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John James
The field is steeped with the violence of horses.
Night descends blue hills
and I attempt to weigh distance,
as a calf tests its footing to the water hole.
On the front porch, my cat devours a hummingbird.
He beats the brilliant body with his tufted paws.
He breaks its wings,
swallows whole the intricate bone-house.

Inside, the pilot light is burning.
My sister’s friend with the coal-eyes is over.
Gradually, I crawl into bed, aching for more light.
In the dooryard
a young boy stoops to pluck
feather from feather until his hands are sore.
So prone to sadness, this thief—
I take my glasses off and lay them on the table.
The shadow of a tree rests inside my palm.

This spring I commemorate my father’s death
by tacking deer-horns above the door.
My hammer-strokes disperse
an assembly of hens,
waiting around for me to scatter their seed.

A mile away the river is abundant.
It breaks its sudden excess
on a limestone bridge.
A big-axled wagon tips into the water,
where white mud washes the coachman clean.

This is a custom he repeats every year,
coming and going until his wheels give out,
coming to wet his tongue.

Dawn chalks over the horizon
rendering the sky a storm-blotched red.
The outline of a cow appears on the hill
and then dissolves into the fog.
I follow her path with my ear,
listening as a bell sounds out the trail—
It is mine, this world
of bread and skin and stone.
Lay me in the field with all the fallen horses.
from the book ONCE A CITY SAID: A LOUISVILLE POETS ANTHOLOGY / Sarabande Books
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"Years I've Slept Right Through" comes from my first book, "The Milk Hours", which is in part about my father's suicide. The poem is an early one, written when I was still dancing around this difficult subject matter, not yet ready to write about it. In "Once a City Said," it records natural violence in the rural outskirts of Louisville, Kentucky, where I spent much of my childhood.  
 
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A Review of Ben Lerner's The Lights

"In Lerner's works, we see how producing speech, an act we take for granted, has shaped the conditions of modern life, engendering precarity and wonder, paranoia and disbelief. These concerns are alive throughout his new collection of poetry, The Lights. In 'Auto-Tune,' for example, he writes in sprawling lines of the speech-shifting technology and its origins."

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"Dot and I were sleeping on the floor. Yumi was in the other room. It was raining and windy. We hung a furin, a Japanese wind bell, above our front porch, and it was ringing loudly, sweetly. It kept me awake, in a good way. I was content to just listen, then lines of poetry, unremarkable but quietly unrelenting, came to mind."
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