Roger Reeves

Alice Coltrane, her harp, fills in the cracks of me
With gold. The Japanese call it Kintsugi.
Where the vessel broken, only gold will permit
Its healing. Its history. It's How the Stars Understand
Us, lemon flowers on the skin of the earth,
Mosquito filled with the blood that sirens its fat,
Long life. Who isn't dying to leave this house,
To go masked only in the shadow of one's animal-
Breathing, lonesome, unprotected, knowing
Nothing lives as foreignness or death,
That the black dog with the sword in his mouth
Passing from house to house will not bring its itch,
Its ticks and locks clogging our lungs, a permanent
Quarantine—nothing that a little gold
Melted to ichor and spilled into the veins
Won't seam. Everything is a blue divergence
On a harp, the red bells in the purple
Crepe myrtle this morning forgetting
That soon they will be the corpses the spring
Tree kneels to observe. No, no, they remember
As everything dying remembers its mother's
Name. Say your mother's name. Not for power
But for the glimpse of power, to be more
Than a hesitation, gold filling in the cracks,
A window thrown open for no other reason
Than to continue a blue feeling, nothing
Needed other than this devotion to darkness,
A Fire Gotten Brighter, my daughter holding
My small name in her mouth, light-broken
Beloved, my daughter—a window thrown
Open—her voice, gold filling in the cracked
Basketball court of me, announcing all
Nature, all nature will be dead for life soon.
from the journal THE SEWANEE REVIEW
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At the beginning of the pandemic, I read poems to my four-year old daughter as a way of both continuing my poetry practice while trying to be a full-time teacher to her, poet, professor, and dad. I hoped the collective readings would offer us something other than the panic that sat at the door step with all of the unknowns that surrounded this disease that had entered the country and ground it a halt. After each reading, I asked her if she felt anything. Sometimes, she responded with a poem of her own. This poem, “Journey to Satchidananda,” is a response to one of her poems, and the last line of the poem is hers, what she said to me while responding to a poem by Audre Lorde. 
Formal color photograph of the Emperor and Empress of Japan at their annual poem ceremony
Japan's Emperor Shares His Hopes in Poetry

In an annual poem ceremony, Emperor Naruhito looked toward an end to the pandemic. "The family's poems, as well as works composed by other members of the imperial family and 10 pieces chosen from 13,830 entries submitted by the public, were recited in the traditional style."

viaKYODO NEWS
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Cover of How To Carry Water: Selected Poems of Lucille Clifton
"In 'study the masters,' I immediately see 'aunt timmie' as my grandmother, as my great aunt ironing the master poet’s linen. I love how 'he' is not what the poem is about—'he' is a consequence, a step on the ladder to 'aunt timmie.' In fact, it is 'aunt timmie' who is centered at the beginning of the poem; her invisible labor made visible drives the poem. America is the result of that labor, the last word."
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