Stasis in darkness.
Then the substanceless blue   
Pour of tor and distances.

God’s lioness,   
How one we grow,
Pivot of heels and knees!—The furrow

Splits and passes, sister to   
The brown arc
Of the neck I cannot catch,

Nigger-eye   
Berries cast dark   
Hooks—

Black sweet blood mouthfuls,   
Shadows.
Something else

Hauls me through air—
Thighs, hair;
Flakes from my heels.

White
Godiva, I unpeel—
Dead hands, dead stringencies.

And now I
Foam to wheat, a glitter of seas.   
The child’s cry

Melts in the wall.   
And I
Am the arrow,

The dew that flies
Suicidal, at one with the drive   
Into the red

Eye, the cauldron of morning.

The poem is called Ariel. It constantly refers to death and outright says that she is suicidal. The poem also talks about shadows, maybe referring to the depression and dark thoughts that are going on in her mind. It also talks about something pulling her out, hauling her through the air.

It talks a lot about death that it might be to someone else’s point of view reading it, might be a suicide note or in this case a poem. It talks about death with dead hands and dead stringency. The dead stringency she might be referring to might be feeling like something is closing in on her, or something tightening on her. She refers to herself as an arrow that does the job to kill. It also refers to a child’s wail melting into a wall. I think it is trying to convey that when a child or her child sees that she has killed herself that the child will start crying and that it will be heard by others, and the others will see as well. She also write “the cauldron of morning” probably meaning that she is going to commit suicide sometime it the morning before anyone else is wake so they will find her body and not be able to stop her from committing suicide.

The tulips are too excitable, it is winter here.
Look how white everything is, how quiet, how snowed-in.   
I am learning peacefulness, lying by myself quietly
As the light lies on these white walls, this bed, these hands.   
I am nobody; I have nothing to do with explosions.   
I have given my name and my day-clothes up to the nurses   
And my history to the anesthetist and my body to surgeons.

They have propped my head between the pillow and the sheet-cuff   
Like an eye between two white lids that will not shut.
Stupid pupil, it has to take everything in.
The nurses pass and pass, they are no trouble,
They pass the way gulls pass inland in their white caps,
Doing things with their hands, one just the same as another,   
So it is impossible to tell how many there are.

My body is a pebble to them, they tend it as water
Tends to the pebbles it must run over, smoothing them gently.
They bring me numbness in their bright needles, they bring me sleep.   
Now I have lost myself I am sick of baggage——
My patent leather overnight case like a black pillbox,   
My husband and child smiling out of the family photo;   
Their smiles catch onto my skin, little smiling hooks.

I have let things slip, a thirty-year-old cargo boat   
stubbornly hanging on to my name and address.
They have swabbed me clear of my loving associations.   
Scared and bare on the green plastic-pillowed trolley   
I watched my teaset, my bureaus of linen, my books   
Sink out of sight, and the water went over my head.   
I am a nun now, I have never been so pure.

I didn’t want any flowers, I only wanted
To lie with my hands turned up and be utterly empty.
How free it is, you have no idea how free——
The peacefulness is so big it dazes you,
And it asks nothing, a name tag, a few trinkets.
It is what the dead close on, finally; I imagine them   
Shutting their mouths on it, like a Communion tablet.   

The tulips are too red in the first place, they hurt me.
Even through the gift paper I could hear them breathe   
Lightly, through their white swaddlings, like an awful baby.   
Their redness talks to my wound, it corresponds.
They are subtle : they seem to float, though they weigh me down,   
Upsetting me with their sudden tongues and their color,   
A dozen red lead sinkers round my neck.

Nobody watched me before, now I am watched.   
The tulips turn to me, and the window behind me
Where once a day the light slowly widens and slowly thins,   
And I see myself, flat, ridiculous, a cut-paper shadow   
Between the eye of the sun and the eyes of the tulips,   
And I have no face, I have wanted to efface myself.   
The vivid tulips eat my oxygen.

Before they came the air was calm enough,
Coming and going, breath by breath, without any fuss.   
Then the tulips filled it up like a loud noise.
Now the air snags and eddies round them the way a river   
Snags and eddies round a sunken rust-red engine.   
They concentrate my attention, that was happy   
Playing and resting without committing itself.

The walls, also, seem to be warming themselves.
The tulips should be behind bars like dangerous animals;   
They are opening like the mouth of some great African cat,   
And I am aware of my heart: it opens and closes
Its bowl of red blooms out of sheer love of me.
The water I taste is warm and salt, like the sea,
And comes from a country far away as health.

The poem is constantly alluding to tulips as the poem is called. The poem refers to the tulips as sinkers that are used for fishing. It refers to the tulips as something dangerous, like an animal. A quote states “The vivid tulips eat my oxygen.” and another says “The tulips should be behind bars like dangerous animals: They are opening like the mouth of some great African cat”. She is constantly making it seem like these innocent flowers are harmful to her, and or hurting her in some way. At the end she is talking about water like seawater, and that it comes from a country faraway like health. She might be alluding to her health might be deteriorating. The health she might be referring to might not be her physical health but rather her mental or emotional health. In her biography it is stated that she had committed suicide. It also stated that “In one of her journal entries, dated June 20, 1958, she wrote: “It is as if my life were magically run by two electric currents: joyous positive and despairing negative—whichever is running at the moment dominates my life, floods it.””  Which means the health she is referring to is her mental health. It also shows that she was most likely bipolar depressed at the time she was alive to write that journal entry. 

Red Grapes

BY HUANG FAN TRANSLATED BY HUANG FAN AND MARGARET ROSS

In order to see the world’s evils clearly
They redden their eyes on the branch
Until they believe the warm wind’s praise
In order to become waves in our blood
They offer their lives to the wine cellar

In my glass, the blood of their youth
Tries to send waves through my heart
It’s a jockey riding my bloodstream
Loosening age’s reins—

I used dirty words I don’t normally use
Nearly scaring awake my dead relatives
I fell fast asleep with my arms around love
And, waking, couldn’t find my lover

I fit right in at a banquet in the city
And finally realize, love is wine’s tax
High taxes make wine noble

A crate of red wine
Is a crate of Van Goghs—do you believe that?
A crate of red grapes
Is a crate of nipples—do you believe that?

This poem is called Red Grapes, so my guess id the wine the author is talking about is red wine probably made form red grapes. It is also talking about some of the effects wine has on the author.

All My Friends Are Finding New Beliefs 

BY CHRISTIAN WIMAN

All my friends are finding new beliefs.
This one converts to Catholicism and this one to trees.
In a highly literary and hitherto religiously-indifferent Jew
God whomps on like a genetic generator.
Paleo, Keto, Zone, South Beach, Bourbon.
Exercise regimens so extreme she merges with machine.
One man marries a woman twenty years younger
and twice in one brunch uses the word verdant;
another’s brick-fisted belligerence gentles
into dementia, and one, after a decade of finical feints and teases
like a sandpiper at the edge of the sea,
decides to die.
Priesthoods and beasthoods, sombers and glees,
high-styled renunciations and avocations of dirt,
sobrieties, satieties, pilgrimages to the very bowels of  being …
All my friends are finding new beliefs
and I am finding it harder and harder to keep track
of the new gods and the new loves,
and the old gods and the old loves,
and the days have daggers, and the mirrors motives,
and the planet’s turning faster and faster in the blackness,
and my nights, and my doubts, and my friends,
my beautiful, credible friends.

This poem is kind of talking about complicated relations that anyone can have.

A Double Standard

BY FRANCES ELLEN WATKINS HARPER

Do you blame me that I loved him?
If when standing all alone
I cried for bread a careless world
Pressed to my lips a stone.

Do you blame me that I loved him,
That my heart beat glad and free,
When he told me in the sweetest tones
He loved but only me?

Can you blame me that I did not see
Beneath his burning kiss
The serpent’s wiles, nor even hear
The deadly adder hiss?

Can you blame me that my heart grew cold
That the tempted, tempter turned;
When he was feted and caressed
And I was coldly spurned?

Would you blame him, when you draw from me
Your dainty robes aside,
If he with gilded baits should claim
Your fairest as his bride?

Would you blame the world if it should press
On him a civic crown;
And see me struggling in the depth
Then harshly press me down?

Crime has no sex and yet to-day
I wear the brand of shame;
Whilst he amid the gay and proud
Still bears an honored name.

Can you blame me if I’ve learned to think
Your hate of vice a sham,
When you so coldly crushed me down
And then excused the man?

Would you blame me if to-morrow
The coroner should say,
A wretched girl, outcast, forlorn,
Has thrown her life away?

Yes, blame me for my downward course,
But oh! remember well,
Within your homes you press the hand
That led me down to hell.

I’m glad God’s ways are not our ways,
He does not see as man,
Within His love I know there’s room
For those whom others ban.

I think before His great white throne,
His throne of spotless light,
That whited sepulchres shall wear
The hue of endless night.

That I who fell, and he who sinned,
Shall reap as we have sown;
That each the burden of his loss
Must bear and bear alone.

No golden weights can turn the scale
Of justice in His sight;
And what is wrong in woman’s life
In man’s cannot be right.

The poem is talking about how it is unfair that women are held to this higher standard compared to men, and in God’s eyes everyone is the same no matter their gender.

They shut me up in Prose – (445)

By: Emily Dickson

They shut me up I Prose –

As when a little Girl

They put me in a Closet –

Because they liked me “still” –

Still! Could themselves have peeped –

And seen my Brain – go round –

They might wise have lodged a Bird

For Treason- in the Pound –

Himself has but to will

And easy as a Star

Look down upon Captivity –

And laugh – No more have I –

I like the patt where Emily states they could have seen her brain. It was very good imagery

won’t you celebrate with me 

Launch Audio in a New Window

BY LUCILLE CLIFTON

won’t you celebrate with me
what i have shaped into
a kind of life? i had no model.
born in babylon
both nonwhite and woman
what did i see to be except myself?
i made it up
here on this bridge between
starshine and clay,
my one hand holding tight
my other hand; come celebrate
with me that everyday
something has tried to kill me
and has failed.

I see one biblical allusion that being babylon. It seemes the author is questioning themselves but wants to celebrate with someone.

Praise Song for the Day

BY ELIZABETH ALEXANDER

A Poem for Barack Obama’s Presidential Inauguration

Each day we go about our business,

walking past each other, catching each other’s

eyes or not, about to speak or speaking.

All about us is noise. All about us is

noise and bramble, thorn and din, each

one of our ancestors on our tongues.

Someone is stitching up a hem, darning

a hole in a uniform, patching a tire,

repairing the things in need of repair.

Someone is trying to make music somewhere,

with a pair of wooden spoons on an oil drum,

with cello, boom box, harmonica, voice.

A woman and her son wait for the bus.

A farmer considers the changing sky.

A teacher says, Take out your pencils. Begin.

We encounter each other in words, words

spiny or smooth, whispered or declaimed,

words to consider, reconsider.

This poem is more talking about people in general, and words. Like considering words to say or reconsidering them.

Of History and Hope

BY MILLER WILLIAMS

We have memorized America,
how it was born and who we have been and where.
In ceremonies and silence we say the words,
telling the stories, singing the old songs.
We like the places they take us. Mostly we do.
The great and all the anonymous dead are there.
We know the sound of all the sounds we brought.
The rich taste of it is on our tongues.
But where are we going to be, and why, and who?
The disenfranchised dead want to know.
We mean to be the people we meant to be,
to keep on going where we meant to go.

But how do we fashion the future? Who can say how
except in the minds of those who will call it Now?
The children. The children. And how does our garden grow?
With waving hands—oh, rarely in a row—
and flowering faces. And brambles, that we can no longer allow.

Who were many people coming together
cannot become one people falling apart.
Who dreamed for every child an even chance
cannot let luck alone turn doorknobs or not.
Whose law was never so much of the hand as the head
cannot let chaos make its way to the heart.
Who have seen learning struggle from teacher to child
cannot let ignorance spread itself like rot.
We know what we have done and what we have said,
and how we have grown, degree by slow degree,
believing ourselves toward all we have tried to become—
just and compassionate, equal, able, and free.

All this in the hands of children, eyes already set
on a land we never can visit—it isn’t there yet—
but looking through their eyes, we can see
what our long gift to them may come to be.
If we can truly remember, they will not forget.

Vivid imagery and it talks about everyone getting a chance and opportunities