She Had Some Horses

By Joy Harjo

She had some horses.
She had horses who were bodies of sand.
She had horses who were maps drawn of blood.
She had horses who were skins of ocean water.
She had horses who were the blue air of sky.
She had horses who were fur and teeth.
She had horses who were clay and would break.
She had horses who were splintered red cliff.

She had some horses.

She had horses with long, pointed breasts.
She had horses with full, brown thighs.
She had horses who laughed too much.
She had horses who threw rocks at glass houses.
She had horses who licked razor blades.

She had some horses.

She had horses who danced in their mothers' arms.
She had horses who thought they were the sun and their bodies shone and burned like stars.
She had horses who waltzed nightly on the moon.
She had horses who were much too shy, and kept quiet in stalls of their own making.

She had some horses.

She had horses who liked Creek Stomp Dance songs.
She had horses who cried in their beer.
She had horses who spit at male queens who made them afraid of themselves.
She had horses who said they weren't afraid.
She had horses who lied.
She had horses who told the truth, who were stripped bare of their tongues.

She had some horses.

She had horses who called themselves, "horse."
She had horses who called themselves, "spirit." and kept their voices secret and to themselves.
She had horses who had no names.
She had horses who had books of names.

She had some horses.

She had horses who whispered in the dark, who were afraid to speak.
She had horses who screamed out of fear of the silence, who carried knives to protect themselves from ghosts.
She had horses who waited for destruction.
She had horses who waited for resurrection.

She had some horses.

She had horses who got down on their knees for any savior.
She had horses who thought their high price had saved them.
She had horses who tried to save her, who climbed in her bed at night and prayed as they raped her.

She had some horses.

She had some horses she loved.
She had some horses she hated.

These were the same horses.

One Art

By Elizabeth Bishop

The art of losing isn’t hard to master:
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
Places, and names, and where is was you meant
to travel. None of these will bring you disaster.

I lost my mother’s watch. And look! My last, or
next to last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

- Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) a disaster.

Untitled

i like my body when it is with your
body. it is so quite new a thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones, and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the, shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh....And eyes big love-crumbs

and possibly i like the thrill

of under me you so quite new


by e.e. cummings

Fast Break

By Edward Hirsch

A hook shot kisses the rim and
hangs there, helplessly, but doesn't drop,

and for once our gangly starting center
boxes out his man and times his jump

perfectly, gathering the orange leather
from the air like a cherished possession

and spinning around to throw a strike
to the outlet who is already shoveling

an underhand pass toward the other guard
scissoring past a flat-footed defender

who looks stunned and nailed to the floor
in the wrong direction, trying to catch sight

of a high, gliding dribble and a man
letting the play develop in front of him

in slow motion, almost exactly
like a coach's drawing on the blackboard,

both forwards racing down the court
the way that forwards should, fanning out

and filling the lanes in tandem, moving
together as brothers passing the ball

between them without a dribble, without
a single bounce hitting the hardwood

until the guard finally lunges out
and commits to the wrong man

while the power-forward explodes past them
in a fury, taking the ball into the air

by himself now and laying it gently
against the glass for a lay-up,

but losing his balance in the process,
inexplicably falling, hitting the floor

with a wild, headlong motion
for the game he loved like a country

and swiveling back to see an orange blur
floating perfectly though the net.

Quilts

By Nikki Giovanni

Like a fading piece of cloth
I am a failure

No longer do I cover tables filled with food and laughter
My seams are frayed my hems falling my strength no longer able
To hold the hot and cold

I wish for those first days
When just woven I could keep water
From seeping through
Repelled stains with the tightness of my weave
Dazzled the sunlight with my
Reflection

I grow old though pleased with my memories
The tasks I can no longer complete
Are balanced by the love of the tasks gone past

I offer no apology only
this plea:

When I am frayed and strained and drizzle at the end
Please someone cut a square and put me in a quilt
That I might keep some child warm

And some old person with no one else to talk to
Will hear my whispers

And cuddle
near

Untitled

Freedom to love the law that Moses brought
to sing the songs of David and to think
the thoughts Gavirol to Spinoza taught
Freedom to dig the common earth, to drink
The universal air - for this they sought
Refuge o'er wave and continent, to link
Egypt with Texas in their mystic chain,
And truth's perpetual lamp forbid to wane.

By Emma Lazarus
Found at the Institute for Texan Cultures

Maggid

By Marge Piercy

The courage to let go of the door, the handle.
The courage to shed the familiar walls whose very
stains and leaks are comfortable as the little moles
of the upper arm; stains that recall a feast,
the desert, where theIisraelites hung out for 40 years,
a child's naughtiness, a loud blistering storm
that slapped the roof hard, pouring through.
The courage to abandon the graves dug into the hill,
the small bones of children and the brittle bones
of the old whose marrow hunger had stolen;
the courage to desert the tree planted and only
begun to bear; the riverside where promises were
shaped; the street where their empty pots were broken.
The courage to leave the place whose language you learned
as early as your own, whose customs however
dangerous or demeaning, bind you like a halter
you have learned to pull inside, to move your load;
the land fertile with the blood spilled on it;
the roads mapped and annotated for survival.
The courage to walk out of the pain that is known
into the pain that cannot be imagined,
mapless, walking into the wilderness, going
barefoot with a canteen into the desert;
stuffed in the stinking hold of a rotting ship
sailing off the map into dragons' mouths.
Cathay, India, Serbia, goldeneh medina,
leaving bodies by the way like abandoned treasure.
So they walked out of Egypt. So they bribed their way
out of Russia under loaves of straw; so they steamed
out of the bloody smoking charnelhouse of Europe
on overloaded freighters forbidden all ports--
out of pain into death or freedom or a different
painful dignity, into squalor and politics.
We Jews are all born of wanderers, with shoes
under our pillows and a memory of blood that is ours
raining down. We honor only those Jews who changed
tonight, those who chose the desert over bondage,
who walked into the strange and became strangers
and gave birth to children who could look down
on them standing on their shoulders for having
been slaves. We honor those who let go of everything
but freedom, who ran, who revolted, who fought,
who became other by saving themselves.

Tourists

By Yehuda Amichai

Once I sat on the steps by agate at David's Tower, I placed my two heavy baskets at my side. A group of tourists was standing around their guide and I became their target marker. "You see that man with the baskets? Just right of his head there's an arch from the Roman period. Just right of his head." "But he's moving, he's moving!"

I said to myself: Redemption will come only if their guide tells them, "You see that arch from the Roman period? It's not important: but next to it, left and down a bit, there sits a man who's bought fruit and vegetables for his family."

The Poem That Can't Be Written

By Lawrence Raab

is different from the poem
that is not written, or the many

that are never finished—those boats
lost in the fog, adrift

in the windless latitudes,
the charts useless, the water gone.

In the poem that cannot
be written there is no danger,

no ponderous cargo of meaning,
no meaning at all. And this

is its splendor, this is how
it becomes an emblem,

not of failure or loss,
but of the impossible.

So the wind rises. The tattered sails
billow, and the air grows sweeter.

A green island appears.
Everyone is saved.

Yes

By William Stafford

It could happen at any time, tornado,
earthquake, Armageddon. It could happen.
Or sunshine, love, salvation.

It could you know. That’s why we wake
and look out - no guarantees
in this life.

But some bonuses, like morning,
like right now, like noon,
like evening.