“His walking stick stands in my cupboard…”
Rajani Radhakrishnan is one of my favorite poets. This prose poem was published today in The Quiet Letter. Read more of Rajani’s stunning work on her site ThotPurge.
The idiom of childhood seeps into this borrowed lexicon, like the leaky roof drawing patches on the wall smelling of another rain, smelling of grandfather’s only black coat that he wore like a second skin;
When it hung on the nail behind the door, he was shrunken, diminished, swallowed by loud kitchen voices, rambunctious brass and copper pots, their warm bottoms patterned with soot;
His walking stick stands in my cupboard, older than me, than him, head bent in a way his never was, even the night by grandma’s body, preparing her, preparing himself;
I search for him with words in a language he never spoke, that can state he laughed out loud watching cartoons with me that last summer, but cannot translate the way his whole body shook, the way the sea trickled out of one eye, his face contorted into something that I now call joy.
Rajani Radhakrishnan is a poet from Bangalore, India. Photo courtesy of The Huffington Post.
“. . .no two people had ever been farther apart. ‘
Mark Shirey grapples with both unrequited love and cultural norms in this sensitive, introspective poem. Mark is a member of my poetry workshop group which has met every other Saturday morning for 3 1/2 years.
I bought her a graduation gift at the Art Museum store –
a long, gold necklace that would glow on her brown skin
and follow her neck in graceful twirling arcs.
I wished the nights in the computer lab would never end,
spent with my beautiful Indian dancing friend.
When she went to India on a semester break, I looked at the moon
and thought no two people had ever been farther apart.
When she and her lily-white beau took a break, she was mine for a week.
When they got back together, she’d return to my mind forever.
I put the wrapped box on the table with other gifts.
Among the guests, saris and bindis, I danced and mingled.
I asked, “How do you tell which ones are single?”
“The married ones wear long, gold chains given to them by their husbands.”
– Mark Shirey
“. . . Train fare is cheaper when you’re alive.”
Hilary Hauck’s poem of the River Ganges is a powerful statement of death and of life. You can read more about Hilary’s work here.
Street sleepers line both sides of the avenue
like colorful rows of dolls.
They’re old or sick the guide says. Train fare
is cheaper when you’re alive.
He leads us to where time hasn’t changed,
alleys glowing oil-lamp yellow,
so narrow we meld our backs
to the stone walls to let a sacred cow pass.
A loudspeaker chants
impersonal prayers, bells toll.
The buildings end on a terrace
above the cremation ghat,
where lucky bodies bandaged
in cloths wait their turn.
Smoke of flesh emanates,
we cover our faces with scarves
but he says it’s an insult to
imitate Indian dress
so we breathe in the dead.
Only the wealthy can buy
a thick sandalwood pyre,
the poor make do with scant scraps
whose flames are unable to devour whole bones.
Attendants pick through cooling ashes
and body remnants,
pocketing gold the dead
had meant to keep, sweeping
the bones into a basket to be tipped
into the well-fed drift of the
where by day crowds bathe and
float islands of flowers on leaves
and pray for those able to die here,
because they are the ones that escape
the eternal cycle of life,
spared, by moksha, from reincarnation,
released into heaven
for a final kind of death.
– Hilary Hauck