by Best Poem
You can read a narrow meaning
In the way the sea turns up
Dead animals one at a time,
As if by revealing in Victorian terms
Some aspect of condemned reality,
It can indemnify the unforgivable.
It is possible to only hear
The voice of a widow or a child,
To transfigure symbols,
Hide the androgyny of the human condition,
Remember the physicality of Arthur Hallams.
But the waves also speak
Through other voices,
The voice of the elegy or theogony,
Expressing grief or god’s purpose,
Rewriting the history of European anguish
In our world of gender scholarship
To seek only erotic and same sex love
In literary texts might allow us
To subvert all engaging symbols,
Ignore other voices and
Create a sea of unstable relationships.
Mukesh Williams has been published in Indian, Canadian, Caribbean, and American journals such as Indian Verse, The Journal of Indian Writing in English, Muse India, Centrifugal Eye, The Blue Fog Journal of Poetry, Foliate Oak, Plankton, and Best Poem. His poetry possesses a startling mixture of Japanese minimalism and Foucaldian coups and carries with it an uncanny postmodernist signature. His works have been quoted in reputed journals around the world from The Journal of Commonwealth Literature to The Other Voices International Project, and listed in the World Poetry Directory of UNESCO 2008. Williams has published two books of poems, Nakasendo and Other Poems (2006) and Moving Spaces, Changing Places (2007); and is now working on a third book The French Café. His latest co-authored book, Representing India: Politics, Identities, and Literatures (December 2007) has been favorably reviewed in many journals and newspapers. He teaches at Keio University-SFC and Soka University, Japan and can be contacted through his blog site.