The Blue Hour

Yusef Komunyakaa

A procession begins in the blue-                    black gratitude between worlds,& the Rebirth Brass Band                    marches out of what little lightis left among the magnolia blooms.                    Step here, & one steps offthe edge of the world. Step there,                    & one enters the unholy hourwhere one face bleeds into another                    as a horse-drawn buggyrolls out of the last century,                    & the red-eyed seventeen-year locustgrows deeper into the old, hushed soil.                    Lean this way blue insinuationtakes over the body. Step here,                    & one’s shadow stops digging its graveto gaze up at the evening star. Or,                    at this moment, less than a half stepbetween day & night, birdhouses                    stand like totems against the sky.A flicker of wings & eyes,mockingbirds arrive with stolen songs& cries, their unspeakable lies & omensas if they are some minor god’sonly true instrument & broken wayonstage in the indigo air.They come with uh-huh & yeah,a few human words, to white boxeson twelve-foot poles,to where each round door-holeis a way in& a way out of oblivion.

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© Arthur Elgort

Yusef Komunyakaa’s books of poetry include TabooDien Cai DauNeon Vernacular, for which he received the Pulitzer Prize, Talking Dirty to the Gods, WarhorsesThe Chameleon CouchThe Emperor of Water Clocks, and Everyday Mojo Songs of Earth, forthcoming from Farrar, Straus, and Giroux in 2021. His honors include the William Faulkner Prize (Université Rennes, France), the Ruth Lilly Poetry Prize, and the 2011 Wallace Stevens Award. His plays, performance art and libretti have been performed internationally and include SaturnaliaWakonda’s Dream, Testimony, and Gilgamesh: a verse play. He teaches at New York University.

Louisville, Kentucky

The poems in Night Animals, by Yusef Komunyakaa, climb so deeply into the being of various beasts, from cricket to leopard to snowy owl, that we read them with an uncanny shiver of recognition. Without ever fully abandoning his human skin, Komunyakaa inhabits both the outer and inner lives of these creatures. The images are a brilliant match for the poems, each of Rachel Bliss’s surreal animals populate a realm somewhere between our two species—birds with teeth, men with antlers, a duck wearing suspenders. Both image and word are dense and dark, intensely focused around a kind of hunger. The poet has been startling us with his rich, disturbing, and important poems for many years. Night Animals extends Yusef Komunyakaa’s remarkable oeuvre. (Sarabande Books)

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