This poem seems very Loki-esque to me — especially when one considers Loki’s association with dandelions:
“Let them try to stop you
in every way they know;
Even if they poison you,
Cut you down,
Burn you to ashes,
Bury you deep,
And pave over the place
where you lie;
The weeds of your tenacity
will sprout through the cracks
And bloom.”— Bree NicGarran, “Dandelion Roots” May 2022
Sometimes you have to wait
in the dark
For what seems like forever
Certain no progress is being made,
not even a little growth
Nothing seems alive
You, least of all
It doesn’t even feel like waiting, truth be told,
since waiting implies an end in sight —
and you haven’t seen one of those
You’re sure you’ve been abandoned
It seems as though your own soul may have deserted you
But then one day
A day you didn’t think would come —
The smallest of cracks appears
Then the crack turns into an opening
Then the opening a breaking free.
Maybe it was the way the sun hit,
or how the rain fell
or how the planets aligned
or maybe something deep within you simply knew: NOW.
It’s not just that you’ve come back to life, though
The life within you feels humbler, since you know you know less now.
And more grounded, since your roots were silently growing deep all this time.
You understand now, there was something happening,
in that slow and tedious germination.
It’s a miracle, isn’t it?
How even in the longest and most brutal of winters
thousands of seeds are plotting
a most magnificent spring.~
art: Shanna Trumbly
“Loki is big on the concept of “negative capability,” which John Keats defines as, “when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.” Namely, that a poet must remain open to all ideas, to all identities–even to the point of obliterating one stable identity–if that poet is to remain truly creative. Basically: embrace uncertainty, because it leads to change, and change is generative and inherently creative.“
By Jameson Fitzpatrick
Last night, I went to a gay bar
with a man I love a little.
After dinner, we had a drink.
We sat in the far-back of the big backyard
and he asked, What will we do when this place closes?
I don’t think it’s going anywhere any time soon, I said,
though the crowd was slow for a Saturday,
and he said—Yes, but one day. Where will we go?
He walked me the half-block home
and kissed me goodnight on my stoop—
properly: not too quick, close enough
our stomachs pressed together
in a second sort of kiss.
I live next to a bar that’s not a gay bar
—we just call those bars, I guess—
and because it is popular
and because I live on a busy street,
there are always people who aren’t queer people
on the sidewalk on weekend nights.
Just people, I guess.
They were there last night.
As I kissed this man I was aware of them watching
and of myself wondering whether or not they were just.
But I didn’t let myself feel scared, I kissed him
exactly as I wanted to, as I would have without an audience,
because I decided many years ago to refuse this fear—
an act of resistance. I left
the idea of hate out on the stoop and went inside,
to sleep, early and drunk and happy.
While I slept, a man went to a gay club
with two guns and killed forty-nine people.
Today in an interview, his father said he had been disturbed
recently by the sight of two men kissing.
What a strange power to be cursed with:
for the proof of men’s desire to move men to violence.
What’s a single kiss? I’ve had kisses
no one has ever known about, so many
kisses without consequence—
but there is a place you can’t outrun,
whoever you are.
There will be a time when.
It might be a bullet, suddenly.
The sound of it. Many.
One man, two guns, fifty dead—
Two men kissing. Last night
I can’t get away from, imagining it, them,
the people there to dance and laugh and drink,
who didn’t believe they’d die, who couldn’t have.
How else can you have a good time?
How else can you live?
There must have been two men kissing
for the first time last night, and for the last,
and two women, too, and two people who were neither.
Brown people, which cannot be a coincidence in this country
which is a racist country, which is gun country.
Today I’m thinking of the Bernie Boston photograph
Flower Power, of the Vietnam protestor placing carnations
in the rifles of the National Guard,
and wishing for a gesture as queer and simple.
The protester in the photo was gay, you know,
he went by Hibiscus and died of AIDS,
which I am also thinking about today because
(the government’s response to) AIDS was a hate crime.
Now we have a president who names us,
the big and imperfectly lettered us, and here we are
getting kissed on stoops, getting married some of us,
some of us getting killed.
We must love one another whether or not we die.
Love can’t block a bullet
but neither can it be shot down,
and love is, for the most part, what makes us—
in Orlando and in Brooklyn and in Kabul.
We will be everywhere, always;
there’s nowhere else for us, or you, to go.
Anywhere you run in this world, love will be there to greet you.
Around any corner, there might be two men.
5 years ago today, many people were killed or wounded in the Pulse nightclub massacre in Orlando, Florida. It was one of the deadliest mass shootings in U.S. history.
Jameson Fitzpatrick, “A Poem for Pulse” from Bullets into Bells: Poets and Citizens Respond to Gun Violence. Copyright © 2017 by Jameson Fitzpatrick.
2021 Poetry Foundation, Poetry Foundation 61 W. Superior Street Chicago, IL 60654 USA
Laguz I surrender to the depth and the flow
Othala I surrender to that which encompasses all [the Norns know]
Kenaz I surrender to the flame that roars and sings
Isa I surrender to the stillness at the beginning and the end of all things