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st64 Mar 2014
Roselva says the only thing that doesn't change  
is train tracks. She's sure of it.
The train changes, or the weeds that grow up spidery  
by the side, but not the tracks.
I've watched one for three years, she says,
and it doesn't curve, doesn't break, doesn't grow.


Peter isn't sure. He saw an abandoned track
near Sabinas, Mexico, and says a track without a train  
is a changed track. The metal wasn't shiny anymore.  
The wood was split and some of the ties were gone.


Every Tuesday on Morales Street
butchers crack the necks of a hundred hens.  
The widow in the tilted house
spices her soup with cinnamon.
Ask her what doesn't change.


Stars explode.
The rose curls up as if there is fire in the petals.  
The cat who knew me is buried under the bush.


The train whistle still wails its ancient sound  
but when it goes away, shrinking back
from the walls of the brain,
it takes something different with it every time.
happy birthday, antonio -- may your soul-seasons exceed four :)


Naomi Shihab Nye
b. 1952

Naomi Shihab Nye was born in St. Louis, Missouri in 1952. Her father was a Palestinian refugee and her mother an American of German and Swiss descent, and Nye spent her adolescence in both Jerusalem and San Antonio, Texas. Her experience of both cultural difference and different cultures has influenced much of her work. Known for poetry that lends a fresh perspective to ordinary events, people, and objects, Nye has said that, for her, “the primary source of poetry has always been local life, random characters met on the streets, our own ancestry sifting down to us through small essential daily tasks.”

A contributor to Contemporary Poets wrote that she “brings attention to the female as a humorous, wry creature with brisk, hard intelligence and a sense of personal freedom unheard of” in the history of pioneer women.

Nye received her BA from Trinity University in San Antonio, Texas and continues to live and work in the city. “My poems and stories often begin with the voices of our neighbors, mostly Mexican American, always inventive and surprising,” Nye wrote for Four Winds Press. “I never get tired of mixtures.”

In Hugging the Jukebox (1902), Nye continues to focus on the ordinary, on connections between diverse peoples, and on the perspectives of those in other lands. She writes: “We move forward, / confident we were born into a large family, / our brothers cover the earth.” Nye creates poetry from everyday scenes throughout Hugging the Jukebox in poems like “The Trashpickers of San Antonio” and the title poem, where a boy is enthusiastic about the jukebox he adopts and sings its songs in a way that “strings a hundred passionate sentences in a single line.”

Nye is a fluid poet, and her poems are also full of the urgency of spoken language. Her direct, unadorned vocabulary serves her well:
‘A boy filled a bottle with water.
He let it sit.
Three days later it held the power
of three days.’
Such directness has its own mystery, its own depth and power, which Nye exploits to great effect.

Fuel (1998) is perhaps Nye’s most acclaimed volume. The poems range over a variety of subjects, settings and scenes. Reviewing the book for Ploughshares, Victoria Clausi regarded it as, above all, an attempt at connection: “Nye’s best poems often act as conduits between opposing or distant forces. Yet these are not didactic poems that lead to forced epiphanic moments. Rather, the carefully crafted connections offer bridges on which readers might find their own stable footing, enabling them to peek over the railings at the lush scenery.”

As a children’s writer, Nye is acclaimed for her sensitivity and cultural awareness.
Nye told Contemporary Authors: “I have always loved the gaps, the spaces between things, as much as the things. I love staring, pondering, mulling, puttering. I love the times when someone or something is late—there’s that rich possibility of noticing more, in the meantime…Poetry calls us to pause. There is so much we overlook, while the abundance around us continues to shimmer, on its own.”
Michael R Burch Oct 2020
Mahmoud Darwish: English Translations

Mahmoud Darwish is the essential breath of the Palestinian people, the eloquent witness of exile and belonging ... his is an utterly necessary voice, unforgettable once discovered.―Naomi Shihab Nye



Palestine
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

This land gives us
all that makes life worthwhile:
April's blushing advances,
the aroma of bread warming at dawn,
a woman haranguing men,
the poetry of Aeschylus,
love's trembling beginnings,
a boulder covered with moss,
mothers who dance to the flute's sighs,
and the invaders' fear of memories.

This land gives us
all that makes life worthwhile:
September's rustling end,
a woman leaving forty behind, still full of grace, still blossoming,
an hour of sunlight in prison,
clouds taking the shapes of unusual creatures,
the people's applause for those who mock their assassins,
and the tyrant's fear of songs.

This land gives us
all that makes life worthwhile:
Lady Earth, mother of all beginnings and endings!
In the past she was called Palestine
and tomorrow she will still be called Palestine.
My Lady, because you are my Lady, I deserve life!



Identity Card
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Record!
I am an Arab!
And my identity card is number fifty thousand.
I have eight children;
the ninth arrives this autumn.
Will you be furious?

Record!
I am an Arab!
Employed at the quarry,
I have eight children.
I provide them with bread,
clothes and books
from the bare rocks.
I do not supplicate charity at your gates,
nor do I demean myself at your chambers' doors.
Will you be furious?

Record!
I am an Arab!
I have a name without a title.
I am patient in a country
where people are easily enraged.
My roots
were established long before the onset of time,
before the unfolding of the flora and fauna,
before the pines and the olive trees,
before the first grass grew.
My father descended from plowmen,
not from the privileged classes.
My grandfather was a lowly farmer
neither well-bred, nor well-born!
Still, they taught me the pride of the sun
before teaching me how to read;
now my house is a watchman's hut
made of branches and cane.
Are you satisfied with my status?
I have a name, but no title!

Record!
I am an Arab!
You have stolen my ancestors' orchards
and the land I cultivated
along with my children.
You left us nothing
but these bare rocks.
Now will the State claim them
as it has been declared?

Therefore!
Record on the first page:
I do not hate people
nor do I encroach,
but if I become hungry
I will feast on the usurper's flesh!
Beware!
Beware my hunger
and my anger!

NOTE: Darwish was married twice, but had no children. In the poem above, he is apparently speaking for his people, not for himself personally.



Excerpt from “Speech of the Red Indian”
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Let's give the earth sufficient time to recite
the whole truth ...
The whole truth about us.
The whole truth about you.

In tombs you build
the dead lie sleeping.
Over bridges you *****
file the newly slain.

There are spirits who light up the night like fireflies.
There are spirits who come at dawn to sip tea with you,
as peaceful as the day your guns mowed them down.

O, you who are guests in our land,
please leave a few chairs empty
for your hosts to sit and ponder
the conditions for peace
in your treaty with the dead.



Passport
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

They left me unrecognizable in the shadows
that bled all colors from this passport.
To them, my wounds were novelties―
curious photos for tourists to collect.
They failed to recognize me. No, don't leave
the palm of my hand bereft of sun
when all the trees recognize me
and every song of the rain honors me.
Don't set a wan moon over me!

All the birds that flocked to my welcoming wave
as far as the distant airport gates,
all the wheatfields,
all the prisons,
all the albescent tombstones,
all the barbwired boundaries,
all the fluttering handkerchiefs,
all the eyes―
they all accompanied me.
But they were stricken from my passport
shredding my identity!

How was I stripped of my name and identity
on soil I tended with my own hands?
Today, Job's lamentations
re-filled the heavens:
Don't make an example of me, not again!
Prophets! Gentlemen!―
Don't require the trees to name themselves!
Don't ask the valleys who mothered them!
My forehead glistens with lancing light.
From my hand the riverwater springs.
My identity can be found in my people's hearts,
so invalidate this passport!



Excerpts from "The Dice Player"
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Who am I to say
the things I say to you?

I am not a stone
burnished to illumination by water ...

Nor am I a reed
riddled by the wind
into a flute ...

No, I'm a dice player:
I win sometimes
and I lose sometimes,
just like you ...
or perhaps a bit less.

I was born beside the water well with the three lonely trees like nuns:
born without any hoopla or a midwife.

I was given my unplanned name by chance,
assigned to my family by chance,
and by chance inherited their features, attributes, habits and illnesses.

First, arterial plaque and hypertension;
second, shyness when addressing my elders;
third, the hope of curing the flu with cups of hot chamomile;
fourth, laziness in describing gazelles and larks;
fifth, lethargy dark winter nights;
sixth, the lack of a singing voice.

I had no hand in my own being;
it was mere coincidence that I popped out male;
mere coincidence that I saw the pale lemon-like moon illuminating sleepless girls
and did not unleash the mole hidden in my private parts.

I might not have existed
had my father not married my mother
by chance.

Or I might have been like my sister
who screamed then died,
only alive an hour
and never knowing who gave her birth.

Or like the doves’ eggs
smashed before her chicks hatched.

Was it mere coincidence
that I was the one left alive in a traffic accident
because I didn’t board the bus ...
because I’d forgotten about life and its routines
while reading the night before
a love story in which I became first the author,
then the lover, then the beloved and love’s martyr ...
then overslept and avoided the accident!

I also played no role in surviving the sea,
because I was a reckless boy,
allured by the magnetic water
calling: Come to me!
No, I only survived the sea
because a human gull rescued me
when he saw the waves pulling me under and paralyzing my hands!

Who am I to say
the things I say to you
outside the church door?

I'm nothing but a dice throw,
a toss between predator and prey.

In my moonlit awareness
I witnessed the massacre
and survived by sheer chance:
I was too small for the enemy to target,
barely bigger than the bee
flitting among the fence’s flowers.

Then I feared for my father and family;
I feared for our time as fragile as glass;
I feared for my pet cat and rabbit;
I feared for a magical moon looming high over the mosque’s minarets;
I feared for our vines’ grapes
dangling like a dog’s udders ...

Then fear walked beside me and I walked with it,
barefoot, forgetting my fragile dreams of what I had wanted for tomorrow
because there was no time for tomorrow.

I was lucky the wolves
departed by chance,
or else escaped from the army.

I also played no role in my own life,
except when Life taught me her recitations.
Are there any more?, I wondered,
then lit my lamps and tried to amend them ...

I might not have been a swallow
had the wind ordained it otherwise ...

The wind is the traveler's fate: his fortune or misfortune.

I flew north, east, west ...
but the south was too harsh, too rebellious for me
because the south is my country.
I became a swallow’s metaphor,
hovering over my life’s debris
from spring to autumn,
baptizing my feathers in the cloud-like lake
then offering my salaams to the undying Nazarene:
undying because God’s spirit lives within him
and God is the prophet’s luck ...

While it is my good fortune to be the Godhead’s neighbor ...

Just as it is my bad fortune the cross
remains our future’s eternal ladder!

Who am I to say
the things I say to you?
Who am I?

I might have not been inspired
because inspiration is the lonely soul’s compensation
and the poem is his dice throw
on an unlit board
that may or may not glow ...

Words fall ...
as feathers fall to earth:
I did not plan this poem.
I only obeyed its rhythm’s demands.

Who am I to say
the things I say to you?

It might not have been me.
I might not have been here to write it.
My plane might have crashed one morning
while I slept till noon
then arrived at the airport too late
to visit Damascus and Cairo,
the Louvre, and other enchanting cities.

Had I been a slow walker, a rifle might have severed my shadow from its cedar.
Had I been a fast walker, I might have disintegrated and vanished like a fleeting whim.
Had I dreamt too much, I might have lost my memories of reality.

I am fortunate to sleep alone
listening to my body's complaints
with my talent for detecting pain,
so that I call the physician ten minutes before death:
dodging death by a mere ten minutes,
continuing life by chance,
disappointing the Void.

But who am I to disappoint the Void?
Who am I?
Who?

Keywords/Tags: Mahmoud Darwish, Palestine, Palestinian, Arab, Arabic, translation, Gaza, Israel, children, mothers, injustice, violence, war, race, racism, intolerance, ethnic cleansing, genocide
tyese sillito Jun 2014
my brother, in his small white bed
held one end.
I tugged the other
to signal I was still awake.
we could have spoken,
we could have sung
to one another,
we ere in the same room
for five years
but the soft cord
with its little frayed ends
connected us
in the dark,
gave us comfort
even if we had been bickering
all day.
when he fell asleep first
and his end of the cord
dropped to the floor,
I missed him terribly,
though I could hear his even breathe
and we had such long and separate lives
ahead.
Kuzhur Wilson Jan 2014
2009 october 9,
Sharja, ajman, dubai**

Very early,
The day
Browses through the book
On suicide

“this wooden cross of poesy
Will control
The road mishaps
Of dream travel”
I told the day
That those are my lines

He laughed
Sunlight spread

Gave the book
On suicide
To the day

Let it get dark,
He said

A father for the first time
is making
His daughter
Listen
to the sea
Named after her

Ammini,
Why don’t you
Say something?

This is the sea,
Mother ocean
Mother ocean
Gave you your name

You laugh
Listening to the roar
What do you know
About its depths
Even your father doesn’t know
Whirlpools,
Deep abysses
Waves
Oysters

Huge sharks
With protruding teeth

Keep it a bit closer, girl,
The low voice
Of a goddess

After your father
Dipped you
In the ocean,
He  wrote on the bank,

That the ocean mother is a thief

It was probably
Because she was scared of you,
Ammini,
This time,
She didn’t wipe it out



Who is this Ranni?
To which godforsaken place does this Ranni belong ?
Whether it is Ranni
Or Konni,
I have to drink a drop of liquor
After that, everything will be all right

In the perfect Ranni room
Of the one from Ranni
Ranni
Ranni
Ranni
Ranni, etc

There are pictures of father and mother

You are blessed
The pictures of
Father
And mother
In the words of Nazimuddin
Fair wife
Obedient children

Liquor
Gave a kiss
On the forehead
Of the one from Ranni

Would Shobha
Have ever seen me
Except through the camera?
Anilan,
Mary, Mary again,
Shihab,
Must have seen me
Changing lens after lens

As  for everyone else,
I am a picture
For Shobha

No shobha
Has seen
Me

Is it because of madness
Or in order to not become mad
O forest,
In-between
In-between
In-between
These missed calls

Those that were missed were missed all right .

In- between,
Trying to imitate
You
In your language,
I failed...

There is,
In Aluva
A Sebastian
Who vends vegetables

Sells anything
Except poems

And you?

All who smoke
Pine cigarettes
In the world
Are brothers

After I die
You should give
A packet of Pine
Along with the award given

I
Was the seller
In that grocery
One day
For one hour
In some moment

My pay
My pay

This kiss
Is this worker’s
Struggle with you

A struggle with kisses

Wow!
I feel like living

Great

See, I didn’t write this
Why do words
Come and look
In places where
They are not wanted,
at times when they are not wanted?

I will stab you
It will be over with a stab,
It should be over

As soon as a poem was over
Another one!
A lady says

Is it possible to feign deafness
when females talk to us?

But this time I fooled you!
I am not reciting a poem
It is reciting me!

Now let it think!


In the look of wonder and respect,
Girl,

I become another person,

You are with your father
Even then you whisper
That you want to hear my poem

I have seen you somewhere

My children,
Poem?
It is all gone

It smells like a cadaver
If I open my mouth


Do you know
How many people ran away?

First you gave me
A huge bunch of basil

My soul turned green,
But as I stand there
Stunned,
Thinking that you are so small - a girl,
You give again

An uncooked forest of leaves again

Hey look,
You are a girl

This kiss is on your forehead
I am not one who do not fancy
The private parts of females

My kiss is firmly on your forehead.
Because
My son is a daughter..
Translation : Anitha Varma
Henryi Fortuné Jan 2018
Letters swallow themselves in seconds.  
Notes friends tied to the doorknob,  
transparent scarlet paper,
sizzle like moth wings,
marry the air.

So much of any year is flammable,  
lists of vegetables, partial poems.  
Orange swirling flame of days,  
so little is a stone.

Where there was something and suddenly isn’t,  
an absence shouts, celebrates, leaves a space.  
I begin again with the smallest numbers.

Quick dance, shuffle of losses and leaves,  
only the things I didn’t do  
crackle after the blazing dies.

- Naomi Shihab Nye, 1952
(NOT MY POEM, JUST FOUND THIS LOVELY)

— The End —