define life

Every single one of Terrance Hayes' American Sonnets for My Past and Future Assassin is absolutely fucking stellar. I posted one last year, and I'm posting another one this year, but I really recommend the whole book. I like posting sonnets with other sonnets because I love looking at all the things the form can do. Sonnets are magic!! Hayes' sonnet (which I'm posting for today) also directly references the Rilke sonnet I'm posting as a make-up poem for April 16. And if you've been around here at basically any point in the past 18 (?!?!) years of poetry posts, you know I love poetry in conversation with other poetry.

Rilke ends his sonnet "Archaic Torso of Apollo" saying
"You must change your life." James Wright ends "Lying
In a Hammock at William Duffy's Farm in Pine Island,
Minnesota" saying "I have wasted my life." Ruth Stone ends
"A Moment" saying "You do not want to repeat my life."
A minute seed with a giant soul kicking inside it at the end
And beginning of life. After the opening scene where
A car bomb destroys the black detective's family, there are
Several scenes of our hero at the edge of life. A shootout
In an African American Folk Museum, a shootout
In the middle of an interstate rest stop parking lot,
A barn shootout endangering the farm life. I live a life
That burns a hole through life, that leaves a scar for life,
That makes me weep for another life. Define life.

—Terrance Hayes, "American Sonnet for My Past and Future Assassin" ["Rilke ends his sonnet"] from American Sonnets for My Past and Future Assassin (Penguin, 2018).

*

We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,

gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.

Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast's fur:

would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. You must change your life.

—Rainer Maria Rilke (1875-1926), "Archaic Torso of Apollo," in this case from Ahead of All Parting: Selected Poetry and Prose of Rainer Maria Rilke, translated by Stephen Mitchell and published by Modern Library (1995).

a little room in a house set aflame

The sonnet is my favorite poetic form. I can make a pretty good case for the villanelle, and in general poems that fuck with formalism often speak to me. But there's just nothing like a sonnet, and despite being a very tight form in many ways, it's so adaptable and can do so much. Here are (for April 7 and April 9) two very different sonnets.

I lock you in an American sonnet that is part prison,
Part panic closet, a little room in a house set aflame.
I lock you in a form that is part music box, part meat
Grinder to separate the song of the bird from the bone.
I lock your persona in a dream-inducing sleeper hold
While your better selves watch from the bleachers.
I make you both gym & crow here. As the crow
You undergo a beautiful catharsis trapped one night
In the shadows of the gym. As the gym, the feel of crow-
Shit dropping to your floors is not unlike the stars
Falling from the pep rally posters on your walls.
I make you a box of darkness with a bird in its heart.
Voltas of acoustics, instinct & metaphor. It is not enough
To love you. It is not enough to want you destroyed.

—Terrance Hayes, "American Sonnet for My Past and Future Assassin ["I lock you in an American sonnet that is part prison"]" from American Sonnets for My Past and Future Assassin, 2018, and originally published in Poetry magazine, 2017.

*

Amor, de grano a grano, de planeta a planeta,
la red del viento con sus países sombríos,
la guerra con sus zapatos de sangre,
o bien el día y la noche de la espiga.

Por donde fuimos, islas o puentes o banderas,
violines del fugaz otoño acribillado,
repitió la alegría los labios de la copa,
el dolor nos detuvo con su lección de llanto.

En todas las repúblicas desarrollaba el viento
su pabellón impune, su glacial cabellera,
y luego regresaba la flor a sus trabajos.

Pero en nosotros nunca se calcinó el otoño.
Y en nuestra patria inmóvil germinaba y crecía
el amor con los derechos del rocío.


Love, from seed to seed, from planet to planet,
the wind with its net through the darkening nations,
war with its bloody shoes,
or even the day, with a thorny night.

Wherever we went, islands or bridges or flags,
there were the violins of the fleeting autumn, bullet-laced;
happiness echoing at the rim of the wineglass;
sorrow detaining us, with its lesson of tears.

Through all those republics the wind whipped—
its arrogant pavillions, its glacial hair;
it would return the flowers, later, to their work.

But no withering autumn ever touched us.
In our stable place a love sprouted, grew:
as rightfully empowered as the dew.

—Pablo Neruda (1904-1973), XXVIII from Cien sonetos de amor, or One Hundred Love Sonnets, translated by Stephen Tapscott (Austin: University of Texas Press, 1986).