In the laboratory waiting room
containing
one television actor with a teary face
trying a contact lens;
two muscular victims of industrial accidents;   
several vain women—I was one of them—   
came Deborah, four, to pick up her glass eye.

It was a long day:
Deborah waiting for the blood vessels
painted
on her iris to dry.
Her mother said that, holding Deborah
when she was born,
“First I inspected her, from toes to navel,
then stopped at her head …”
We wondered why
the inspection hadn’t gone the other way.   
“Looking into her eye
was like looking into a volcano:

“Her vacant pupil
went whirling down, down to the foundation   
of the world …
When she was three months old they took it out.   
She giggled when she went under
the anaesthetic.
Forty-five minutes later she came back
happy! …
The gas wore off, she found the hole in her face
(you know, it never bled?),
stayed happy, even when I went to pieces.   
She’s five, in June.

“Deborah, you get right down
from there, or I’ll have to slap!”
Laughing, Deborah climbed into the lap
of one vain lady, who
had been discontented with her own beauty.   
Now she held on to Deborah, looked her steadily   
in the empty eye.


Copyright Credit: Carolyn Kizer, “Through a Glass Eye, Lightly” from Cool, Calm, and Collected: Poems 1960-2000. Copyright © by Carolyn Kizer. Used with the permission of Copper Canyon Press.

The unsympathetic wind, how she has evaded me for years now,
leaving a guileless shell and no way to navigate. Once when I stood
on a plateau of earth just at the moment before the dangerous,
jutting peaks converged upon the lilting sway of grasslands, I almost
found a way back. There, the sky, quite possibly all the elements,
caused the rock and soil and vegetation to congregate. Their prayer
was not new and so faint I could hardly discern. Simple remembrances,
like a tiny, syncopated chorus calling everyone home: across
a thousand eastward miles, and what little wind was left at my back.
But I could not move. And then the music was gone.
All that was left were the spring time faces of mountains, gazing down,
their last patches of snow, luminous. I dreamed of becoming snow melt,
gliding down the slope and in to the valley. With the promise,
an assurance, that there is always a way to become bird, tree, water again.


Copyright Credit: M. L. Smoker, “Heart Butte, Montana” from New Poets of Native Nations. Copyright © 2018 by M. L. Smoker. Used with the permission of the author.

Why did I never see it for what it was:
abundance? Two families, two different
kitchen tables, two sets of rules, two
creeks, two highways, two stepparents
with their fish tanks or eight-tracks or
cigarette smoke or expertise in recipes or
reading skills. I cannot reverse it, the record
scratched and stopping to that original
chaotic track. But let me say, I was taken
back and forth on Sundays and it was not easy
but I was loved each place. And so I have
two brains now. Two entirely different brains.
The one that always misses where I’m not,
and the one that is so relieved to finally be home.


Copyright Credit: Ada Limón, “Joint Custody” from Startlement: New and Selected Poems. Copyright © 2022 by Ada Limón. Used with the permission of Milkweed Editions.

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –

And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –

I’ve heard it in the chillest land –
And on the strangest Sea –
Yet – never – in Extremity,
It asked a crumb – of me.

It is difficult to know what to do with so much happiness.
With sadness there is something to rub against,
a wound to tend with lotion and cloth.
When the world falls in around you, you have pieces to pick up,
something to hold in your hands, like ticket stubs or change.

But happiness floats.
It doesn’t need you to hold it down.
It doesn’t need anything.
Happiness lands on the roof of the next house, singing,
and disappears when it wants to.
You are happy either way.
Even the fact that you once lived in a peaceful tree house
and now live over a quarry of noise and dust
cannot make you unhappy.
Everything has a life of its own,
it too could wake up filled with possibilities
of coffee cake and ripe peaches,
and love even the floor which needs to be swept,
the soiled linens and scratched records . . .

Since there is no place large enough
to contain so much happiness,
you shrug, you raise your hands, and it flows out of you
into everything you touch. You are not responsible.
You take no credit, as the night sky takes no credit
for the moon, but continues to hold it, and share it,
and in that way, be known.


Copyright Credit: Naomi Shihab Nye, “So Much Happiness” from Words Under the Words: Selected Poems. Copyright © 1994 by Naomi Shihab Nye. Used with the permission of Far Corner Books.

Arching under the night sky inky
with black expansiveness, we point
to the planets we know, we

pin quick wishes on stars. From earth,
we read the sky as if it is an unerring book
of the universe, expert and evident.

Still, there are mysteries below our sky:
the whale song, the songbird singing
its call in the bough of a wind-shaken tree.

We are creatures of constant awe,
curious at beauty, at leaf and blossom,
at grief and pleasure, sun and shadow.

And it is not darkness that unites us,
not the cold distance of space, but
the offering of water, each drop of rain,

each rivulet, each pulse, each vein.
O second moon, we, too, are made
of water, of vast and beckoning seas.

We, too, are made of wonders, of great
and ordinary loves, of small invisible worlds,
of a need to call out through the dark.


Copyright Credit: Ada Limón, “In Praise of Mystery: A Poem for Europa” from Startlement: New and Selected Poems. Copyright © 2025 by Ada Limón. Used with the permission of Milkweed Editions.

The mask that burns like a violin, the mask
that sings only dead languages, that loves
the destruction of being put on. The mask
that sighs like a woman even though
a woman wears it. The mask beaded with
freshwater pearls, with seeds. The plumed mask,
the mask with a sutured mouth, a moonface,
with a healed gash that means harvest. A glower
that hides wanting. A grotesque pucker. Here’s
a beaked mask, a braided mask, here’s a mask
without eyes, a mask that looks like a mask
but isn’t—please don’t try to unribbon it.
The mask that snows coins, the mask full of wasps.
Lace mask to net escaping thoughts. Pass me
the rouged mask, the one made of sheet music.
Or the jackal mask, the hide-bound mask
that renders lovers identical with night.


Copyright Credit: Rebecca Lindenberg, “Carnival” from Love, an Index (McSweeney’s, 2012). Copyright © 2012 by Rebecca Lindenberg. Used with the permission of the author.

Heartbeat trembling
your kingdom
of leaves
near the ceremony
of water, I never
insisted on you. I admit
I delayed. I was the Empress
of Delay. But it can’t be
put off now. On the sacred branch
of my only voice – I insist.
Insist for us all,
which is the job
of the voice, and especially
of the poet. Else
what am I for, what use
am I if I don’t
insist?
There are messages to send.
Gatherings and songs.
Because we need
to insist. Else what are we
for? What use
are we?


Copyright Credit: Tess Gallagher, “Refusing Silence” from Amplitude: New and Selected Poems. Copyright © 1987 by Tess Gallagher. Used with the permission of Graywolf Press.

Saturday mornings, before
my weekly chores,
I used to sneak out of the house
and across the street,
grabbing the first grasshopper
walking in the damp California grass
along the stream.
Carefully hiding a silver hook
beneath its green wings,
I’d float it out
across the gentle ripples
towards the end of its life.
Just like that.
I’d give it the hook
and let it ride.
All I ever expected for it
was that big-mouth bass
awaiting its arrival.
I didn’t think
that I was giving up one life
to get another,
that even childhood
was full of sacrifice.
I’d just take the bright green thing,
pluck it off its only stalk,
and give it away as if
it were mine to give.
I knew someone out there
would be fooled,
that someone would accept
the precious gift.
So I just sent it along
with a plea of a prayer,
hoping it would spread its wings this time
and fly across that wet glass sky,
no concern for what inspired
its life, or mine,
only instinct guiding pain
towards the other side.


Eric Chock, “The Bait” from Last Days Here. Copyright © 1990 by Eric Chock. Used with the permission of Bamboo Ridge Press.

I saw then the white-eyed man
leaning in to see if I was ready

yet to go where he has been waiting
to take me. I saw then the gnawing

sounds my faith has been making
and I saw too that the shape it sings

in is the color of cast-iron mountains
I drove so long to find I forgot I had

been looking for them, for the you
I once knew and the you that was born

waiting for me to find you. I have been
twisting and turning across these lifetimes

where forgetting me is what you do
so you don’t have to look at yourself. I saw

that I would drown in a creek carved out
of a field our incarnations forged the first path

through to those mountains. I invited you to stroll
with me there again for the first time, to pause

and sprawl in the grass while I read to you
the poem you hadn’t known you’d been waiting

to hear. I read until you finally slept
and all your jagged syntaxes softened into rest.

You’re always driving so far from me towards
the me I worry, without you, is eternity. I lay there,

awake, keeping watch while you snored.
I waited, as I always seem to, for you

to wake up and come back to me.


Tarfia Faizullah, “The Poem You’ve Been Waiting For” from Poetry (April 2016). Copyright © 2016 by Tarfia Faizullah. Used by permission of the author.