Category Archives: Poetry

“Counter-narcissus” by Brazilian Poet Paulo Leminski

18 Sunday Aug 2019

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Brazilian Poet Paulo Leminski in his Study
Photo Credit: Veja Magazine, São Paulo/Brazil

 

My Poetry Corner August 2019 features the poem “Counter-narcissus” (Contranarciso) by Paulo Leminski (1944-1989), a Brazilian poet, translator, and biographer. He was born of humble origins in Curitiba, capital of the southern state of Paraná. His father was of Polish descent; his mother was a mixture of Portuguese, Black, and Native Indian. He publicly owned with pride, the derogatory labels of “polaco” and “negro mestiço.”

At the age of fourteen, with his parents’ approval, Paulo entered the Monastery of Saint Benedict in São Paulo. Within a year and a half, unable to cope with the disciplined lifestyle, he returned home. But his time spent among the monks wasn’t wasted. His studies exposed him to theology, philosophy, and Classical literature which demanded a knowledge of Latin and Greek. Later in life, Leminski applied the monks’ rigid and strenuous study routine to his work. Passionate about language, he became an autodidact polyglot fluent in six foreign languages.

Before the realization that poetry was his life, Paulo abandoned his undergraduate studies in literature and law after just a year, taught history and creative writing for a while, and later applied his writing skills as a journalist and advertising editor. Continue reading →

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“This is the Dark Time My Love” by Guyanese Poet Martin Carter

30 Sunday Jun 2019

Posted by in Guyana, Poetry

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British soldiers arrive in Georgetown – British Guiana – October 9, 1953
Photo Credit: Stabroek News (Photo British Pathé)

 

My Poetry Corner July 2019 features the poem “This is the Dark Time My Love” by Guyanese poet Martin Carter (1927-1997) from his poetry collection, Poems of Resistance from British Guiana (London 1954). Following the suspension of the British Guiana Constitution in 1953, the poet-politician composed the poems in this collection during his three-month detention, together with other political leaders, by the British Army.

For readers unfamiliar with Guyana’s history, a former British colony until May 26, 1966, slavery ended in 1834. Indentured laborers began arriving from India in 1838 and continued until 1917. Other immigrant workers came from Portuguese Madeira (1835-1882) and China (1853-1879). The population of the colony in the mid-1950s was about 450,000 people (UN estimate).

Born in 1927 in Georgetown, the capital of then British Guiana, to middle class parents of African, Indian, and European ancestry, the young Martin grows up with an appreciation for literature, poetry, and philosophy. After attending the colony’s prestigious Queen’s College, for boys only, he gains entry to the civil service, working first at the post office, then later as the secretary of the superintendent of prisons.

Aware of the oppression and despair of the sugarcane workers who toil under harsh conditions on the British-owned sugar plantations, Carter joins the political struggle for self-governance. In “Looking at Your Hands” (1), he affirms his solidarity with the plantation workers in their shared struggle under British rule. 

No!
I will not still my voice!
I have
too much to claim –
[…]
you must know
I do not sleep to dream
but dream to change the world.  Continue reading →

“Nothing to Worry About” ~ Poem by Palestinian-American Poet Remi Kanazi

01 Saturday Jun 2019

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Front Cover: Before the Next Bomb Drops: Rising Up from Brooklyn to Palestine
by Remi Kanazi [Haymarket/USA, 2015]

 

My Poetry Corner June 2019 features the poem “Nothing to Worry About” from the poetry collection Before the Next Bomb Drops: Rising Up from Brooklyn to Palestine (Haymarket Books, 2015) by Remi Kanazi, a poet, writer, and organizer based in New York City. Born in 1981, he is the son of Palestinian refugees who fled Palestine during the Nakba of 1948 when the state of Israel was established. In this collection, he not only addresses the Israel-Palestine conflict, but also examines racism in America, police brutality, US militarism at home and wars abroad, Islamophobia, and more.

In “Nakba,” the opening poem of the collection, Kanazi shares his maternal grandmother’s story of fleeing from her homeland, living in exile, and not being able to return home.

she was scared
seven months pregnant
guns pointed at temples
tears dropping
stomach cusped
back bent
dirt pathways
leading to
dispossession

For Palestinians worldwide, Nakba, which literally means “catastrophe,” refers to the period 1947 to 1949 when Zionist colonizers ethnically cleansed 750,000 Palestinians and destroyed 531 villages.

Palestinians leaving a village in Galilee after the creation of Israel in 1948
Photo Credit: Aljazeera [Reuters]

 

Kanazi grew up in a small, predominantly white town in Western Massachusetts where he assimilated American customs. During his teenage years, he learned more about Palestine, but, as the only Arab family in town, he avoided contentious debate. In 2001, four months before 9/11, he moved to New York City.

In an “anti-Arab, Islamophobia, anti-Palestinian kind of world,” Kanazi says during his interview with Now This News on April 29, 2019, “[t]o be Palestinian in the United States is to face erasure; it’s to face marginalization.”

After Kanazi attended his first Def Poetry Jam on Broadway, in 2004, he was inspired to begin writing spoken word poetry. Based on his own receptivity, he realized the potential of using this medium to share his political thoughts with the young generation. Continue reading →

“the woman is a construction” by Brazilian Poet Angélica Freitas

05 Sunday May 2019

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Brazilian Poet Angélica Freitas
Photo Credit: Diário da Manhã, Pelotas,Rio Grande do Sul

 

My Poetry Corner May 2019 features the poem “the woman is a construction” (a mulher é uma construção) from the poetry collection, a uterus is the size of a fist (um útero é do tamanho de um punho), by Angélica Freitas, a contemporary Brazilian poet and translator.

Born in Pelotas, Rio Grande do Sul, in 1973, the eldest of four siblings, Angélica Freitas began writing poetry at the age of nine, but her journey to finding herself as a poet took a long and circuitous route. Her discovery, at the age of fifteen, that she was gay made it difficult for her to fit in with her peers. Bullies found her an easy target. At nineteen, following her father’s death, she escaped to Glasgow with a Scottish girlfriend. After six months of washing dishes and cleaning restrooms, she returned to her family home.

Opting to study journalism at the Federal University of Rio Grande do Sul, Freitas moved to the capital, Porto Alegre, where she remained after graduation. There, she could be invisible. In her poem, “the pink book of the foolish heart,” she recalls:

I had a girlfriend
with super powers
of invisibility
and when I walked beside her
I was also invisible

In 2000, an unexpected acceptance as a trainee with O Estado de São Paulo newspapers led Freitas to the metropolis of São Paulo. She confesses that she wasn’t a good reporter, but that the experience exposed her to other realities of life. After four years of suffering to write with the rhythm of a daily newspapers, she left them for a slower paced work schedule at a telecommunications magazine. A career in journalism, she came to realize, wasn’t for her. What she desired above all was to write poetry.

Her life changed on a Saturday in 2005 when, during a period of depression, she decided to attend a poetry workshop conducted by Carlito Azevedo, a poet from Rio de Janeiro. Two years later, under his mentorship, she published her first collection of poetry. That same year, she moved to Argentina where she lived for two years with her girlfriend. For the first time, she became part of a feminist group. Living among them made her question her own condition as a woman. On her return to Brazil, she moved back to her hometown to work full-time as a poet and writer. Continue reading →

“Fault Lines” – Poem by St. Lucian Poet Kendel Hippolyte

31 Sunday Mar 2019

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Front Cover: Fault Lines by Kendel Hippolyte
Cover Art by Cecil Fevrier

My Poetry Corner April 2019 features the poem “Fault Lines” from the poetry collection, Fault Lines, by Kendel Hippolyte, a poet, playwright, and director. Born in the Eastern Caribbean Island of St. Lucia in 1952, he lived in Jamaica in the 1970s, where he explored his talents in writing plays and poetry. After earning his bachelor’s degree in 1976 at the University of the West Indies Mona campus, he returned to St. Lucia.

Four poetry collections have followed his first publication in 1980. Fault Lines – published by the UK publisher, Peepal Tree Press, in 2012 – won the 2013 OCM Bocas (Caribbean Literature) Prize for Poetry. In 2000, he was awarded the St. Lucia Medal of Merit for Contribution to the Arts.

Since retiring from teaching theater arts and literature at the Sir Arthur Lewis College (1992-2007), Hippolyte focuses on raising public awareness and contributing to solutions of critical social issues. A major Caribbean tourist destination, the island nation of an estimated 165,510 inhabitants (July 2018) is vulnerable to global capitalism and its ills of consumerism, drugs, crime, and violence.

Cruise ships at the Port of Castries – St. Lucia – Eastern Caribbean
Photo Credit: St. Lucia Taxi & Tours

In his poem, “Paradise” (from the same collection), the poet laments in Caribbean English: “Every time this tourist ship name Paradise come dock in the harbor / you does realize we never going to make it.”

In “Fault Lines,” the collection’s titular poem, Hippolyte invites the reader to look beyond the natural beauty of the idyllic, island nation to the underlying fault lines that rupture its communities.

The lines appear on sidewalks and on streets just recently resurfaced,

on bridges and on buildings, the creases, cracks, accumulation;

the fractures of a thin, brittle civilization aging prematurely.

Earthquake rupture along freeway in Southern California – USA
Photo Credit: HPCwire

For those of us who live along the geological fault lines on Earth’s surface, as in the Caribbean and in my home state of California, the fissures or cracks are warnings of mounting pressure beneath our feet. So, too, the fault lines that divide us. And there are many such lines, such as inequality and rising white nationalism.

The hand of something dying scrabbles these last messages everywhere,

a harsh cuneiform trying to break through surfaces into our understanding.

But we can barely read that ancient language now, of earth writing itself.

Yet, the poet says, we are blind to the signs everywhere of our undoing. We have failed to learn from the errors of past civilizations.

We walk between the lines, fill in the blank telling cracks, deconstruct, if need be,

our crumbling edifices breaking out in fault lines from trying to contain what we’ve become.

We humans have a way of creating alternate realities that fit our narratives about who we are as a species.

The hand is writing too on faces – lines of bewilderment, fear, guilt;

other unfinished lines trail off, coagulating red on bodies left as messages,

torsos punctuated with the exclamation marks of knife wounds, full stops of bullet holes;

final sentences marked on faces of those who used to be too young to kill or to be killed.

The imagery here is powerful. These are no longer cracks on our sidewalks, streets, bridges, and buildings. These are self-inflicted wounds, especially to our young people who die in mass shootings and in our war zones.

Something is desperately writing a threnodic poem to us, hoping we will read

the lines appearing on the sidewalks, streets, bridges, buildings, bodies, faces. But

we do not read – and what hope for a poem, like this one, struggling to translate,

with nothing but words, these dark fault lines of our disintegration into poetry?

Hippolyte makes clear that this is a poem of lamentation for a species that refuses to see the myriad “dark fault lines” that herald our disintegration as communities and nations. He holds out little hope that his poetic words would awaken us to action.

When the fault lines finally rupture and dislocate the earth beneath our feet, would it be too late for humankind to change its ways?

To read the featured poem and learn more about the work of Kendel Hippolyte, go to my Poetry Corner April 2019.

“The Leash” – Poem by Ada Limón

03 Sunday Mar 2019

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Front Cover The Carrying: Poems by Ada Limón
Milkweed Editions – Minnesota/USA – August 2018
Photo Credit: Ada Limón

 

My Poetry Corner March 2019 features the poem “The Leash” from the poetry collection, The Carrying: Poems, by Ada Limón. Native of Sonoma, California, Limón is a poet, writer, and teacher. After earning an MFA in creative writing from the University of New York, she spent the next ten years working for various magazines, such as Martha Stewart Living, GQ, and Travel + Living. In 2011, she moved to Lexington, Kentucky, to be close to her now-husband, Lucas, a business owner in the horse racing industry. In addition to working as a freelance writer, she serves on the faculty of the low-residency MFA program at Queens University of Charlotte (NC) and the online and summer programs for the Provincetown Fine Arts Work Center (MA).

In an interview with the Lexington Herald-Leader magazine (August 2018), Limón says that The Carrying, her fifth book of poetry, “is incredibly personal. It’s more political than my other books… It deals with the body, with fertility. It also deals with what it is to do the day-to-day work of surviving.”

In her poem, “The Vulture & The Body,” she shares her struggle with infertility. In coming to terms with the failure of fertility treatment, she asks:

What if, instead of carrying
a child, I am supposed to carry grief? Continue reading →

“There are Many Traps in the World” by Brazilian Poet Ferreira Gullar

03 Sunday Feb 2019

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Historical Center of São Luís – Maranhão – Brazil
UNESCO World Heritage Site: Portuguese colonial architecture
Photo Credit: Kamaleao

 

My Poetry Corner February 2019 features the poem “There are Many Traps in the World” (No Mundo Há Muitas Armadilhas) by Ferreira Gullar (1930-2016), a Brazilian poet, playwright, art critic, and essayist. Born in São Luís, capital of the northeastern state of Maranhão, he was the fourth child of eleven siblings of a poor, working-class family.

As a young man, while earning a living as a radio announcer and editor of literary magazines, Gullar frequented poetry readings and devoured books of poetry by the best of Brazilian and foreign poets. At nineteen, he published his first poetry collection. But he saw no future in his suffocating, small-town life in the impoverished northeast region. He fled to Rio de Janeiro in the early 1950s, where he worked as a journalist for magazines and newspapers.

Beginning in 1962, his work reflected his concern about combating oppression and social injustice. After becoming a member of the communist party, he joined the struggle against the military dictatorship (1964-1985). Following his arrest and imprisonment in 1968, he went into exile in 1971. For the next six years, he lived in Moscow, Santiago, and Buenos Aires. In Buenos Aires in 1975, fearful for his safety in the wake of Argentina’s military takeover (1976-1983), he wrote his best-known work, “Dirty Poem” (Poema Sujo).

Ferreira Gullar among millions of students and other demonstrators gathered to protest against military dictatorship – Rio de Janeiro – Brazil – June 26, 1968
Photo Credit: Folha de São Paulo

 

In the opening stanza of the featured poem, “There are Many Traps in the World,” Gullar makes a simple declaration:

There are many traps in the world
and what is a trap could be a refuge
and what is a refuge could be a trap 

Some traps that we humans perceive as refuge come to mind: religion, cults, Facebook, and narcotic drugs. Continue reading →

“Unwritten Poem” – Poem by Barbados’ First Poet Laureate Esther Phillips

06 Sunday Jan 2019

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minister of culture appoints poet esther phillips as barbados' first poet laureate - february 2018

Minister of Culture appoints Poet Esther Phillips as Barbados’ first Poet Laureate – February 2018
Photo Credit: Barbados Government Information Services

 

My Poetry Corner January 2019 features the poem “Unwritten Poem” from the poetry collection, The Stone Gatherer, by Esther Phillips, a poet and educator born in Barbados, where she still resides. In February 2018, she was appointed the first Poet Laureate of the Caribbean island-nation.

After attending the Barbados Community College at the University of the West Indies Cave Hill Campus, she won a James Michener fellowship to the University of Miami where, in 1999, she gained an MFA degree in Creative Writing. Her poetry collection/thesis won the Alfred Boas Poetry Prize of the Academy of American Poets.

In 2001, she won the leading Barbadian Frank Collymore Literary Endowment Award. Years later, the third of her three well-received poetry collections, Leaving Atlantis (2015), won the Governor General’s Award for Literary Excellence.

Phillips is a Sunday columnist of the Nation newspaper and editor of Bim: Arts for the 21st Century, a 2007 revival of the seminal Caribbean literary and arts magazine, first published in 1942. In 2012, she formed Writers Ink Inc. and, together with its members, the Bim Literary Festival & Book Fair. Continue reading →

“We Could Be Free” by American Rapper Vic Mensa

09 Sunday Dec 2018

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Vic Mensa (foreground) from song video “We Could Be Free”
Photo Credit: Rolling Stone

 

In keeping with my end-of-year tradition, I feature a song on my Poetry Corner December 2018. During this year of growing division in the USA, the hip hop song “We Could Be Free” by Vic Mensa captured my attention. It’s the thirteenth track on Mensa’s first, full-length, studio album, The Autobiography, released on July 28, 2017.

An American rapper, singer, and songwriter, Vic Mensa was born Victor Kwesi Mensah on June 6, 1993, in Chicago, Illinois. He grew up in the good part of the Hyde Park neighborhood within a sheltered home with two parents, both educators. His white American mother and Ghanaian father, an economics professor at the University of Chicago, wanted their son to go to college. But the young Vic dreamed of becoming a rock star.

With adolescence came exposure to the real world outside of Vic’s gated community. In “Memories on 47th Street,” the biracial Mensa raps of his loss of innocence and the beginning of his drug use.

At age 12 I learned the difference between white and black
Police pulled me off of my bike, I landed on my back
Back to reality, oops, a victim of gravity
Where they pull you down and keep you there
Dependin’ on how you keep your hair

“I started to realize that America and the world were categorizing me as being black and all the stigmas attached to that, which would take a lifetime to unpack,” Mensa says in an interview with the Chicago Tribune.

Mensa concludes in “Memories on 47th Street:”

In a land of desperation we often turn to self-medication as a coping mechanism
Some make a living as hood pharmacists while some just inhale to remove them from hell
I watched from the window of a gated community until I grew old enough
There was no immunity from allure of the life 

Continue reading →

“Humanity” by Afro-Brazilian Writer & Poet Carolina Maria de Jesus

04 Sunday Nov 2018

Posted by in Brazil, Poetry

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Carolina Maria de Jesus - Favela of Caninde - Sao Paulo - Before publication of first book

Carolina Maria de Jesus with cart – Favela of Canindé – São Paulo (circa 1958)
Photo Credit: Jornal Estado de Minas (Collection Audálio Dantas)

 

My Poetry Corner November 2018 features the poem “Humanity” (Humanidade) by Afro-Brazilian writer and poet, Carolina Maria de Jesus (1914-1977), born in a rural community in Minas Gerais, Southeast Brazil.

An illegitimate child of a sharecropping family, Carolina was treated as an outcast. After just two years in primary school, when she learned to read and write, she developed a love for reading. She dreamed of becoming a writer.

“The book…fascinates me,” de Jesus writes in My Strange Diary (Meu Estranho Diário). “I was raised in the world. Without maternal guidance. But books guided my thinking. Avoiding the abysses that we encounter in life. Blessed the time I spent reading. I came to the conclusion that it’s the poor who must read. Because the book, it’s the compass that we have to guide man into the future…”

In 1930, de Jesus moved with her family to the State of São Paulo, where she worked as a washerwoman and, later, as a housemaid. After her mother’s death in 1937, she moved to the state capital, an industrial megalopolis. In 1948, she became pregnant for a Portuguese sailor. After he abandoned her, she moved to the favela (slum) of Canindé. Two other children followed, for different fathers.

De Jesus eked out a living: working as a housemaid and scavenging for paper and scrap metal around Canindé. An independent woman, she refused to marry because of the domestic violence she witnessed around her. Writing on blank pages of used notebooks she found in trash cans, she began recording her day-to-day existence as one of society’s “discarded” and marginalized people.

In her first entry, she writes: “July 15, 1955. The birthday of my daughter Vera Eunice [born 1953]. I wanted to buy a pair of shoes for her, but the price of food keeps us from realizing our desires. Actually we are slaves to the cost of living…”

Carolina Maria de Jesus - Manuscript 15 July 1955

Carolina Maria de Jesus – Manuscript of Journal – July 15, 1955
Photo Credit: Templo Cultural Delfos

 

Her stories, poems, and journal entries describe her struggle to rise above poverty and the ever-present specter of hunger. She calls attention to the social problems they face—prostitution, adultery, incest, alcoholism, physical violence, and foul language—and the consequences in their lives. She writes of the racial injustice and discrimination heaped on the poor and blacks in the favelas. She notes the empty promises made by politicians.

In an untitled poem from her journal, de Jesus requests:

Don’t say that I was trash,
that I lived on the margin of life.
Say that I was looking for work,
but I was always slighted.
Tell the Brazilian people
that my dream was to be a writer,
but I did not have money
to pay for a publisher.

A breakthrough came in 1958 when Carolina de Jesus met the young journalist, Audálio Dantas, during his visit to the favela for an assignment. On learning about her journal, he recognized its uniqueness and sociological importance. Through Dantas’ influence, edited excerpts were published in a magazine. Their popularity among readers led to the publication of her journal in 1960 as a book titled, Quarto de Despejo (Trash Room).

Carolina Maria de Jesus, Audálio Dantas e Ruth de Souza na Favela do Canindé. São Paulo, 1961

From left to right: Carolina Maria de Jesus, Journalist Audálio Dantas, and Actress Ruth de Souza – Favela of Canindé – São Paulo – 1961
Photo Credit: Collection Audálio Dantas

 

When asked about the idea for the name of her book, de Jesus told the interviewer: “In 1948, when they began to demolish one-story houses to construct apartment buildings, we, the poor, that lived in collective housing units, were trashed and we began living under bridges. That’s why I call the favela the trash room for a city. We, the poor, are old junk.”

Trash Room became an instant bestseller, selling 10,000 copies within the first three days and 90,000 more copies over the next six months. The English version, Child of the Dark, followed in 1962. The book soon drew international attention. But, to the Brazilian literary elite, it lacked linguistic quality. Three more books published in the 1960s received little attention.

Carolina Maria de Jesus durante noite de autógrafos do lançamento de seu livro Quarto de Despejo, São Paulo, em 1960.

Carolina Maria de Jesus signing her book Quarto de Despejo – São Paulo – 1960
Photo Credit: Templo Cultural Delfos

 

In her poem, “Many fled on seeing me,” published posthumously (1996) in Personal Anthology, a poetry collection, de Jesus laments:

It was paper I collected
To pay for my living
And in the trash I found books to read
How many things I wanted to do
I was hindered by prejudice
When I die I want to be born again
In a country where blacks predominate

With her book royalties, Carolina de Jesus bought a house in a middle-class neighborhood. Admiration turned to envy. Some accused her of being ambitious and uncharitable.

The featured poem, “Humanity,” published posthumously in My Strange Diary, is composed of four stanzas with a rhyme scheme aabccb. De Jesus expresses her disillusions with humankind: the perversity, wickedness, greed, tyrannical…egoists, and hypocrisy.

After knowing humanity
its perversities
its ambitions
I have been getting older
and losing
the illusions

[…]

When I die…
I don’t want to be born again
It’s horrible, to endure humanity
that has a noble appearance
that conceals
its worst qualities

Unable to adjust to life among the middle-class, de Jesus moved to the countryside where she lived in poverty until the end of her life. Her passing in 1977 went virtually unnoticed. She left behind more than 5,000 handwritten pages that contained seven novels, over 60 texts of chronicles, fables, autobiography and stories, over 100 poems, and four plays.

To read the featured poem in its original Portuguese and learn more about the work of Carolina Maria de Jesus, go to my Poetry Corner November 2018.

NOTE: All translations from Portuguese to English done by Rosaliene Bacchus.