BETTS ~







When I Think of Tamir Rice While Driving


in the backseat of my car are my own sons,
still not yet Tamir’s age, already having heard
me warn them against playing with toy pistols,
though my rhetoric is always about what I don’t
like, not what I fear, because sometimes
I think of  Tamir Rice & shed tears, the weeping
all another insignificance, all another way to avoid
saying what should be said: the Second Amendment
is a ruthless one, the pomp & constitutional circumstance
that says my arms should be heavy with the weight
of a pistol when forced to confront death like
this: a child, a hidden toy gun, an officer that fires
before his heart beats twice. My two young sons play
in the backseat while the video of  Tamir dying
plays in my head, & for everything I do know, the thing
I don’t say is that this should not be the brick and mortar
of poetry, the moment when a black father drives
his black sons to school & the thing in the air is the death
of a black boy that the father cannot mention,
because to mention the death is to invite discussion
of  taboo: if you touch my sons the crimson
that touches the concrete must belong, at some point,
to you, the police officer who justifies the echo
of the fired pistol; taboo: the thing that says that justice
is a killer’s body mangled and disrupted by bullets
because his mind would not accept the narrative
of  your child’s dignity, of  his right to life, of  his humanity,
and the crystalline brilliance you saw when your boys first breathed;
the narrative must invite more than the children bleeding
on crisp fall days; & this is why I hate it all, the people around me,
the black people who march, the white people who cheer,
the other brown people, Latinos & Asians & all the colors of   humanity
that we erase in this American dance around death, as we
are not permitted to articulate the reasons we might yearn
to see a man die; there is so much that has to disappear
for my mind not to abandon sanity: Tamir for instance, everything
about him, even as his face, really and truly reminds me
of my own, in the last photo I took before heading off
to a cell, disappears, and all I have stomach for is blood,
and there is a part of me that wishes that it would go away,
the memories, & that I could abandon all talk of making it right
& justice. But my mind is no sieve & sanity is no elixir & I am bound
to be haunted by the strength that lets Tamir’s father,
mother, kinfolk resist the temptation to turn everything
they see into a grave & make home the series of cells
that so many of my brothers already call their tomb.


______________________
Reginald Dwayne Betts
Felon
Norton, 2019








Tuesday, February 5, 2019

KAFKA'S LAST TRIAL ~






Cynthia Ozick's sharp-eyed view of the book
must be shared ~

“Though Benjamin Balint’s masterful hunt for Kafka’s rightful ownership begins as a local dispute in an Israeli family court, it soon thickens into modernity’s most bitterly contentious cultural conundrum. Who should inherit Franz Kafka? The woman into whose hands his manuscripts fortuitously fell? Germany, the nation that murdered his sisters but claims his spirit? Israel, asserting a sovereign yet intimate ancestral right? Searing questions of language, of personal bequest, of friendship, of biographical evidence, of national pride, of justice, of deceit and betrayal, even of metaphysical allegiance, burn through Balint’s scrupulous trackings of Kafka’s final standing before the law.” — Cynthia Ozick, author of Foreign Bodies



Norton 
2018


"The rise of Nazism put an end to the rich German-Jewish literary
symbiosis that had so decisively shaped both cultures, and to the long and lively Jewish love affair with the German language."

 — Benjamin Balint
the opening sentence to chapter 9
"Kafka's Creator"







Tuesday, May 8, 2018

LI-YOUNG LEE ~








—————————————



Sandalwood


The ash keeps dropping from the incense stick.



I keep turning you over in my mind.

I keep turning you over in my heart.



The stick shortens, burning.

The ash grows

and falls.



I keep turning you over.

I keep turning you.

I keep turning.



The ash keeps falling, piling up, more

of the silent reduction.

Burning earns such clean wages,

eye of ember, eye of ash hastening.



I keep turning your eyes over

to find your thoughts.

Turning your voice over

to find your meaning.

Turning your body over to find

a place to hide me.



And you keep turning inside me.



—————————
Li-Young Lee
The Undressing
Norton 2018






Saturday, January 14, 2017

ARI BANIAS ~






N A R R A T I V E
                                                          ________________________________



For example, I was once

a sundress on a splintery

swingset in Texas, and the world

was made of yellow grass

struggling to live in sand, sand

beyond our fence, across the street,

sand that could have drowned us

but didn't. Because it was

a border town, there were other

others, so we sort of

belonged. The cacti, religiously

stoic, held promise, as did the mountains,

cast pink in the waning sun.

In Illinois I tried to build a kind of Midwestern

girlhood that failed and failed

into the shape of a flute

I played only high notes on.

I stopped eating

meat. Stopped speaking

Greek. Became an ear.

Now the only one I remember from that time

is the girl who looked like a boy or maybe

was one, who walked the same way home

I walked, same coat, same sneakers,

whom I never once greeted, just repeated

his-her name to myself: Dominick? Dominique?

Massively old trees canopied the cobbled streets.

The houses set so far apart you'd hear neither

argument nor song. Dominick.

Dominique. Not a stitch of recognition

passed between us.



_________________


A R I     B A N I A S
A N Y B O D Y
Norton 2016