Saturday, September 19, 2020
RE-READING JUNE JORDAN ~
Even tonight and I need to take a walk and clear
my head about this poem about why I can’t
go out without changing my clothes my shoes
my body posture my gender identity my age
my status as a woman alone in the evening/
alone on the streets/alone not being the point/
the point being that I can’t do what I want
to do with my own body because I am the wrong
sex the wrong age the wrong skin and
suppose it was not here in the city but down on the beach/
or far into the woods and I wanted to go
there by myself thinking about God/or thinking
about children or thinking about the world/all of it
disclosed by the stars and the silence:
I could not go and I could not think and I could not
stay there
alone
as I need to be
alone because I can’t do what I want to do with my own
body and
who in the hell set things up
like this
and in France they say if the guy penetrates
but does not ejaculate then he did not rape me
and if after stabbing him if after screams if
after begging the bastard and if even after smashing
a hammer to his head if even after that if he
and his buddies fuck me after that
then I consented and there was
no rape because finally you understand finally
they fucked me over because I was wrong I was
wrong again to be me being me where I was/wrong
to be who I am
which is exactly like South Africa
penetrating into Namibia penetrating into
Angola and does that mean I mean how do you know if
Pretoria ejaculates what will the evidence look like the
proof of the monster jackboot ejaculation on Blackland
and if
after Namibia and if after Angola and if after Zimbabwe
and if after all of my kinsmen and women resist even to
self-immolation of the villages and if after that
we lose nevertheless what will the big boys say will they
claim my consent:
Do You Follow Me: We are the wrong people of
the wrong skin on the wrong continent and what
in the hell is everybody being reasonable about
and according to the Times this week
back in 1966 the C.I.A. decided that they had this problem
and the problem was a man named Nkrumah so they
killed him and before that it was Patrice Lumumba
and before that it was my father on the campus
of my Ivy League school and my father afraid
to walk into the cafeteria because he said he
was wrong the wrong age the wrong skin the wrong
gender identity and he was paying my tuition and
before that
it was my father saying I was wrong saying that
I should have been a boy because he wanted one/a
boy and that I should have been lighter skinned and
that I should have had straighter hair and that
I should not be so boy crazy but instead I should
just be one/a boy and before that
it was my mother pleading plastic surgery for
my nose and braces for my teeth and telling me
to let the books loose to let them loose in other
words
I am very familiar with the problems of the C.I.A.
and the problems of South Africa and the problems
of Exxon Corporation and the problems of white
America in general and the problems of the teachers
and the preachers and the F.B.I. and the social
workers and my particular Mom and Dad/I am very
familiar with the problems because the problems
turn out to be
me
I am the history of rape
I am the history of the rejection of who I am
I am the history of the terrorized incarceration of
myself
I am the history of battery assault and limitless
armies against whatever I want to do with my mind
and my body and my soul and
whether it’s about walking out at night
or whether it’s about the love that I feel or
whether it’s about the sanctity of my vagina or
the sanctity of my national boundaries
or the sanctity of my leaders or the sanctity
of each and every desire
that I know from my personal and idiosyncratic
and indisputably single and singular heart
I have been raped
be-
cause I have been wrong the wrong sex the wrong age
the wrong skin the wrong nose the wrong hair the
wrong need the wrong dream the wrong geographic
the wrong sartorial I
I have been the meaning of rape
I have been the problem everyone seeks to
eliminate by forced
penetration with or without the evidence of slime and/
but let this be unmistakable this poem
is not consent I do not consent
to my mother to my father to the teachers to
the F.B.I. to South Africa to Bedford-Stuy
to Park Avenue to American Airlines to the hardon
idlers on the corners to the sneaky creeps in
cars
I am not wrong: Wrong is not my name
My name is my own my own my own
and I can’t tell you who the hell set things up like this
but I can tell you that from now on my resistance
my simple and daily and nightly self-determination
may very well cost you your life
________________________
Friday, September 18, 2020
RE-READING PIERRE REVERDY ~
On Tiptoe
Nothing stays anymore
between my ten fingers
A vanishing shadow
At the center
a footstep
Choke off the voice that rises too high
That moaned and wouldn't die
That went too fast
It was who put a stop to this magnificent ardor
Hope and my pride
have passed on the wind
The leaves fell
while the birds were counting
the drops of water
The lamps went out behind the curtains
Not so fast
Be careful you'll break everything with so much noise
Perspective
Did the same
Car carry me away
I see where you came from
You turn your head
Midnight
On the moon
Just struck
At the street corner
Everything is turned around
I saw her face
Even her hands
The last star
Is in the garden
Just like the first
Think of tomorrow
Where will they be
The thoughtless dead
When the wall vanishes
The sky will fall
The World Before Me
Some time ago
Clear night
New sunrise
Next day
An old man on his knees holds out his hands
Animals ran all along the road
I sat me down
I have dreamed
A window opens on my head
Nobody home
A man goes by behind the hedge
The countryside where a single bird sings
Somebody is afraid
Somebody is amused
Down there between two little children
Joy
You against me
Rain washes away tears
You can't walk the narrow path
You go back the same way
There is a gate
Something just fe;;
Down behind there
His shadow bigger than himself
goes around the earth
And me I just sit there and don't dare look
__________________
Pierre Reverdy
Selected Poems
Translated by Kenneth Rexroth
New Directions, 1969

Around midnight, on hands & knees, I pulled
this old friend up off the bottom shelf and began
to read and instead of reading on and on I put in the
bookmark to save for the next night and the next. . .
Labels:
French poetry,
Kenneth Rexroth,
Pierre Reveredy
Thursday, September 17, 2020
SEARCHING FOR SECRET HEROES ~
Ann Charters
Samuel B. Charters
"Searching for Secret Heroes"
Document Records
2020
This is the heralded story behind Sam Charters
lost film "The Blues" from 1962
shown here now for the first time
and in color
with terrific field recordings and photographs
by Sam and Ann Charters —
this married duo searched into the heart
of great Americana, through Beat routes
(Ann Charters wrote the first biography of Jack Kerouac
shortly after his death) and Blues roots.
[BA]
Labels:
Ann Charters,
Blues Music,
cinema,
Document Records,
Samuel B. Charters
Wednesday, September 16, 2020
RE-READING LANGSTON HUGHES ~
The Negro Speaks of Rivers
( To W. E. B. DuBois )
I've known rivers:
I've known rivers ancient as the world and older than the
flow of human blood in human beings.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I've seen its muddy
bosom turn all golden in the sunset.
I've known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
Cross
My old man's a white old man
And my old mother's black.
If ever I cursed my white old man
I take my curses back.
If ever I cursed my black old mother
And wished she were in hell,
I'm sorry for that evil wish
And now I wish her well.
My old man died in a fine big house.
My ma died in a shack.
I wonder where I'm gonna die,
Being neither white nor black?
Epilogue
I, too, sing America,
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well
And grow strong.
Tomorrow,
I'll sit at the table
When company comes.
Nobody'll dare
Say to me,
"Eat in the kitchen,"
Then.
Besides,
They'll see how beautiful I am
And be ashamed, —
I, too, am America.
Poem
We have tomorrow
Bright before us
Like a flame.
Yesterday
A night-gone thing,
A sun-down name.
And dawn-today
Broad arch above the road we came.
__________________
Langston Hughes
The Weary Blues
Knopf 1926
These poems come from Langston Hughes
100 years ago with his first book of poem
The Weary Blues
published by Knopf, a very young press
then, only ten years old, and recently
re-issued with its original 1926 book design
by Miguel Covarrubias.
Ever since George Floyd was murdered
we have sold out every book from our
little bookshop by Langston Hughes, and James Baldwin
and Toni Morrison and George Jackson and
Martin Luther King, and the Black Panthers,
and Malcom X and Audre Lorde and
Lucille Clifton and even MOVE
from dark burned streets of
Philadelphia rose up. A friend
of ours, who worked poetry in
the prisons back in the 80s-90s
told us then she couldn't find a
bookstore that carried any books
by James Baldwin, and she searched
high and low. No more.
Labels:
Black Literature,
Kevin Young,
Knopf,
Langston Hughes,
poetry
Tuesday, September 15, 2020
Monday, September 14, 2020
POETS WHO SLEEP #16 ~
P O E T S W H O S L E E P
______________________
drawn & scribed by Bob Arnold
Sunday, September 13, 2020
RE-READING DUNCAN MCNAUGHTON ~
April, Needham
Time becomes a leftover along with
thought. All the gods return. How different
they are, how changed, how quietly they
gather, how calmly. How kind of them to come.
Between Parish Road and Nehoiden Street
our wind is having its way with
our pine trees tonight. I am hearing things
again. The genies are setting someone
loose. Unwrapping someone.
Water in the
birdbath now ice. History is what
midnight has become.
_____________________
Duncan McNaughton
Fathar Time
Blue Millennium Press
PO Box 958
Bolinas, CA 94924

No one writes like Duncan McNaughton, you'll notice
Labels:
Blue Millennium Press,
Duncan McNaughton,
poetry
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