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a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society

Stephen Gibson


Entryways 2021 (Redux)

Door with bat, hardware
Diamond Stingily
American, born 1990
The Museum of Modern Art, New York City
On view
 

“I think violence is a part of every day for a lot of people,”

 

Stingily says on systemic violence in Black communities,

 

adding, “to not live in violence is a privilege.” Peepholes

 

are musts because you didn’t open the door for anybody.

 

I grew up in the Bronx River Projects—our door, metal.

 

After the war, my father was given electroshock therapy

 

(almost all of the violence I feared wasn’t out in the hall).

 

My father was in a tank destroyer unit and fought Nazis.

 

After the war, he was in-and-out of a psychiatric hospital.

 

Courts allowed home visits; then he was back for battery

 

(more shock treatment was an alternative to going to jail).

 

What Stingily is saying about a bat at the door isn’t pretty

 

but how you grow up is probably how you see the world.

 

It doesn’t matter if you make installations or write poetry.


Portrait of Three Young Men, One Holding Umbrella, 1880

—St. Petersburg Museum of Fine Arts, Fl.

 

 

They could be Tremont Ave guys, but they’re Japanese,

 

Meiji period, not the Bronx, not Italian or Puerto Rican;

 

guys, like these guys, in wife-beater T-shirts, dungarees

 

rolled-up at the cuffs, always looked for shit to happen,

 

always waiting against the schoolyard wall in the 1950s,

 

eye-balling an outsider. Didn’t live there? You were one.

 

These guys in the photograph aren’t saying hello, please

 

enjoy our nice neighborhood and stay until you’re done:

 

where we live is more interesting than in the other cities.

 

Commodore Perry recently “opened” Edo: with cannon.

 

This is the next generation: what each of these guys sees

 

is a Westerner who did that. In their eyes is no invitation

 

to those who made them worthless in their own country.

 

Mock the guy with the umbrella? He’ll cut you with ease.


Boy with a Straw Hat Waiting to March in a Pro-War Parade, N.Y.C., 1967

Diane Arbus
American, New York 1923-1971
The Metropolitan Museum of Art, New York City
Online view
 

The boy is wearing one pin that says “Bomb Hanoi”

 

and another saying, “Support Our Boys in Vietnam”;

 

he’s holding a small American flag to wave. The boy

 

is waiting to march in a NYC pro-war parade. Bomb

 

Hanoi, what his Vietnam pro-war pin tells us. Destroy

 

the city. Drop everything we can on it, and if we harm

 

innocents, well, that’s war; it’s not something we enjoy.

 

I’d flunked out of college that year. All I felt was alarm.

 

Deferment, gone. From 2-S to 1-A. Not a shred of joy

 

knowing the draft was coming. I tried to remain calm.

 

Long story, short, I enlisted in the Navy, didn’t deploy:

 

in a roomful of guys, took the oath, raised my right arm,

 

and then cracked during basic training at Camp Dewey.

 

For a year, antipsychotic meds like Thorazine. Therapy.

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Stephen Gibson is the author of eight poetry collections: Frida Kahlo in Fort Lauderdale (2024 Able Muse Press), Self-Portrait in a Door-Length Mirror (2017 Miller Williams Prize winner, University of Arkansas Press, selected by Billy Collins), The Garden of Earthly Delights Book of Ghazals (Texas Review Press), Rorschach Art Too (2014 Donald Justice Prize winner, Story Line Press; 2021 Legacy Title reprint, Red Hen Press), Paradise (Miller Williams Prize finalist, University of Arkansas Press), Frescoes (Idaho Book Prize, Lost Horse Press), Masaccio’s Expulsion (MARGIE/Intuit House Book Prize), and Rorschach Art (Red Hen Press).

Other works by Stephen Gibson »


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