An excerpt from “MIRROR ROOM, MEHRANGARH FORT” by Chloe Martinez (poetry, ’09) published at Four Way Review:

MIRROR ROOM, MEHRANGARH FORT

Jodhpur, Rajasthan

You live in a high fort above a blue city. The rooftops below
speckled with laundry. At night the distant echoes
of a hundred brass bands, a hundred weddings. The blue
of the city is not quite robin’s egg, not exactly
the blue of chicory. Outside the city is the desert.

Don’t tell it like a story. It will sound too beautiful.
You stand on a high parapet, in the rustle and coo
of pigeons, under filigreed eaves. When you step over red
velvet ropes, leaving the museum behind, you find rooms
empty as the moon, floors carpeted in desert silt.

In one bedchamber-turned-cave, you hold your breath, you bow
before a rank hill of bat guano. You touch niches
for the ghosts of little lamps, and frescoed girls dance
with gods along the wall. Plaster dusts your fingertips.
Stained glass windows turn your thin skin rainbow. You take

[…continue reading here]

An excerpt from “Litany in the Locrian Mode” by Daniel Jenkins (poetry, ’18) published at catheXis:

Litany in the Locrian Mode

The arthritic dog sleeping upside down, paws dream-wincing—

 

Black-caked ashtrays and cigarette smoke—

 

The back deck. The yellow mosquito bulb—

 

Band march cloud scuffle, breaking gray clay sky—

 

Budding trees, no ballad, no mezzo-soprano—

 

Gregorian chant, or any chant for that matter—

 

Bottom shelf brandy and pink wine—    […continue reading here]

An excerpt from “SELF-PORTRAIT WITH SINGLE MALT SCOTCH AND GUITAR HERO” by Ross White (poetry, ’08) published at The Indianapolis Review:

 

SELF-PORTRAIT WITH SINGLE MALT SCOTCH AND GUITAR HERO

Alternately, Self-Portrait on a Wednesday Night.
Alternately, This Keeps Me from Engaging
with a Friend Who Continually Disappoints Me.
Alternately, I Hardly Leave My Basement.
Alternately, The Soft Forest of Carpet
Beneath My Bare Feet Will Suffice as Refuge.
Alternately, If I Could Shrink Myself and Wander
Its Great Fibrous Oaks, I Might Never Regret Solitude.
Alternately, Self-Portrait With Thunder In My Bones.
Alternately, I Got into an Argument Over Drowning,
and Whether a Drowning Man’s Twitch Might  […continue reading here]

An excerpt from “Mother of Rock” by Tiana Nobile (poetry, ’17), one of two poems published at The Indianapolis Review:

Mother of Rock

The familiar clack of shoes against tile, click
of the key in the lock. Wait and rock.

Your gaze silent and grim, I long for the touch
that doesn’t come.  My tongue caught

on the cage of my mouth
tart with sour milk.

In the picture from your wedding,
a white dress of lace. As if held  […continue reading here]

An excerpt from “36 text messages, 16 missed calls” by Chloe Martinez (poetry, ’09), one of two poems published at The Indianapolis Review:

36 text messages, 16 missed calls

There is an urgency with which they write and call,
starting after work, about the seven boxes
of laminate flooring that somebody—but not me—
is giving away: free free free!!! The flooring is somewhere

in Sacramento. I have their names and their numbers.
Their inquiries range from casual—“Heyyyy my name’s
Jose do you still have the boxes”—to formal: “Good evening,
I am interested in the laminate flooring posted

on Craig’s List…” Some take a pleading tone—“if you still
have the flooring, I’ll come and get it right now ???”
One even says, “I need flooring desperately!”
A lady named Dee writes a careful, warm message  […continue reading here]

An excerpt from “Pantoum with Lines from Virginia Woolf’s Diary” by Angela Narciso Torres (poetry, ’09) published at Swwim:

Pantoum with Lines from Virginia Woolf’s Diary

Truth is, one can’t write about the soul. Looked at, it vanishes.

Why have I so little control?

One wants to finish sentences.

To go adventuring on the streams of other people’s lives.

 

Why have I so little control?

This is the normal feeling, I think.

To go adventuring on the streams of other people’s lives.

I take a census of happy people, and unhappy.

 

This is the normal feeling, I think.

Happiness is a little string onto which things will attach.

I take a census of happy people, and unhappy.

How Vita’s inkpot flowered on her table.  […continue reading here]

An excerpt from the poem “And Someone Said ‘Forever'” by Trish Reeves (poetry, ’83) published at Crab Orchard Review (page 192):

And Someone Said ‘Forever’

  1. The Republic

Say we got off to a bad start; women

fallen upon by the most restless

of men, the wrong creation story

tucked under their arms; not a legend

of a turtle, her children resting

upon her back of green diamonds,

but an earthen statue of a god

thundering through the likeness

of a man who knew the power of his fear

something to hide, and a woman the place

to put this if only she would

not feel his trembling […continue reading here]

 

An excerpt from the transcript of  a New Yorker podcast in which faculty member Kaveh Akbar reads Ellen Bryant Voigt’s “Groundhog.” Also, the podcast itself:

 

Kevin Young: Hello. You’re listening to The New Yorker Poetry Podcast. I’m Kevin Young poetry editor of The New Yorker magazine on this podcast we asked poets to choose a poem for the magazine’s archives to read and discuss along with a piece of their own that we published in The New Yorker. My guest today is Kaveh Akbar who has received a Ruth Lily and Dorothy Sargent Rosenberg fellowship a Pushcart Prize and the 2018 Levis, that’s Larry Levis, reading prize. Welcome Kaveh.

Kaveh Akbar: Thank you so much for having me on. Great pleasure to be here.

Kevin: We’re happy to have you. So the poem you decide to read for us is Groundhog by Ellen Bryant Voigt.

Kaveh: Yeah.

Kevin: What in particular drew you to this piece.

Kaveh: Yeah I encountered this piece early in my relatively early, in my, I mean I’m still early in my poetry journey but I encountered it years ago when it first appeared in The New Yorker and it was one of those poems that just arrives like an angels blaring trumpet, you know it just sort of absolutely ripped the top of my head off and it was just my first encounter with language that felt so charged in that played with momentum so intelligently in the centripetal force and the inertia in this poem is just so incantatory and so magical.

Kevin: Well let’s hear it let’s hear it. Here’s Kaveh Akbar reading “Groundhog” by Ellen Bryant Voigt.

Kaveh Akbar reads “Groundhog.”

Kevin: That was Groundhog by Ellen Bryant Voigt which ran in the February 14th, 2011, issue of the magazine. So I can hear what drew you into it. I mean there’s this discussion of language and what we call things that sort of strikes me first but also nature I think as nature you know she’s trying I think in a poem to or the poem is trying to make us feel it. You know it’s enacting the thing that it’s describing sort of describing a groundhog. It is a groundhog.

Kaveh: Yeah. You think of the great deep familiars pronouncement to make the stone stonie right. Victor Shalosky an artist’s technique and I’ve never felt a groundhog to be so groundhog-y as in this poem right. You never feel, you never feel the groundhog-yness. It’s never so apparent as it is in this poem but just all of nature is like that. Right. And you encounter the way that taxonomy kind of flattens and the way that a poem can kind of really give texture and really give life. It does the opposite of what taxonomy does. […continue reading here]

 

An excerpt from “Could an Ex-Convict Become an Attorney? I Intended to Find Out” by Reginald Dwayne Betts (poetry, ’10), published in the New York Times Magazine:

Could an Ex-Convict Become an Attorney? I Intended to Find Out

One afternoon in the fall of 2016, I sat in a windowless visiting room at the Manson Youth Institution in Cheshire, Conn. A recent graduate of Yale Law School, I was a certified legal intern on a fellowship in the New Haven public defender’s office. J., a lanky 18-year-old brown-skinned kid sitting across from me, was my first client. He didn’t talk. Instead he stared at me as if I were the police. Sanford O. Bruce III, my supervising attorney, listened as I explained to J. (one of his initials) what we knew of the charges against him. A young man with whom J. attended high school had claimed that J. and another kid he didn’t know had threatened him with a pistol, then robbed him of his cellphone and a couple of hundred dollars. Officers arrested J. minutes later, but the other suspect, who supposedly held the gun, was never found.

The prosecutor thought he should serve time in prison. I let J. know this and described what would happen next: a series of court dates, a bond-reduction motion, plea-bargain offers. After remaining silent for nearly 40 minutes, he leaned forward in the blue plastic chair, cutting me off, and asked, “Aren’t you the one who did time in prison?” With a single question, this kid reminded me of what a law degree, even one from Yale, could not do — make my own criminal history vanish.

On Dec. 7, 1996, a month and two days after my 16th birthday, I climbed with four other people into a beat-up ink-colored sedan in Prince George’s County, Md. During that year, I’d read the Evelyn Wood guide to speed reading and J. California Cooper’s novel “The Wake of the Wind.” My Advanced Placement U.S. history teacher at Suitland High School had nicknamed me Smoky after he spied me rolling a blunt before his first-period class. I hadn’t won a fight since second grade. Had been suspended half a dozen times — once for setting off a stink bomb, but every other time for what teachers called being disruptive but was really just talking too much. People knew me for finding four-leaf clovers, doing back flips and making too many jokes. I didn’t know who I was.

[…continue reading here]

An excerpt from “Exclusive in New York for Bergdorf Goodman” by Cammy Thomas (poetry, ’99), published at Nixes Mate Review:

Exclusive in New York for Bergdorf Goodman

So it says on the back of the ashtray.
On the front, a mysterious girl sits on an elephant.

She looks large or he small,
his fan-like ear brushing her knee.

Her long hair loosely braided,
she holds an elephant hook before her,

the way pharaohs hold an ankh.
The beast’s tusks are curved and short,

its trunk long, open at the end,
twisted back toward her. This elephant

has toes like a cat, and his back knees point
backward, unlike any elephant ever seen. […continue reading here]