Chapters (46)
- Cover
- Also by Phillip B. Williams
- Epigraph
- Final First Poem
- Of the Question of Self and How It Never Quite Gets Answered
- Final Poem for the White Students Next Door Who Say “Nigga” When Singing Along to Rap Songs Loud Enough for Me to Hear
- Final Poem as Request for Maskot for White-Ran Journal, or “They Sure Do Love Them Some Black Pain.”
- Order of Events
- Final Poem for a King
- And Now Upon My Head the Crown
- Tabula Rasa
- Final Poem for War During War
- Interlude: Sasa and Zamani
- Final Poem for Amiri Baraka
- The Flying African
- Mushmouf’s Maybe-Crown
- Final Poem for the Crow
- Final Poem for the “Black Body”
- January 1, 2018
- Final Poem as Tidalectic Elegy
- Herald
- The Field
- Hunter
- Final Poem for the Deer
- Final Poem as Nocturne into Aubade, or Sonrise
- Final Poem for the Biography of a Black Man as Animal and His Enforced Embrace of a Human Praxis
- Black Joy
- Judgment
- Final Poem for the Famous Poet
- January 28, 1918
- Final Poem for the Bullet
- “Ne Me Quitte Pas”: I Put a Spell on You: Nina Simone: 1965
- Final Poem for the Moon
- The Void
- Final Poem for My Father Misnamed in My Mouth
- Final Poem for the “Field of Poetry”
- The Asphodel
- Shame
- Final Poem for Grandma Elizabeth’s Cancer
- Final Poem of Persona
- Mastery
- In the Beginning
- NOTES
- ACKNOWLEDGMENTS
- About the Author
- What’s next onyour reading list?
THE FIELD
The battered field is hateful without remorse,
is as seductive as what is familiar: a wild horse
who long ceased being horse, had become beauty itself
failing as the field has failed or someone has failed
the field with overuse, the gray soil too sparse,
its blond grass in tight nubs and stiff as scimitars
that jut from the earth as declarations of war.
The barrenness cannot feed the hares who feed
the foxes who feed the bloodlust of men.
There is a leafless dogwood stunted
in its naked reach. A storm rolls over
the jagged boughs raking the black air’s
softened belly until lightning clarifies its scars.
Scimitars could scar a belly with their sharpness,
with their curves like a gleaming succubus
sliding on each nerve’s nylon until the harp is
undone. Or the harp is played to the tune
wind makes undressing an arid field. This is love
if someone says so. A man weeps
to soft music in his house though nothing
can hear him outside his window, his cry
a ripple in a pond after a frog leaps out
then leaps back in, a word spoken
by mistake that the speaker wants to take back.
The word could be like love too if broken,
more broken than the shrill gate outside
swinging open then shut, obliterating entrance
and exit. Here waits the god whose flute reveals and hides
the way. She is mischievous with her song
coming off the rusted hinges. The gate is edged
by two stone pillars, both topped with pots
once holding lavender, now holding moldy soil,
one sweet smell deposed by another. Rot
and the bones left bare is the story of the hare and fox
while the felled horse crafts the field’s ugliness.
Its wraith hooves crush the ground. Let the gate
squeal shut against that bestiary. The world’s
revision of itself roils through the sky. Storm
of bruised clouds, lightning and the last living beast
revealed in bursts: first its outline. Next its distant
maw made clear in that moment of light. Then two
cobalt eyes, an abacus by which to count the days.
Hunter
HUNTER
When you were mine though not
mine at all permanently, just a body
for loneliness, a loneliness interrupted,
interruptive—
the sky opened like a secret in a mouth
mouth with a word in it
word with an arrowhead in its flank: Love, small
creature it was
crying in the night beneath me