Lena Khalaf Tuffaha

The name of my father's village speaks 
of the misery of pilgrims unwelcome 
for their poverty, a thorn 

-strewn hillside to keep them 
at a distance from the house 
of god for fear of their disfigurement. 

All language is littered with corpses 
of words, the shrouds we make 
for them, the sacred oils we spill 

to anoint or embalm. Beit a home; 
ancient breath and second 
letter of ancestry. Home of unripe figs 

or of suffering? Or of the tribe 
who amassed enough gold 
and armor to consolidate a story? 

I need no dictionary 
to parse the twin spirits of Anya—
that affliction and caregiving 

are one vector, measured in cubits 
or years of prayer occluded 
from the sanctuary. In my father's childhood,

soldiers clamored the rocks 
to Lazarus' tomb. He longed for 
lamb and spiced rice instead of the bones 

the wealthy uncles sent 
for broth to stay ten mouths. He dreamt 
and wandered the olive groves. 

He went to school in the city 
of seventy names. All language is volition 
—the rising up of a body 

thought lifeless, the summoning 
of a spirit from sepulchral silence. A village 
might be known for derelict light, 

for the footsteps of supplicants, its dead 
a transom fastening it to memory. Before his own 
father died the family kept a dog, to herd cattle 

and hold coyotes at the edges of the field. 
Prince—my father told us the animal's name, 
a frail laugh uttered as a third transfusion raised him, 

again, from the edge. A proper English name, 
a protest, even our dog, awlaad el kalb
and when the canine sank his teeth 

into the soldier's sun-burned shin, my grandfather 
protected his noble beast, told the soldier who had come for blood 
to take my grandfather's life first. 

All language is legend—we grow into its landscapes. 
House of Misery for want, for death's 
early visits and a dearth of miracles. My father says 

the soldier returned, smirking, 
with a thick slab of meat that Prince could not resist. 
Our derivation of meaning—the study we make 

of moments—travels the empires engraved 
in our palms. That a poison robbed a young boy 
of his dog is both calamity and marginalia. 

All language is oracular—
we are forever 
burnishing the wound, readying the chasm.
from the journal WEST BRANCH
READ ABOUT TODAY'S POEM
Share Share
Tweet Tweet
Forward Forward
"Beastly Clues: T. S. Eliot, Torquemada, and the Modernist Crossword"

"The entangled difficulties of the cryptic crossword, then, provided a uniquely vital opportunity for defamiliarising language: for reheating, as it were, Bushmiller's alphabet soup, and letting the animals run rampant. Whether 'breeding / Lilacs out of the dead land,' as in The Waste Land, or breeding bird-pie fractals, the experimental aspects of literary modernism found extreme expression in cryptics, which took literature and letters alike as their raw materials."

via PUBLIC DOMAIN REVIEW
READ ALL TODAY'S HEADLINES
Support Poetry Daily

Searching for a simple way to show your support? Purchase your books, whether or not you discovered them on Poetry Daily, at our virtual bookstore on Bookshop. Every book you buy helps to bring the best contemporary poetry to you every morning.
 
What Sparks Poetry: 
Danielle Badra on Diane Seuss' "Still Life with Turkey"


"All of these cumulative experiences of death and all the ones yet to come and all the deaths that aren't even in my view, they are my beached whale. They are beautiful yet difficult to see up close. The only way I've ever been able to explore is from a safe distance. However, the exploration of death in all of Diane Seuss' poetry collections inspires me to zoom in a little closer, to love 'its saggy neck folds, the rippling, variegated / feathers, the crook of its unbound foot.'"
READ THIS WEEK'S ISSUE
View in browser

You have received this email because you submitted your email address at www.poems.com
If you would like to unsubscribe please click here.

© 2022 Poetry Daily, Poetry Daily, MS 3E4, 4400 University Dr., Fairfax, VA 22030

Design by the Binding Agency