Grief Puppet, by Sandra Beasley

In the nearby plaza, musicians would often gather.
The eternal flame was fueled by propane tank.
An old man sold chive dumplings from a rolling cart,
while another grilled skewers of paprika beef.
Male turtledoves would puff their breasts, woo-ing,
and for a few coins, we each bought an hour with
the grief puppet. It had two eyes, enough teeth,
a black tangle of something like hair or fur,
a flexible spine that ran the length of your arm.
Flick your wrist, and at the end of long rods
it raised its hands as if conducting the weather.
Tilt the other wrist, and it nodded. No effort
was ever lost on its waiting face. It never
needed a nap or was too hungry to think straight.
You could have your conversation over and over,
past dusk when old men doused their charcoal,
into rising day when they warmed their skillets.
The puppet only asked what we could answer.
Some towns had their wall, others their well;
we never gave the stupid thing a name, nor
asked the name of the woman who took our coins.
But later, we could all remember that dank felt,
and how the last of grief’s flock lifted from our chests.

Flood: Years of Solitude, by Dionisio D. Martínez

To the one who sets a second place at the table anyway.

To the one at the back of the empty bus.

To the ones who name each piece of stained glass projected on a white wall.

To anyone convinced that a monologue is a conversation with the past.

To the one who loses with the deck he marked.

To those who are destined to inherit the meek.

To us.

National Poetry Month, by Elaine Equi

When a poem
speaks by itself,
it has a spark

and can be considered
part of a divine
conversation.

Sometimes the poem weaves
like a basket around
two loaves of yellow bread.

“Break off a piece
of this April with its
raisin nipples,” it says.

“And chew them slowly
under your pillow.
You belong in bed with me.”

On the other hand,
when a poem speaks
in the voice of a celebrity

it is called television
or a movie.
“There is nothing to see,”

say Robert De Niro,
though his poem bleeds
all along the edges

like a puddle
crudely outlined
with yellow tape

at the crime scene
of spring.
“It is an old poem,” he adds.

“And besides,
I was very young
when I made it.”