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Child or woman. Memory or need. Today, again, I can see you

in her eyes, today her eyes again pursue the ground, look

for some sign, some path to follow away from her route.

Her sweatshirt is zipped to the throat and I am realizing that

we are both then, somehow ashamed of what has suddenly happened

between us. And I’m slowing down a little, as if to let

the spring sun catch up to these hands on the steering wheel,

to these hands that will not ever stop needing breasts to

make them hands, as if to uncover my mouth

and yell across the lawns to her.

Masters, never trust me. Listen: each day

is a Negro boy, chained, slogging out of the waves,

panting, gripping the sum of his captain, the head,

ripped off, the blood purpling down, the red

hair flossed between the knuckles, swinging it

before him like judgment, saying to the mist,

then not, then quietly only to himself, This is what

I’ll do to you, what you dream I do, sir, if you like it.

Dear Yu Honor

Yu may rmember me when yu visits prison

here I am Walter Boyd Leadbelly #42738

yo best big niger from Sugarland Farm

wit my stella guitar and songs yu like

I play it all like a black machine for yu loud an slow

Down in the valley    What a frend we have in

Jesus an I Sugarland shuffle like pickin cotton far as

eye cn see I need my freedom like yu said yu was gone give me

yur honor all I need a second chance rmembr me

yu sed I was som niger   som niger need they pardon

GOVERNOR

thank yu for yo kind kind hand yo wisdum.

Copyright 2004 by Tyehimba Jess. Published by Verse Press. Reprinted with permission of the author and Wave Books. 

Long ago a fish forgot what fins were good for

And flew out of the stream

It was not dreaming

It had no ambition but confusion

In Nova Scotia it lies on ice in the sun

and its eye turns white and pops out like a pearl

when it’s broiled

The Titanic is the one that got away.

What you type and submit appears to you attributed to You. What he replies and enters comes from Partner. There is, as it turns out, a lot to say while watching Partner look at you watching. He is, to begin with, in a room of some kind, particular, contingent, “real.” With art and clocks and books and pillows and cigarettes and mail and daylight, or lamplight, with a bed or desk or basement sofa, with doors you can ask him to open, bags he may or may not empty, of content you may deduce about. The bottoms of his socks are dirty. You give it to him that his socks are dirty, that his door is ajar, that his grin is telling. “Partner: Are you for real?”

Whatever group of friends I told, what always fascinated people was not the boy’s dying but this image, this juxtaposition of school and cemetery, side by side, and a hill cutting them off from the ward. It was as if they thought that, away from our parents, we kids fraternized with the dead. There would often be one person who thought that I was embellishing, that I was making up these details for the benefit of a story, to create some sort of meaning. That skeptic seemed to assume that the hill—which I now knew to be just a hillock—the school, the cemetery were symbolic of something that I had overcome, something I had escaped. But the Botalaote cemetery was separated from Motalaote Lekhutile Primary School by only a narrow dirt road, and behind them the hillock cut them off from Botalaote Ward. Those were the facts.