Coffee
Matthew Dickman
The only precious thing I own, this little espresso
cup. And in it a dark roast all the way
from Honduras, Guatemala, Ethiopia
where coffee was born in the 9th century
getting goat herders high, spinning like dervishes, the white blooms
cresting out of the evergreen plant, Ethiopia
where I almost lived for a moment but
then the rebels surrounded the Capital
so I stayed home. I stayed home and drank
coffee and listened to the radio
and heard how they were getting along. I would walk
down Everett Street, near the hospital
where my older brother was bound
to his white bed like a human mast, where he was
getting his mind right and learning
not to hurt himself. I would walk by and be afraid and smell
the beans being roasted inside the garage
of an old warehouse. It smelled like burnt
toast! It was everywhere in the trees. I couldn't bear to see him.
I sometimes never knew him. Sometimes
he would call. He wanted us
to sit across from each other, some coffee between us,
sober. Coffee can taste like grapefruit
or caramel, like tobacco, strawberry,
cinnamon, the oils being pushed
out of the grounds and floating to the top of a French Press,
the expensive kind I get
in the mail, the mailman with a pound of Sumatra
under his arm, ringing my doorbell,
waking me up from a night when all I had was tea
and watched a movie about the Queen of England when Spain was hot
for all her castles and all their ships, carved out
of fine Spanish trees, went up in flames
while back home Spaniards were growing potatoes
and coffee was making its careful way
along a giant whip
from Africa to Europe
where cafes would become famous
and people would eventually sit with their cappuccinos, the baristas
talking about the new war, a cup of sugar
on the table, a curled piece of lemon rind. A beret
on someone's head, a scarf
around their neck. A bomb in a suitcase
left beneath a small table. Right now
I'm sitting near a hospital where psychotropics are being
carried down the hall in a pink cup,
where someone is lying there and he doesn't know who
he is. I'm listening
to the couple next to me
talk about their cars. I have no idea
how I got here. The world stops at the window
while I take my little spoon and slowly swirl the cream around the lip
of the cup. Once, I had a brother
who used to sit and drink his coffee black, smoke
his cigarettes and be quiet for a moment
before his brain turned its Armadas against him, wanting to burn down
his cities and villages, before grief
became his capital with its one loyal flag and his face,
perhaps only his beautiful left eye, shimmed on the surface of his Americano
like a dark star.
©2008
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benthic angel
was writing about lake sturgeon for a class assignment and showed one of my friends what i'd written.. he then sent part of it back to me with line breaks to turn it into a poem! i just had to draw something for it :]
poem text under the readmore:
lake sturgeon don't know
that they're endangered. They don't know
anything - other than the muck
at the bottom
of the water column
and the occasional passing
touch of another.
really touched by how my friend turned my technical writing into poetry. i haven't tried to write creatively in months, so it's nice to see i've still got it- and nicer still that i could get so inspired by my friend, since i haven't made nature art in a little while, either :>!!
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The Illiterate
William Meredith
Touching your goodness, I am like a man
Who turns a letter over in his hand
And you might think this was because the hand
Was unfamiliar but, truth is, the man
Has never had a letter from anyone;
And now he is both afraid of what it means
And ashamed because he has no other means
To find out what it says than to ask someone.
His uncle could have left the farm to him,
Or his parents died before he sent them word,
Or the dark girl changed and want him for beloved.
Afraid and letter-proud, he keeps it with him.
What would you call his feeling for the words
That keep him rich and orphaned and beloved?
.
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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Her final tweet on October 8 reads:
“Gaza’s night is dark apart from the glow of rockets, quiet apart from the sound of the bombs, terrifying apart from the comfort of prayer, black apart from the light of the martyrs. Good night, Gaza.”
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Margaret Atwood, from True Stories: Poems; "Use," originally published in 1981
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