Yellow gold is meaningless
Learning is better than pearls
A woman without brilliance
Leaves nothing but dim children
You can hawk your gold if you’re hungry
Sell your mule when you’re desperate
What can you do with so many poems
Sprouting dead hairs in an empty coffin
*
Lotus: pink dewlapped pretty
Lotus: upturned palm of my dead mother
Lotus: a foot a broken arch
Lotus: plop and a silent ripple
*
I hum and stroll
And contemplate a poem
While young boys are dying
In West Darfur
I hum and stroll
And contemplate a poem
While young boys are dying
In West Darfur
“Just as [William] Blake saw the world in ‘a grain of sand,’ with oppositional force, I try to capture the world’s injustice in one temporal ‘Chinese American quatrain.’
The first piece is comprised of two classic call-and-response quatrains. The first voice offers an argument and the second voice counters it. In the second piece I employ what I call the ‘cruel juxtaposition’ strategy. I juxtapose the history of oppression against women by using disturbing elliptical images of the dead mother’s body parts against a reference to Basho’s famous frog poem, which describes the perfect Zen distilled moment. Two heavy incongruous ideas happening on one tiny lotus pad. The third piece offers a cruel juxtaposition self-consciously contrasting an entitled American poet’s easy life against those of dying boys in a faraway war. And just in case the reader misses the message, I duplicate the quatrain for emphasis.”
—Marilyn Chin
Marilyn Chin is the author of numerous collections of poems, including Hard Love Province (W. W. Norton, 2014). She teaches in the MFA program at San Diego State University.
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