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Sonia's Poem of the Week #27
"The Universe is a House Party" has its eyes on the beyond.

Poet Tracy K. Smith brings us to the edges of "what doesn't end." But in a poem ostensibly about space, the images are romantically human. Details like "orphan socks and napkins dried into knots" and the central metaphor of the house party, "everyone thudding around drunk / On the roof," manage to make space feel intimate. Smith is known for her Afro-futurist imagination. This poem has something to say about life here on Earth. Keep these things in mind when you get to the last lines. Be ready to ask, whose house is this, anyway? and hear Smith answer.


Bonus: scroll to the bottom to read "5,000 Prostitutes of Erice," a poem of mine that was published last month in the literary journal Rattle.

The Universe is a House Party
By Tracy K. Smith

The universe is expanding. Look: postcards

And panties, bottles with lipstick on the rim,

Orphan socks and napkins dried into knots.

Quickly, wordlessly, all of it whisked into file

With radio waves from a generation ago

Drifting to the edge of what doesn’t end,

Like the air inside a balloon. Is it bright?

Will our eyes crimp shut? Is it molten, atomic,

A conflagration of suns? It sounds like the kind of party

Your neighbors forget to invite you to: bass throbbing

Through walls, and everyone thudding around drunk

On the roof. We grind lenses to an impossible strength,

Point them toward the future, and dream of beings

We’ll welcome with indefatigable hospitality:

How marvelous you’ve come! We won’t flinch

At the pinprick mouths, the nubbin limbs. We’ll rise,

Gracile, robust. Mi casa es su casa. Never more sincere.

Seeing us, they’ll know exactly what we mean.

Of course, it’s ours. If it’s anyone’s, it’s ours.

This poem is from Smith's Pulitzer Prize winning collection Life on Mars. I found it in this Dazed article, Black female poets you need to know. In his review of Life on Mars, scholar James Edward Ford III writes, "Afro-futurism treats blackness as a way of envisioning futures. Significantly, this is not "a black thing" that excludes or condescends against other racial groups... Actually Afro-futurism almost necessarily entails cross-cultural appropriation that takes blackness seriously as a creative and critical entry point and way of being."

Also cool to know: Joel Brouwer's review of the collection for The New York Times reads: "Smith’s father was a scientist who worked on the Hubble’s development, and in her elegies mourning his death, outer space serves both as a metaphor for the unknowable zone into which her father has vanished and as a way of expressing the hope that his existence hasn’t ceased, merely changed." 

 

As promised, I'm sharing my own work too.


I wrote this poem about Erice, a city in Sicily that I visited last year. “5,000 Prostitutes in Erice” is a reflection on the history of the city as home to a historically significant temple of Venus. The temple at one point housed as many as 5,000 priestess prostitutes. Sailors visiting Sicily climbed Mount Erice to reach the temple and paid high prices to sleep with one of the holy human embodiments of Venus. The priestesses began sexual service as young as 12 years old and continued into their mid-twenties. "5,000 Prostitutes in Erice" was published in the June issue of Rattle.
This is a scanned image of the vintage postcard on which I wrote my poem. It depicts a temple on the island of Erice set against a deep blue sky.
I wrote the poem on a vintage postcard I purchased in Erice.
This is a scanned image of the vintage postcard on which I wrote my poem. The text of the poem is as follows. 5,000 Prostitutes in Erice  When I hear there were 5,000 prostitutes (holy) living together on top of a hill, I wonder what they did in the long afternoons of sun and wind and their own company, if they ate olives, if they ate bitter oranges, if their throats slid open in song as though to a knife, if they held hands, if they made love, if they watched their fire and wondered why men came like bugs to be blessed by a light that did not belong to them, if they called their mother (Venus) and asked to be left alone, if they danced the way women dance when they are alone, when they are islands that bear no fruit and no visitors.
Whenever I can, I like to have my work published in my own handwriting.
You can always see what I'm up to on Instagram






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Sonia Feldman · 2529 Detroit Ave · Cleveland, OH 44113 · USA

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