
Truth Thomas
Truth Thomas combines passion, honesty and soul to make meaning. His poems soar above us and then happily settle in our hearts. —Grace Cavalieri
Truth Thomas is a singer-songwriter, poet, and photographer, born in Knoxville, Tennessee and raised in Washington, DC (the Capitol recording artist once known as Glenn Edward Thomas). He is the founder of Cherry Castle Publishing and studied creative writing at Howard University under Dr. Tony Medina. Thomas earned his MFA in poetry at New England College. His collections include Party of Black, A Day of Presence, Bottle of Life, Speak Water, winner of the 2013 NAACP Image Award for Outstanding Literary Work in Poetry and My TV is Not the Boss of Me, (a children's book, by Cory Thomas). He is a former Writer-in-Residence for the Howard County Poetry and Literature Society (HoCoPoLitSo) and the Inaugural Poet Laureate of Howard County, Maryland. His poems have appeared in over 150 publications, including The 100 Best African American Poems (edited by Nikki Giovanni) and This Is the Honey (edited by Kwame Alexander). He is the creator of the Skinny poetry form and Editor-in-Chief of The Skinny Poetry Journal.
In Search of Liberty’s Station
(for HC and all)
Oh Lord, my Lord, we have witnessed hatred’s jaws
seek to rend the golden garment of our nation. We have
heard the sound of bullets, playing freeze tag with our
children, packing morgues like grocery bags. But here,
right here, our broken land still knows touch of farmers
tilling promise fields. We are purple twilight paths
worn smooth from feet of Freedom’s travails. You have
seen the “all” of all of it, Oh Lord, my Lord, both terror’s
bloody irrigation and shoestrings tied to Democracy’s
march. Pa'lante to the locomotion of such steps, who
press on, however runover spirits of their heels may be.
So, let every huddling pronoun rise, dance in masses
of Diversity—every stoop and village center, only
be patrolled with badges of compassion. If we must
live, let it not be like food for blue line bullets. Here,
right here, let amity find merry weather in hallowed
blocks of bubble tea and chaat, hot dogs grilling trash
talk, sweet potato pie and—dare I say it—Old Bay
vegan Sloppy Joes. Yes, Lord. Yes. We are graffiti
riding train track thunder, all-race rail cars hitched—
and no engineer of cowards can derail us. And so,
we ride in search of Liberty’s station—not to linger
there, whenever wheels arrive, but to invite more
“dark past” travelers into seats like cradle rock rows.
Let every Star of David join hands with Assalamu
Alaikums, every Hallelujah pew lock arms with
Buddhists bells—every Native Nation, still on trails
of sobbing earth, know the “All aboard” of rail car
rest—and even Humanism's highest priests say,
“Amen” to emancipation's open coach, for it belongs
to us, Oh Lord, Our Lord—as much as every infant
rider belongs to saddles of a mother’s hips—but
never half a coin as much as we belong to you.
For All the Deciduous Pictures
Where trees grow branches, Afro-puffed with green,
though Hawk's breath of repression strips each limb,
I watch their buds fulfill their pledge to rising,
spring up along the sweet gum path within.
The cold’s a field of locks, like cell block cities—
like icy walls and barbed wire chilling hope,
where beating winds make frost the flesh of cages,
conscripting Arctic leg irons on the soul.
Each snowfall that visits stacks up shivers,
piles forsaken dreams, heavy on the bark,
while whips of blizzards crack, mocking forest faith;
lashings of despair never miss their mark.
Confinement is the cruelest storm that howls,
both through bean slot canopies, cross bar crowns.
When January's ice tests sanity's pluck,
loneliness handcuffs; angst remains unbound.
Yet joy lives in the cells of seeds that climb,
all sap that slows, but never freezing yields.
I know knife-tip seasons cut like Glasgow smiles,
and some would count us deadwood in the fields.
Though glacial days incarcerate this timber,
rebirth cannot be vanquished from the grove.
No winter can detain the roots of spirits
or leaves of freedom when the mind unfolds.
Nasser Hospital | 2023
1.
Candy in the palm
of a little girl’s hand
falls to blood-soaked
floor. After her gasping
becomes cooling board
sleep, only the mortuary
is awake.
2.
In the emergency room,
a father makes swaddling
clothes of white sheets
frayed by faith in war.
Cradling his daughter’s
stillness in the cocoon
of this fabric, his left arm
is king of pillows.
If this were bedtime for
the living, lullabies
would spread their
blanket songs.
3.
In the emergency room,
this same father
uses the index finger
of his right hand
to wipe away caking
of blood, orange-tinted
with tears, from hematomas
just above his baby’s
brows. He kisses the paleness
of her eyelids—never again
to know blinking. Before
she is zipped up in a black
plastic bag, carried away
to the cemetery, tell me,
which of their faces is
more the tombstone?
Tell me.
For the Interrupted All
When 1963 remembers the Old Man tells me
of other kinds of abortions, Mother Brooks—
how wails of grief, well-funded by occupying
forces of glass and shrapnel, in cahoots with
dynamite sponsors, will also not let you forget:
Beware the Ides of September, The Bombing-
ham Strip, the list poem of crucifixion that
forever calls four little girls by their first
names: Cynthia, Carole, Addie Mae, Denise—
all who never saw sweet 16 candles wishing
or met a prom night dancing dress—Sarah
Collins Rudolph, Addie’s baby sister, whose
eyes were blown into red-drunk caves of Nakba,
by a hate supreme—A Hate Supreme. Digging
under the rubble, OG Time tells me she survived—
but this you know, Mother Brooks—resurrected
by folks, themselves more shattered than
wrecking ball bricks. On an exploding Autumn
Sunday, their shrieks were sprinting sirens,
as chariots of excavating hands swung low.
There is no putting their screams to bed,
Ms. Gwendolyn—no hearing device made
to mute tinnitus of sorrow—although I have
tried, even after a freight car of years. For
they are still digging, under that other rubble,
down by another bloody riverside, where
fingers turn to shovels, hearing in bomb blast
wind the voices of Gaza’s dim killed children.
Saying American Grace
(Circa 2024)
Thank you for the bomb I did not receive,
for the nourishment of burns, that will never
know garnishment of gauze—for pregnancies
of blisters that never lit volcanoes over my
swelling expectancy. Who am I, twenty-weeks
in prenatal ticking, that your antibiotics are
mindful of me—that water, not piped from
polio's belly, should visit your daughter's
table in caravans of glassware twinkling?
Our Father, in American Heaven, thank
you for the ICU that will never shake its
head at place settings of barbecued hope,
or my first born, close by sleeping, also on
the trauma menu. If they brought him into
Al Aqsa Hospital, a donkey cart of pieces,
I would not be able to tell you. Thank you,
Chef, O Holy King of missile strike cutlery,
whose name is now a restaurant fan, turned
on with IDF switches, spinning like a Leni
Riefenstahl frame—Thank You and every
Red Zone hand that helped prepare this
tabletop of gleeful othering—who never
served White Phosphorous through my
ceiling—and only shared menu plans
of my death with Pain.
Poem for Black Trump Supporters
at the Republican National Convention
Your electric sliding flesh
is always welcome
at the MAGA 3-Star table.
After all, if he should
win, you will be
the signature flaming
dish.
© Truth Thomas, all rights reserved
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