Please help the Black Earth Institute continue to make art and grow community so needed for our time. Donate now »

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

Sean Thomas Dougherty


Epistrophe

What was it Monk was searching for as he pressed the pedals and stretched his fingers to make new chords, or to make one familiar more than minor? As this the living every day, a day like before but different, a certain slant of light against the factory wall now slightly changed since yesterday: not citrine, more mustard, or the way yesterday the bare pear trees are now suddenly in bloom. Once on the bus to work I saw the same old woman I had seen sit there for years, the one who wears a green coat and reads a romance novel and talks to the driver. She is about sixty, as the driver and I are too—hell nearly everyone is today. This woman I heard her start to hum, then catch a tune, then sing, in a perfect bluesy drawl My One and Only Love, as if the spirit of Sarah Vaughan had entered her body. Her voice meandered as the driver called out stops, then turned the way the autumn leaves outside blew across the walk. The way starlings might anoint the sky with their murmuration. The other passengers sat stunned. When she finished, we exploded into applause. Amongst us are these hidden saints who reach out to heal the faint and faltered. One day all the trees are blooming the next they are bare. O Monk if I could ask, I would ask you what were the chords that once you found you could not bear?

Anonymous Graffiti

Like the ones in public bathroom stalls

that involve cocks and your mother

 

or fake phone numbers for a good time,

or a hastily spraypainted Libertad

 

on a wall in Santiago or Saoirse

in Belfast or the full car murals

 

gleaming with dramatic fades

of skyscrapers and cartoon figures

 

the unknown artist spraypainted

somewhere deep in the trainyard

 

as the subway rolls third rail

sparking from the Bronx or Chicago,

 

to travel unnamed and the people say look—

the art of the city, the art of the human

 

heart that needs no name to say I was here,

without tag or signature, not the famous

 

ones, no this is something else, a vandal

ridiculing Caesar, a shout

 

against the secret police, a simple face

drawn with a black marker, the sly grin

 

that stares at me from the back

of a seat on the downtown bus

 

and how with a simple flirtatious line

the artist made the right eye wink

 

as if telling me a secret, as the bus

rolls past the bodega where gang signs

 

signal turf, or the great murals

that rise off the sides

 

of closed factories, in this city

where the young gather

 

underneath bridges, and highway passes

to make characters shine, or the latrinalia

 

I read on the stall door

as I sat down to shit

 

at the music club that said “in life

and punk rock, there is no

 

toilet paper.”

Share: 


Sean Thomas Dougherty’s most recent books are Death Prefers the Minor Keys from BOA Editions, and The Dead are Everywhere Telling Us Things, winner of the 2021 Jacar Press Full Length Poetry Prize, selected by Jessica Jacobs and Nickole Brown. His book The Second O of Sorrow was winner of the Housatonic Book Award and cowinner of the Paterson Poetry Prize. He works as a long-term caregiver and Medtech along Lake Erie.

Other works by Sean Thomas Dougherty »


©2025 Black Earth Institute. All rights reserved.  |  ISSN# 2327-784X  |  Site Admin