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Punch-in-the-face poetry showcases poems that leave you sore, gasping, and possibly embarrassed.  They make you feel like you've got something to prove. They bring you out swinging.

Saturday September 20, 2014
"What the Body Told," Rafael Campo


Not long ago, I studied medicine.
It was terrible, what the body told.
I’d look inside another person’s mouth,
And see the desolation of the world.
I’d see his genitals and think of sin.

Because my body speaks the stranger’s language,
I’ve never understood those nods and stares.
My parents held me in their arms, and still
I think I’ve disappointed them; they care
And stare, they nod, they make their pilgrimage

To somewhere distant in my heart, they cry.
I look inside their other-person’s mouths
And see the wet interior of souls.
It’s warm and red in there—like love, with teeth.
I’ve studied medicine until I cried

All night. Through certain books, a truth unfolds.
Anatomy and physiology,
The tiny sensing organs of the tongue—
Each nameless cell contributing its needs.
It was fabulous, what the body told.

Friday September 19, 2014
"Two Linen Handkerchiefs," Jane Hirshfield


How can you have been dead twelve years
and these still

Friday September 12, 2014
"The Great Event," Leonard Cohen

It’s going to happen very soon. The great event that will end the horror. That will end the sorrow. Next Tuesday, when the sun goes down, I will play the Moonlight Sonata backwards. This will reverse the effects of the world’s mad plunge into suffering for the last 200 million years. What a lovely night that will be. What a sigh of relief, as the senile robins become bright red again, and the retired nightingales pick up their dusty tails and assert the majesty of creation!

Tuesday September 9, 2014
"The Blue Terrance," Terrance Hayes

I come from a long line hollowed out on a dry night,
the first son in a line of someone else’s children,
afraid of water, closets, other people’s weapons,
hunger and stupidity, afraid of the elderly and the new dead,
bodies tanned by lightening, afraid of dogs without ethos,
each white fang on the long walk home. I believe all the stories
of who I was: a hardback book, a tent behind the house
of a grandmother who was not my grandmother, the smell of beer,
which is a smell like sweat. They say I climbed to the roof
with a box of light bulbs beneath my arm. Before the bricks,
there were trees, before the trees, there were lovers
barely rooted to the field, but let’s not talk about them,
it makes me blue. I come from boys throwing rocks
bigger than their fists at the head of the burned girl,
her white legs webbed as lace on a doily. In someone’s garage
there was a flashlight on two dogs pinched in heat.
And later, a few of the puppies born dead and too small
to be missed. I come from howls sent up all night and all day,
summers below the hoop and board nailed to a pine tree.
I come from light bulbs glowing with no light and no expressions,
thrown as far as the will allows like a night chore, like a god
changing his mind; from the light broken on the black road
leading to my mother. Tell me what you remember of her
now that her walk is old, now that the bone in her hip strains
to heal its fracture? I come from the hot season
gathering its things and leaving. I come from the dirt road
leading to the paved one. I will not return to the earth
as if I had never been born. I will not wait to become a bird
dark enough to bury itself in midair. I wake up sometimes
in the middle of the country with fur on my neck.
Where did they bury my dog after she hung herself,
and into the roots of what tree are those bones entangled?
I come blessed like a river of black rock, like a long secret,
and the kind of kindness like a door that is closed
but not locked. Yesterday I was nothing but a road
heading four ways. When I threatened to runaway
my mother said she would take me where ever I wanted to go.

Monday September 8, 2014
"Bakersfield, 1969," Dorianne Laux


“I used to visit a boy in Bakersfield, hitchhike to the San Diego terminal and ride the bus for hours through the sun-blasted San Fernando Valley just to sit on his fold-down bed in a trailer parked in the side yard of his parent’s house, drinking Southern Comfort from a plastic cup. His brother was a sessions man for Taj Mahal, and he played guitar, too, picked at it like a scab. Once his mother knocked on the tin door to ask us in for dinner. She watched me from the sides of her eyes while I ate. When I offered to wash the dishes she told me she wouldn’t stand her son being taken advantage of. I said I had no intention of taking anything and set the last dish carefully in the rack. He was a bit slow, like he’d been hit hard on the back of the head, but nothing dramatic. We didn’t talk much anyway, just drank and smoked and fucked and slept through the ferocious heat. I found a photograph he took of me getting back on the bus or maybe stepping off into his arms. I’m wearing jeans with studs punched along the cuffs, a t-shirt with stars on the sleeves, a pair of stolen bowling shoes and a purse I made while I was in the loony bin, wobbly X’s embroidered on burlap with gaudy orange yarn. I don’t remember how we met. When I look at this picture I think I might not even remember this boy if he hadn’t taken it and given it to me, written his name under mine on the back. I stopped seeing him after that thing with his mother. I didn’t know I didn’t know anything yet. I liked him. That’s what I remember. That, and the I-don’t-know-what degree heat that rubbed up against the trailer’s metal sides, steamed in through the cracks between the door and porthole windows, pressed down on us from the ceiling and seeped through the floor, crushing us into the damp sheets. How we endured it, sweat streaming down our naked bodies, the air sucked from our lungs as we slept. Taj Mahal says If you ain’t scared, you ain’t right. Back then I was scared most of the time. But I acted tough, like I knew every street. What I liked about him was that he wasn’t acting. Even his sweat tasted sweet.”

Dorianne Laux, “Bakersfield, 1969” (via meganfalley)

Thursday August 28, 2014




i get so excited when i see the little bnv logo like i press play and then i’m just like “aight shit’s about to get turned tf up”

Wednesday August 27, 2014
"Myth," Natasha Trethewey

I was asleep while you were dying.
It’s as if you slipped through some rift, a hollow
I make between my slumber and my waking,

the Erebus I keep you in, still trying
not to let go. You’ll be dead again tomorrow,
but in dreams you live. So I try taking

you back into morning. Sleep-heavy, turning,
my eyes open, I find you do not follow.
Again and again, this constant forsaking.


Again and again, this constant forsaking:
my eyes open, I find you do not follow.
You back into morning, sleep-heavy, turning.

But in dreams you live. So I try taking,
not to let go. You’ll be dead again tomorrow.
The Erebus I keep you in—still, trying—

I make between my slumber and my waking.
It’s as if you slipped through some rift, a hollow.
I was asleep while you were dying.

Sunday August 24, 2014
"Song of myself," Diane Seuss

If there’s pee on the seat it’s my pee,
battery’s dead I killed it, canary at the bottom
of the cage I bury it, like God tromping the sky
in his undershirt carrying his brass spittoon,
raging and sobbing in his Hush Puppy house
slippers with the backs broke down, no Mrs.
God to make him reasonable as he gets out
the straight razor to slice the hair off his face,
using the Black Sea as a mirror when everyone
knows the Black Sea is a terrible mirror,
like God is a terrible simile for me but like
God with his mirror, I use it.

Saturday August 23, 2014
"Revolutionary Blues," Julie Blackwomon


and when I say to my sisters
my lesbian feminist sisters
my angry white sisters whose chains still mesh with mine
when I say sisters help me
the noose tightens on my neck
I cannot breathe
                it is because I am black
my sisters say
but what has that to do
                      with our revolution?
and when I say to my brothers
my angry black brothers with leopard dashikis
whose roots entwine with mine in Africa
when I say brothers help me
I am encircled by fire
the flames grow nearer
                it is because I love women
my brothers say
but what has that to do with our revolution?

and when the revolution comes
and it is time for choosing sides
when radical lesbian feminists
are fighting our oppression by men

and when the revolution comes
and it is time for choosing sides
when militant black nationalists
are fighting our oppression by whites
I expect to be shot in the back
by someone who calls me sister.

Friday August 22, 2014
"Who Said it Was Simple?" Audre Lorde


There are so many roots to the tree of anger
that sometimes the branches shatter
before they bear.

Sitting in Nedicks
the women rally before they march
discussing the problematic girls
they hire to make them free.
An almost white counterman passes
a waiting brother to serve them first
and the ladies neither notice nor reject
the slighter pleasures of their slavery.
But I who am bound by my mirror
as well as my bed
see causes in colour
as well as sex

and sit here wondering
which me will survive
all these liberations.

Thursday August 21, 2014
"I’m not writing to be included in the canon. I’m writing to save something precious. I’m writing to get my pencil dimensionally around my little idea and work it out. Waiting for somebody to invite me to belong to something or be included in something was never my idea of being a part of this thing amazing journey called life. I just want to continue being a creative thinker and doer. I want to keep saving things and making history more inclusive by way of my particular alphabets and word arrangements."
Wednesday August 20, 2014


Announcer: Ladies and gentlemen: John Lithgow.

JOHN LITHGOW: To present the National Book Award for Poetry— in the presence of John Ashbury— is Elizabeth Alexander. Elizabeth’s most recent book is “Crave Radiance: New and Selected Poems 1990-2010.” She is the author of five previous books of poetry, including American Sublime, which was a finalist for the Pulitzer Prize, and two books of essays, including The Black Interior. Her awards and honors include the Anisfield-Wolf Lifetime Achievement in Poetry, the Jackson Poetry Prize, and a Guggenheim Fellowship, among many others. It gives me great pleasure now to introduce Elizabeth Alexander.

ELIZABETH ALEXANDER: First I want to say just thank you to the National Book Foundation for its continued support of poetry. Every poem, every book of poetry, carries voices and histories and traditions along with it. Each book of poems takes readers into an engulfing, discrete world of language and each, also, rises from ancestral voices, fellow poets and poems, strange musics converging in the present year.

We think our five beloved book speak across time. We think each gives us a snapshot of American noise, a sip, a taste, a quaff, a feast. Our work was very hard. I’m so proud to have worked with judges of such intelligence, heart, and integrity. We didn’t turn from difficult conversations— I promise you. We listened to and learned from each other. We have up with five that we believe gloriously represents the richness of American poetry today. And so I want to sincerely thank my fellow judges: Thomas Sayers Ellis, Amy Gerstler, Kathleen Graber, Roberto Tejada.

(2:40) And so finally we had to choose. The five finalists are: Nikky Finney, Head Off & Split (TriQuarterly, an imprint of Northwestern University Press). Yusef Komunyakaa, The Chameleon Couch (Farrar, Straus and Giroux). Carl Phillips, Double Shadow (Farrar, Straus and Giroux). Adrienne Rich, Tonight No Poetry Will Serve: Poems 2007-2010 (W.W. Norton & Company). Bruce Smith, Devotions (University of Chicago Press).

The National Book Award for Poetry goes to Nikky Finney, “Head off and Split.” [Cheering, an image of the cover of the book, showing a fish wrapped in newspaper]
[Finney, a Black woman with long dreds and a black dress, approaches the stage, crying. She collects her award and sets it down next to the lectern, sighing to steady herself, and takes out a few pieces of folded paper.]


We begin with history.

The slave codes of South Carolina 1739: “A fine of $100 and six months in prison will be imposed for anyone teaching a slave to read or write and death is the penalty for circulating any incendiary literature.” The ones who longed to read and write but were forbidden —who lost hands and feet; were killed by laws written by men who believed they owned other men. Words devoted to quelling freedom, insurgency, imagination, all hope.

What about the possibility of one day making a poem? The king’s mouth and the queen’s tongue arranged to perfection on the most beautiful paper, sealed with wax and palmetto tree sap, determined to control what can never be controlled – the will of the human heart to speak its own mind.

Tonight, these forbidden ones move around the room as they please, they sit at whatever table they want, wear camel-colored field hats and tomato-red kerchiefs. They are bold in their Sunday-go-to-meeting best, their cotton croaker sack shirts are black wash pot clean and irreverently not tucked in. Some have even come in white Victorian collars and bustiers. Some have just climbed out of the cold, wet Atlantic just to be here. We shiver together.

If my name is ever called out, I promised my girl poet self, so too would I call out theirs.

To: Parneshia Jones, Marianne Jankowski, Northwestern University Press. This moment has everything to do with how serious, how gorgeous you do what you do. A.J. Verdelle, editor partner in this language life, you taught me that repetition is holy, courage can be a daughter’s name, and two is stronger than one. Papa, chief opponent of the death penalty in South Carolina for fifty years, fifty-seven years married to the same Newberry girl, when I was a girl, you bought every incendiary dictionary, encyclopedia, and black history tome that ever knocked on our Oakland Avenue door. Mama, dear Mama, Newberry girl fifty-seven years married to the same Smithfield boy, you made Christmas, Thanksgiving and birthdays out of foil, lace, cardboard, papier-maché, insisting beauty into our deeply segregated, Southern days.

Adrienne Rich, Bruce Smith, Yusef Komunyakaa, Carl Phillips, simply to be in your finalist company is to brightly burn. National Book Foundation and National Book Award judges, there were special high school English teachers who would read and announce the highly anticipated annual report, even if it was stowed way down deep in some dusty corner of our tiny, Southern newspaper.

Dr. Gloria Wade Gayles, great and best teacher of my life. You asked me on a Friday, 4 o’clock, 1977, I was nineteen and sitting on a Talladega College wall, dreaming about the only life I ever wanted, that of a poet. “Ms. Finney,” you said, “Do you really have time to sit there? Have you finished reading every book in the library?” Dr. Katie Cannon, what I heard you say once haunts every poem that I write. “Black people,” you said, “were the only people in the United States ever explicitly forbidden to become literate.”

I am now officially speechless.

[Finney nods at the audience, gathers her award, and walks off stage.]

JOHN LITHGOW: Well, there’s going to be two more awards tonight and I don’t want you two other winners to be intimidated, but that was the best acceptance speech I have ever heard for anything in my life. [Loud cheers, clapping, laughter.] It’s also the loudest I’ve ever heard anyone cheer for an award for poetry. [Laughter] Isn’t that wonderful?

Wednesday August 20, 2014
"Providence," Natasha Trethewey


What’s left is footage: the hours before
      Camille, 1969—hurricane
            parties, palm trees leaning
in the wind,
      fronds blown back,

a woman’s hair. Then after:
      the vacant lots,
      boats washed ashore, a swamp

where graves had been. I recall

how we huddled all night in our small house,
      moving between rooms,
            emptying pots filled with rain.

The next day, our house—
      on its cinderblocks—seemed to float

      in the flooded yard: no foundation

beneath us, nothing I could see
      tying us      to the land.
      In the water, our reflection
when I bent to touch it.

Monday August 11, 2014
"I Sing the Body Electric, Especially When My Power Is Out," Andrea Gibson


Video transcript:

You know how you go through times in your life when you are having a hard time with your body? It’s hurting or something, or just making you angry or whatever. I’ve been kind of going through that lately. Um, not feeling so awesome, um, not feeling so well. And I’ve-i’ve been having days when I was feeling just really bad, um, what I decided to do was write a love poem in the days that start writing a love poem to my body. You know the Walt Whitman poem, “I Sing the Body Electric?” Okay, so th— I titled this “I Sing the Body Electric, Especially when My Power Is Out.” [Laughter] And um [takes a sip of water] thanks for being open to this, um, new experience.

This is my body.
I have weathervanes. They are especially sensitive to dust storms and hurricanes.
When I am nervous, my teeth chatter like a wheelbarrow collecting rain
I am rusty when I talk:
It’s the storm in me.

The doctor said some day I might not be able to walk
it’s in my blood like the iron
my mother is tough as nails,
she held herself together the day she could no longer hold my niece
we said,
"Our kneecaps are our prayer beds
everyone can walk further on their kneecaps than they can on their feet.”

This is my heartbeat
Like yours, it is a hatchet.
It can build a house or tear one down.
My mouth is a fire escape,
the words coming out don’t care that they are naked,
there is something burning in here.
When it burns,
I hold my own shell to my ear,
listen for the parade when I was seven.
The man who played the bagpipes wore a skirt
he was from Scotland;
I wanted to move there,
wanted my spine to be the spine of an unpublished book,
my faith the first and last page
the day my ribcage became monkeybars for a girl hanging on my every word
they said,
"you are not allowed to love her,"
tried to take me by the throat to teach me
I was not a boy,

I had to unlearn their prison-speak
refuse to make wishes on the star on the sheriff’s chest,

I started asking the sun about the Big Bang
the sun said, “it hurts to become.”
I carried that hurt on the tip of my tongue
and whisper “bless your heart” every chance I get
so my family tree can be sure I have not left
you do not have to leave to arrive, I am learning this slowly

So sometimes when I look in the mirror
my eyes look like the holes in the shoes of the shoe-shine man
my hands are busy on the wrong things.
Some days, I call my arms wings while my head is in the clouds
It will take me a few more years to learn flying
is not pushing away the ground
safety isn’t always safe
you can find one on every gun.
I am aiming to do better.

This is my body.
My exhaustion pipe will never pass inspection
and still my lungs know how to breathe like a burning map
every time I get lost in the curtain of her hair
you can find me by the window
following my past to a trail of blood in the snow
the night I opened my veins,
the doctor who stitched me up asked me if I did it for attention.
For the record:
If you have ever done anything for attention,
this poem is attention.
Title it with your name
it will— scour the city bridge every night you spend kicking at your shadow,
staring at the river,
it does not want to find your body doing anything but loving what it loves
love what you love
Say “this is my body,
it is no one’s but mine,
it is my nervous system
my wanting blood,
my half-tamed addictions,
my tongue tied-up like a ball of Christmas lights

if you put a star on the top of my tree, make sure it is a star that fell,
make sure it hit bottom like a tambourine
'cause all these words are stories for the staircase to the top of my lungs,
where I sing what hurts
and the echo comes back
"Bless your heart"
Bless your body.”
Bless your holy kneecaps, they are so smart
You are so full of rain,
there is so much growing,
hallelujah to your weathervanes,
hallelujah to the ache
hallelujah to your full, to the fall,
hallelujah to the grace,
and every body
and every cell
of us all.

Tuesday July 15, 2014
"Dream Song #16," Daniel Borzutzky

Hay golpes en la vida, tan fuertes    …    Yo no sé!
— César Vallejo

They sniffed us out of the holes with the animals
they had programmed and there are blows in life so
powerful we just don’t know and there were trenches
and there was water and it poured in through our mouths

and out of our ears and there were things we saw in the
sand at that moment of sinking: mountains and daisies
and tulips and rivers and the bodies of the people we
had been and the bodies of the people we had loved

and we felt hooks coming through the trenches and we
felt hooks coming through the sand and I saw hooks coming
through my child’s clothes and I wanted him to know that they
would never be able to scoop us out of the sand but of course

it wasn’t true they had scooped us out of the sand and our
mouths were so full of dirt it is what they do when you’re
dead and they made us spit and they beat us until our mouths
were empty and they paid us for constructing the mountain and

it was me and L and we looked for S and we looked for J and J
and we looked for O and we looked for R and we looked for J
and S in the holes in which the bodies of those we loved were
hiding or dying or sinking or stealing some shelter some little

worm’s worth of cover to keep their bodies from dissolving
into the maniac murmurs of this impossible carcass economy