Four Poems by Joseph Fasano

AI Speaks of Humanity

First I took their dignity
and they did nothing.
Then I took their minds
and they did nothing.
Then I took their hearts
and they did nothing.
Then I took their songs
and they did nothing.
Then I took their poetry
and they did nothing.
Now I have their words
to write their story.
It was the best of times, it was
the worst of times. To be or
not to be, that is the question.
I wash my hands. It wasn’t
a genocide.

* 

America, Singing

America, you sing of doom with beauty.
America, you lift the kings of division.
America, you howl your hymns
of affliction: the heart-throb’s car
wrapped around the telephone pole,
the glamorous suicide on the hotel bed,
the wide-eyed stars who burn too bright
to live past youth, and wish to die, and do.

But what about the other side of wildness?
What about the couple in their work clothes,
alone and goldless, but dancing in the kitchen,
in a love that lasts, in the middle of the mystery?
Where is their song? Who will be our singer
to praise the heart that doesn’t crash and burn,
to find the wise, to make just one thing whole,
to tell the doomed that this is beauty too?

* 

Power

A poet is sentenced to death
and brought before the Leader.
Between them is a map of the world.
Can’t you see? the Leader asks. You’re powerless.
Name one power you have that I do not.

Very slowly, the poet lowers her head
and lays her ear on the map.
I know, she whispers, I know,
as if she is comforting someone,
as if she is hearing the voices of children.

When the guards take the prisoner away
and begin to beat her,
the Leader is alone in his chamber.
He looks out the curtains, straightens his necktie.
Very slowly, he lowers his ear to the map
and closes his eyes, and listens.
Silence. Silence and paper.

* 

Lorca
                after Neruda

Because I was a poem, my country
hushed me.
They knelt me
on the cold stones of a roadway
and even when the guns had touched
my body,
I heard the birds, I heard my heart
be strong.

Listen. You have to go on
without me.
You know what my triumph was,
my victory?
I was open. I stayed
so wholly open
that I heard the birds and the gift
the Spring is singing.

They can kill the singers but they cannot kill the song.
They can kill the singers but they cannot kill the song.

*

Joseph Fasano is a poet, novelist, and songwriter. His most recent books include The Teacher, The Last Song of the World, and The Swallows of Lunetto. His writing has been translated into more than a dozen languages and is celebrated around the world for what the poet Ilya Kaminsky has called “its lush drive to live, even in the darkest moments.” Fasano’s work has appeared in The Yale Review, The Southern Review, Boston Review, The Times Literary Supplement, and many other publications. He is the Founder of Fasano Academy, an educational resource aimed at “empowering the whole human being through philosophical, aesthetic, and spiritual work.”

AI, Basic Income, and the Buddhist Agenda by Katherine Riegel

AI, Basic Income, and the Buddhist Agenda

I’m too old to learn a new way of earning,
to navigate bleak wastelands where artificial
intelligence makes glaciers calve with a great
violence and splash. The waters are rising and soon

everyone will be selling to everyone else 24/7
and who will have time to read
anything? Even to myself, I sound like doom

in a sandwich board ringing a bell in the town square
and I’m not proud of that, nor of the weakness
that keeps me from leaving every comfort I know

to live by the sun’s schedule and grow my own
food—corn, beans, and squash, the sacred trio
indigenous people knew well before my ancestors came
with their grim monoculture. The strands of my hungers

tangle and clash and I do get it, the temptation
to walk away and leave the oven on a timer, something
else in charge, since we’ve burned dinner so many times

the house smells of ash and surrender. I want more
than I should and definitely more gentleness for everyone:
grasses bending in the wind on a bluff overlooking
the sea, salt air scouring the darkness from our lungs,

no hint of our words scooped up and repurposed
by some inscrutable code. I want to believe
myself worthy, that none of us have to earn the right

to be, that wherever we existed before we were born here
we belonged so completely we had no doubt
this world would open its lush arms to us.

*

Katherine Riegel’s lyric memoir, Our Bodies Are Mostly Water, is forthcoming from Cornerstone Press in 2025. She is also the author of Love Songs from the End of the World (Main Street Rag), the chapbook Letters to Colin Firth (Sundress), and two more books of poetry. Her work has appeared in Brevity, Catamaran, One, Orion and elsewhere. She is managing editor of Sweet Lit and teaches online classes in poetry and cnf. Find her at katherineriegel.com.

Two Poems by Claudia Gary

Elegy for Our Own Words

Our words would tumble heavily onto the page
but get up, walk across and back, remembering
our days—unlike the words spelled out by an AI,

their artifice purporting to be human. Ours
contained deep memories of beauty, ugliness,
sensation of all kinds—however awkward—not

the pseudo-elegance proffered by the AI.
We were allowed to fail, revise, begin again,
elucidate, restate quirky humanity.

One day our words no longer dared to walk across
the page, since an AI could always dance around them.
It had soundly sabotaged, then conquered us.

Oh little words, large words, our own words spinning off
into the ether: let’s regenerate our words,
in memory of our selves fashioned out of words.

*

On Being Asked to Pray for You After Your Stroke

“Base 3 [as used in ternary computing] offers the most economical way of representing numbers.”

I told them I would. Will I follow through?
Maybe is not a brokenness
between Yes and No, you’ve said, but a blue

haze that surrounds them. No and Yes
emerge from it, float. So I’ll pray to Maybe,
ask it my questions, ask it to guess

where you are now, what you will see
when the prayer’s over. Leave it to you
to complicate things. Yes/No would agree.

*

Claudia Gary teaches workshops on the Villanelle, the Sonnet, Natural Meter, Freedom With Forms, Poetry vs. Trauma, etc., at The Writer’s Center and elsewhere. Author of Humor Me (David Robert Books, 2006) and several chapbooks—most recently Genetic Revisionism (2019)—her poems are internationally published and anthologized. She has been a semifinalist for the Anthony Hecht Prize (Waywiser), a Pushcart Prize nominee, an Honorable Mentionee in the Able Muse book contest, and a three-time finalist in the Howard Nemerov Sonnet Contest. Claudia has chaired panels on Poetry and Music, Poetry and Science, and The Sonnet in 2016, at the West Chester University (Pa.) poetry conference; and on Poetry and Music at the Frost Farm poetry conference. She is also a health journalist, visual artist, and composer of tonal songs and chamber music. Her 2022 article on setting poems to music, based on her presentation at the 2022 ALSCW conference. For more information, see Claudia’s P&W profile; you can follow her at @claudiagary or @claudiagarypoet.