Kiri Piahana-Wong

Two poems

The daisies are a revolution

 

I write a poem about fucking you and then I delete it

I think, shit, what if I died tomorrow and a grieving family

member found that in my Dropbox, but when I told my

friend that, she said, why didn’t you just save it in

your vault and double password protect it

She’s a smart woman, but it seems like a lot

of effort to go to for a poem that is just about fucking

You know, maybe I would bother going to the

vault for an important poem about climate change

or some other significant issue: the world’s state of

health, war, or thoughts on race or gender,

political stuff, the stuff I’m not really that good

at writing but I admire people who do write it. I

admire them but I don’t read any of it. Is that

true? I could be selling myself short here. I

am not apolitical and while I could label my

preference for poetry about grass blowing

in the wind and daisies privileged, I’m not

going to do that. I am politically motivated

and I like daisies, other kinds of flowers,

and grass. Seriously, even grass, like how

often you should mow it or not, has become

a political issue these days. I prefer unmown grass.

When you don’t mow your grass, you

save yourself a lot of time, and create less noise

and pollution, and when you see all the little

creatures and plants and flowers creeping back

into your tiny ecosystem of a garden, you will

feel joy, and you should feel free to say to your

family and friends that not mowing your

lawn is a political act. While you’re at it,

put up some re-wilding posters around

your local neighbourhood. Drop some flyers

off. The daisies you are growing are a

revolution.

 

 

Goodbye

 

I had never seen your grave

I never saw all of our family,

dressed in suits and black dresses

lining up to say goodbye to you

My sister told me they each threw

ferns, not flowers, in your grave.

 

It’s a year later now, nearly to the day

I am here and the sky is very still above me.

 

When you are in pain you keep wanting nature

to do dramatic things, like that the skies would

open and you would lift up your face and the water

would pour over it while you are kneeling by your

father’s grave, or even just a thunderclap or two

would be good, however what you find

 

Is that it’s just you, as usual, kneeling with your chest aching

and your stomach twisting and a headache. And the tears,

because there are many of these, and you never seem

to run out of them, as if there is no allotment, and you

might just keep crying and crying for years. Inexhaustible tears.

Endless tears. Relentless tears. Hot and cold tears.

Tears upon tears. Tears.

 

Through the headache, I hear cicadas, and birds. I hear

the movement of trees, I hear, distantly, cars driving by

on the main road. I hear the sounds of life continuing

around me.

 

But then there is a pause, and in between seconds, I stop.

And I can hear my son laughing because it is a beautiful day,

and there are so many flowers.

 

 

 

 

 

 

 





Kiri Piahana-Wong

Kiri Piahana-Wong (Ngāti Ranginui, Chinese, English) is a poet, editor and publisher. Her recent publications are Tidelines (Anahera Press, 2024), and Te Awa o Kupu, co-edited with Vaughan Rapatahana and Witi Ihimaera (Penguin Random House, 2023).