University of Chicago
2016
daydreaming w/ Bob Arnold
All songs composed by Sam "Lightning" Hopkins
Recorded by Chris Strachwitz on portable equipment in Houston, Texas, on December 18, 1967
Cover Photo by Chris Strachwitz
Cover design by Wayne Pope
Producer: Chris Strachwitz
The Garden by Moonlight
A black cat among roses,
Phlox, lilac-misted under a first-quarter moon,
The sweet smells of heliotrope and night-scented stock.
The garden is very still,
It is dazed with moonlight,
Contented with perfume,
Dreaming the opium dreams of its folded poppies.
Firefly lights open and vanish
High as the tip buds of the golden glow
Low as the sweet alyssum flowers at my feet.
Moon-shimmer on leaves and trellises,
Moon-spikes shafting through the snow ball bush.
Only the little faces of the ladies' delight are alert and staring,
Only the cat, padding between the roses,
Shakes a branch and breaks the chequered pattern
As water is broken by the falling of a leaf.
Then you come,
And you are quiet like the garden,
And white like the alyssum flowers,
And beautiful as the silent sparks of the fireflies.
Ah, Beloved, do you see those orange lilies?
They knew my mother,
But who belonging to me will they know
When I am gone.
_________________________________________________
AMY LOWELL
Sword Blades and Poppy Seed, 1914
Lafayette Thomas (born in 1928 in Shreveport, LA) was an electric blues guitarist. He cut his first sides as a sideman in Oakland, CA. in 1948 as a member of Bob Geddins' Cavaliers. He made his debut as a solo artist in 1951 recording one 78 RPM single at Sun Studios in Memphis TN. as L.J. Thomas and his Louisiana Playboys, that was issued on the Chess label. In 1954 he cut another single for the Modern label as Jerry Thomas. Sides recorded for the Peacock label in 1952 and for King in 1954 never saw the light of day. But he stayed busy in the 1950's and 1960's playing on records by Jimmy Wilson, James Reed, Juke Boy Barner (Bonner), Little Brother Montgomery, Roy Hawkins, Memphis Slim, and Jimmy McCracklin. He was a member of Muddy Waters' backing band on the classic 1960 LP "Muddy Waters At Newport". Lafayette made his last recordings as a solo artist in 1968. His last appearance as a sideman was on a Sugar Pie DeSanto record in 1972. He passed away in Brisbane, CA. in 1977. Composed by Lafayette Thomas Lafayette Thomas:Guitar All other musicians unknown. Recorded in Oakland, CA. c. 1955 Originally issued on Trilyte 1100 This recording taken from the CD "West Coast Guitar Killers 1951-1965 Volume 1"
Night Music
We lose our way
In the honey
Of the forest's blue clay
As fireflies spark deer
In the clearing.
Who are we following hornets
To their nests
Flirting with doves?
We lose our way
In the honey
Of the forests blue clay
Rubbing funeral oil on crows
As the winds of misfortune
Thunder with love.
Kira's Song
These are the winds
That carry us stargazing with owls in the forest.
These are the winds that carry us through
The dark, the light
The everyday care
Calling down the spirit-fires
Through cadmium clouds.
These are the winds that sanctify
Our blessing and songs
Daughter of salt and pines,
These are the winds
That carry us through
The hard stories,
The roosting of crows,
The hoop of rain and flowers
Your black-tourmaline
Earth luminosity
Shines through
Your compassionate heart
Calling you to me
Calling me to you
Daughter
Lost
Children in lost worlds
Rake shards in orphan winds.
The one-eyed crow in Gaza
Screes the war-torn land
As the moon breaks open.
______________________________
Terry Hauptman
Shattered
North Star Press of St. Cloud Inc.
2025
Winter Night, Sent to Wen Tingyun
Pains finding a poem to read you in the lamplight.
I haven't slept all night long — I have this cold quilt.
The courtyard is full of leaves blown off trees by a worried wind
and a sinking sad moon pierces the bed curtain and window scrim.
Dispersed, we have no time to carry out our wishes,
but in every rise and fall we see the mind in its original state.
Without a hidden perch in the paulownias,*
the sparrow circle the grove, vacantly chirping all night.
* Chinese parasol tree
Early Autumn
Tender chrysanthemums hold new colors, and
in the distant mountains dusk mist idles.
A cool wind startles the green trees —
clear rhymes to meld with red strings.
A longing woman, brocade in her loom,
someone trekking through the sky beyond the pass:
wild geese fly, fish are in the water,
and letters, too, get sent along.
The Scene in Late Spring
An impoverished home at the end of the lane. No companions, either,
except for a lover who stays in my dreams.
Waiting fragrances, fine silk? A banquet in some other house,
some other tower the wind is sending sings from.
I was woken this morning by the avenue's clamoring drums
and the chitchat of magpies in the courtyard interrupts my spring
sorrow.
How could I keep up with the human realm,
myself? I am an unmoored boat ten thousand miles away.
______________________
Yu Xuanji
Hiding In Caverns Formed
From Old Roots
TRANSLATED BY LUCAS KLEIN
Oxford 2024
As Winter Sets In
One morning while brushing your teeth,
a strange face in the mirror. Am I still in there?
you ask, No reply. This face: a field in need
of reseeding. A corsage your blind date
sat on. A tattered map fished from the glove
box of a vintage car. At this age, every day
a new face you can't renounce or forsake.
Your job (you were told this as a child when
Grandma came to stay, as she could be mean):
summon the grace to make this face welcome.
Amy Gerstler
Is This My Final Form?
Penguin 2025
Explores the powerful ways in which visual art has long provided its own rich outlet for protest, commentary, escape, and perspective for African Americans.
This important book showcases the potent role of visual art in African American history and culture. Featuring Black artists working in a range of media, from photography to sculpture to painting—including Amy Sherald, Benny Andrews, Sheila Pree Bright, Bisa Butler, Charles Alston, Elizabeth Catlett, Shaun Leonardo, and David Hammons, to name just a few—the book considers art that exemplifies resilience in times of conflict, as well as the ritual of creation, and the defiant pleasure of healing.
Reckoning, based on the exhibition of the same name at the National Museum of African American History and Culture (NMAAHC), explores the ongoing struggles Black Americans have faced in their pursuit to enjoy the fundamental rights and freedoms promised in the Constitution to citizens of the United States. Drawn from the museum’s permanent collection, the featured works respond to the dual crises of Covid-19 and systemic racism that shaped 2020, a period that has been called one of reckoning, as the world witnessed the killing of George Floyd, Breonna Taylor, and other African Americans, leading to some of the largest protests in US history.
Kevin Young is Andrew W. Mellon Director of the NMAAHC. Aaron Bryantis curator of photography at the NMAAHC. Bisa Butler is a textile artist. Michelle D. Commander is deputy director at the NMAAHC. Tuliza Fleming is curator of visual arts at the NMAAHC. Amy Sherald is a painter and portraitist. Deborah Willis is University Professor and chair of the Department of Photography & Imaging at Tisch School of the Arts.
The Ghost Wife
Who, after years
with her husband,
years of rearing
their strapping boy,
is scorched by an eye.
She was gathering laundry.
The sun stuttered
from the clouds.
The rice bubbled
on the stove. Her hands
and face bubbled
too. She did not
cry out. She did not
speak. She was hurried
indoors. What to do?
The neighbors. The talk.
The thing to do was
lay her in a coffin
upstairs
and close the lid.
______________________
Esther Lin
Cold Thief Place
Alice James Books, 2025
Essay
I guess it’s too late to live on the farm I guess it’s too late to move to a farm I guess it’s too late to start farming I guess it’s too late to begin farming I guess we’ll never have a farm I guess we’re too old to do farming I guess we couldn’t afford to buy a farm anyway I guess we’re not suited to being farmers I guess we’ll never have a farm now I guess farming is not in the cards now I guess Lewis wouldn’t make a good farmer I guess I can’t expect we’ll ever have a farm now I guess I’ll have to give up all my dreams of being a farmer I guess I’ll never be a farmer now We couldn’t get a farm anyway though Allen Ginsberg got one late in life Maybe someday I’ll have a big garden I guess farming is really out Feeding the pigs and the chickens, walking between miles of rows of crops I guess farming is just too difficult We’ll never have a farm Too much work and still to be poets Who are the farmer poets Was there ever a poet who had a self-sufficient farm Flannery O’Connor raised peacocks And Wendell Berry has a farm Faulkner may have farmed a little And Robert Frost had farmland And someone told me Samuel Beckett farmed Very few poets are real farmers If William Carlos Williams could be a doctor and Charlie Vermont too, Why not a poet who was also a farmer Of course there was Brook Farm And Virgil raised bees Perhaps some poets of the past were overseers of farmers I guess poets tend to live more momentarily Than life on a farm would allow You could never leave the farm to give a reading Or to go to a lecture by Emerson in Concord I don’t want to be a farmer but my mother was right I should never have tried to rise out of the proletariat Unless I can convince myself as Satan argues with Eve That we are among a proletariat of poets of all the classes Each ill-paid and surviving on nothing Or on as little as one needs to survive Steadfast as any farmer and fixed as the stars Tenants of a vision we rent out endlessly
____________________
Bernadette Mayer
The Golden Book of Words
New Directions 2025
originally published by Angel Hair Books, 1978