September 2, 2024

Chiwenite Onyekwelu

GHAZAL: OF PRAYER

While her organs wrecked, she had a mouth full
of prayer.
It was stage IV & I didn’t understand the logic.
How, of prayer,
 
Of the softness between God’s hands, cancer
could slip in unnoticed.
Like the Diocletian Persecutors, burning books
of prayer.
 
You have to keep your body open: The first
rule of prayer
is also the last. I saw her begin chemotherapy.
An act of prayer
 
Or maybe strength. As the persecutors burned
books of prayer,
historians say, they burnt the believers as well.
To deprive of prayer
 
Is to walk headfirst into light, to walk until you
become your own
jeweled God. It was Saddiq Dzukogi who—
in a dirge of prayer—
 
Wrote, Questions lead you out of blasphemy
not into it.
O cherub of metastasizing cells. Patron Saint
of prayer
 
Rams. Did you listen as she grappled her beads
of prayer,
or did you panic—a celestial retreating at the
latch of prayer.
 
It infected one lymph node & then the next. Each
spread as exact.
Until she moved from grief to glitter, from groan
to humming songs of prayer.
 
Death draws you towards surrender or away from it.
Sleek mouth of prayer,
of humor & those bedside jokes. As if she knew her
days of prayer
 
Were ending, & she held on to what was left after all.
Made a mockery of her pain
knowing she’d never hurt again. As if to say, I’m out
I’m out, I’m out of prayer.
 

from Rattle #84, Summer 2024
Tribute to the Ghazal

__________

Chiwenite Onyekwelu: “I always loved reading ghazals, even though I had never written one. I loved that, somehow, ghazal poems seem to point the reader towards a particular word or words—thereby willing them to pay attention and remain in the present. This poem is my first-ever ghazal. I wrote it after one of my clinical rounds in the cancer ward as a pharmacy undergraduate. I saw a woman push back pain and fear and death, and when I came home, I knew I had to write this poem.” (web)

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September 1, 2024

D.A. Gray

“THAT’S MY DAD”

for Gus

Ours was often a wordless language,
Whole conversations shared in the space
Between the hook flying from the rod,
To the splashdown in the water,
And in the waiting for the pull from some
Invisible place beneath the surface, or
Maybe the realization it wouldn’t happen.
 
Not always deep—sometimes anger tore
Through the mind like the hook’s barb;
Other times gratitude slapped one awake.
 
Or, like now, resting my hand on the glassy
Arm of an old rocking chair he’d worked
Nights sanding and smoothing,
Caning and coating,
And when this heirloom was passed down,
My few words, “I’ll take care of it”
Were all that broke the surface.
 
That memory shook me watching a father on stage,
Talking tirelessly of building a team,
The hands of the son pointing, shaking,
In the audience sobbing, three words pushing
Past the hard glass surface of men,
A whole universe on the other side.
 

from Poets Respond

__________

D.A. Gray: “Gus Walz’s outpouring of emotion during his father’s speech at the DNC convention touched a lot of hearts but it also caused many adults to reflect on the repressed emotions in their own experience, and to see a stark contrast in the choices facing us—fearless caring, or a culture of fear shaped by toxic masculinity.”

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August 31, 2024

Asher Jarmul (age 3)

TREE MAN

A big bush called to a tree man: Hey tree,
what are you doing up there? Are you just
doing a dance move? Are you just doing the
ABCs, like the letters? I don’t know what
you’re doing.
 
If you’re a human, just come down and
think about it. You can take a breath. And
don’t let any monsters cause you trouble.
 

from 2024 Rattle Young Poets Anthology

__________

Why do you like to write poetry?

Asher Jarmul: “Because I like to listen to the poems after my mom records them.”

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August 30, 2024

J.R. Solonche

WAITING

My daughter is with me in the car.
She does not wait for anything.
She sleeps.
 
Sleeping may be waiting to wake up.
But I do not think it is.
I think it is something else entirely.
 
The clouds fill the plate glass window
of the store my wife has gone into.
There they share the sky
 
with teakwood bowls and brass candlesticks,
with rattan chairs and dried flowers
that look like tennis balls
 
sliced in half and painted impossible green,
with soapstone lion paperweights and
vases of colorless colors and shapeless shapes.
 
How serene they are as they float
in their twin heavens, in front of and above me,
these ghosts of the ships that we have
 
waited for all our lives but have never come in,
these blissful hosts for whom waiting
is the end-in-itself, O blessed end without end.
 

from Rattle #84, Summer 2024

__________

J.R. Solonche: “Why do I write poetry? I can do no better than to quote the poet Art Beck: ‘Since You Asked Why’: ‘Poets are children until they die / and wine brings Christmas every night.’ The $200 shall bring many Christmas nights.”

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August 29, 2024

Black and white photo of men and women crossing a temple courtyard, the woman in a burka, the men's faces blurred with dots

Image: “Lahore #44” by Faizan Adil. The haiku was written by Almila Dükel for Rattle’s Ekphrastic Challenge, July 2024, and selected as the Editor’s Choice.

__________

Almila Dükel

HAIKU

 
 
call to prayer
our faces hidden
from ourselves
 
 
 

from Ekphrastic Challenge
July 2024, Editor’s Choice

__________

Comment from the editor, Timothy Green: “Moving beyond simple description, the best ekphrastic poems expand on their source material, often by imagining new narratives or pointing out small details that alter our perception of the piece. This haiku does something more unusual. In hyper-focusing its few words on the overall theme, the poem acts like a lens directing all of the scene’s energy onto a single point so intensely that it feels like we just might ignite.”

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August 28, 2024

Russell Nichols

THE GHAZAL ABOUT _____

this ain’t a poem, but a treatise about ________
a manifesto for the people to shout ________
 
the pot calling the kettle out for boiling over
a plot with thickening agents roiling ________
 
apocalypses with ellipses are called normal
profit-driven rocket-living, it’s all ________
 
handbaskets improperly stowed, which means closure
mobile screens, immobile dreams, it screams ________
 
hope used to be a thing with feathers immortal
till bullets got to flocking together to sing ________
 
bodies electric, buzzed and never sober
drunk off light sabers from soldiers of ________
 
no escape doors or hatches or space portals
just an unjust world, full of scraps to face ________
 
we draw blanks, a cure for overexposure
this ain’t a poem, but full disclosure ________
 

from Rattle #84, Summer 2024
Tribute to the Ghazal

__________

Russell Nichols: “I’m drawn to ghazals for the repetition. The rhythm, tradition, and repetition.”

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August 27, 2024

Terry's Keys by Kim Beckham, photograph of keys hanging on a fence at a beach

Image: “Lahore #44” by Faizan Adil. “Song of a Masjid’s Floor” was written by Ammara Younas for Rattle’s Ekphrastic Challenge, July 2024, and selected as the Series Editor’s Choice.

__________

Ammara Younas

SONG OF A MASJID’S FLOOR

I sang
to atoms emptied in a mother’s feet
replicating the prosody of Adhān itself
the dust trembling like a lost child
burgeoning parable-like when her feet
shot up vertically         & as her face
descended to meet my face         my eyes
did not have the heart to meet hers
mine torrid & hers         torrential
 
I sang
to vowels         lost         into a father’s lips
thinking themselves         muhajir
who don’t belong in tongues harvesting
love off-season but in the tenement
of Mihrab they found a home &
journeyed back & sugared his mouth
a spoonful of sweet persimmon        & he
prayed take me before you take anyone
 
I sang
to a daughter adrift in the persistence
of memory         as she hid desire in
the crevice of the ceramic floor
when amidst Sajdah         she kissed me
homelike         I cradled her like my own
her face dribbled down my arms
feathering gathering to become whole
until she abandoned it         &         went home
faceless she told me she’d finally
escape the guilt of being woman
the lone daughter of Hawwa
 
I sang
to a son whose feet         gripped         me
like hands holding up         soapy
firmament of gods & though his touch
was hot mess he stayed mere inches
from visions of eden & though his
touch was slippery he distilled love
from abstract         plucked         flowers
from wastelands         perfumed them
himself & left me         with those flowers
& a smile that could sun
even         elegies
 
I sang
to a child with no mother no father
his weight the heaviest to carry
here my tongue         turned flamingo
too long for meaning         to traverse
through as he asked me to return
the love he could’ve had         I dreamed
of him turning into wild
cherry blossom
& if he sang back to me         I’d float
outside my body and see seas
of psalms sewn into people & ceded to
me as they turned homeward
but he’d come vacant         & never
leave
 
I sang
& sang & sang
swallowing sandals borrowing
bottle caps I birthed footprints lent
water         & sang & sang to
no god but
human
 

from Ekphrastic Challenge
July 2024, Series Editor’s Choice

__________

Comment from the series editor, Megan O’Reilly: “Two things immediately struck me about Faizan Adil’s artwork: First, the cultural and religious significance, and second, the sense that the figures in the foreground seem to be lost in their own worlds, as though each is a universe unto themselves. Ammara Younas’s poem prioritizes both of these elements. The poet paints a vivid tapestry of the life of a Muslim family, and though the poem is superbly cohesive, each stanza dedicated to a family member could easily stand alone as its own poem. The distinctive language, both earthy and elegant—‘tongues harvesting/love off-season’; ‘dust trembling like a lost child’—mirrors the image’s contrast between ornate reverence and human humility, a dichotomy that is also encapsulated in the poem’s last stanza.”

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