From an early age, I cruised
the library, mapped the aisles of men's

magazines discreetly. Loosed
from my mother's orbit, I walked past

shelves of Religion with no end
in sight, and then fantasised—chiselled

volumes sweating back to back. I swerved
and saw a librarian reach for the highest

tome. Detoured to meet my mother's reading
glasses lower, saying go home, I turned

the page to feign the plot is riveting. Alone,
at last and lowered into cushion, I lay under

the shade of an ordinary shelf. For years,
I lay there thinking I don’t want to be left

on the shelves
which grew heavier with books
each year unread and then: The Invisible

Manuscript
. That red hibiscus lolling
like a tongue or a wet steak proffering

its pistil. Plenitude of perversities
that each cover prophesies. I flipped

and (here boys were making love under
mosquito nets, spun like / helicopter blades)

my fingers came so close to tasting
punctuation. As if in each pollen

the poet permitted us: Go forth
and multiply. Go forth. Multiply.
from the book OF THE FLORIDS / Diode Editions
READ ABOUT TODAY'S POEM
Share Share
Tweet Tweet
Forward Forward
This poem imagines the public library as a space for queer encounters and self-definition. Many of us can attest to how we built our identities through the words of others. It is a rare moment of self-exposure in my book, "Of the Florids," which otherwise takes on other voices in the archives of Singapore’s natural history.

Shawn Hoo on "Precocious"
Illustration of flowers
You Make Poetry Daily

Poetry Daily is reader supported. Your donation this season will allow Poetry Daily to thrive for years to come. Thank you for all you do for poetry.
SUPPORT POETRY DAILY TODAY
Headshot of poet Paisley Rekdal
Paisley Rekdal Discusses Her New Book

"I feel more hopeful about the future after West because I think the cyclicality of our national problems—around race, around technology, around nationhood itself—is actually a reflection about how committed we are to solving them. We could see it as a doom cycle, or we could see it as a gesture of commitment....We are, I believe, getting better in the fight, even as we understand that the fight can never truly and totally be won."

via INTERLOCUTOR
READ ALL TODAY'S HEADLINES
Cover of The Diaspora Sonnets
What Sparks Poetry:
Oliver de la Paz on Language as Form


"I started writing pantoums to demarcate section breaks to rectify what I saw as an imbalance in the work. I wanted to place the pantoum, which was originally a Malaysian form, against the sonnet's Western European tradition as a subtle nod to the complications that arise when attempting to adapt to a place."
READ THIS WEEK'S ISSUE
donate
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.

© 2023 Poetry Daily, Poetry Daily, MS 3E4, 4400 University Dr., Fairfax, VA 22030

Design by the Binding Agency