"When the Fact of Your Gaze Means Nothing, Then You Are Truly Alongside" by Donika Kelly

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April 6, 2024 

When the Fact of Your Gaze Means Nothing, Then You Are Truly Alongside

Donika Kelly

late spring wind sounds an ocean 
through new leaves. later the same 
wind sounds a tide. later still the dry 

sound of applause: leaves chapped 
falling, an ending. this is a process.
the ocean leaping out of ocean 

should be enough. the wind 
pushing the water out of itself;
the water catching the light

should be enough. I think this 
on the deck of one boat
then another. I think this 

in the Salish, thought it in Stellwagen
in the Pacific. the water leaping 
looks animal, looks open mouthed,

looks toothed and rolling;
the ocean an animal full 
of other animals.

what I am looking for doesn’t matter.
that I am looking doesn’t matter.
I exert no meaning.

a juvenile bald eagle eats 
a harbor seal’s placenta.
its head still brown. 

this is a process. the land 
jutting out, seals hauled out,
the white-headed eagles lurking 

ready to take their turn at what’s left.
the lone sea otter on its back,
toes flopped forward and curled;

Friday Harbor: the phone booth
the ghost snare of a gray whale’s call; 
an orca’s tooth in an orca’s skull

mounted inside the glass box. 
remains. this is a process. 
three river otters, two adults, a pup, 

roll like logs parallel to the shore. 
two doe, three fawns. a young buck 
stares, its antlers new, limned gold 

in sunset. then the wind again: 
a wave through leaves green 
with deep summer, the walnut’s 

green husk. we are alive in a green 
crashing world. soon winter. 
the boat forgotten. the oceans,

their leaping animal light, off screen.
past. future. this is a process. the eagles 
at the river’s edge cluster 

in the bare tree. they steal fish 
from ducks. they eat the hunter’s 
discards: offal and lead. the juveniles 

practice fighting, their feet tangle 
midair before loosing. this 
is a process. where they came from. 

for how long will they stay. 
that I am looking doesn’t matter. 
I will impose no meaning.

From You Are Here: Poetry in the Natural World (Milkweed Editions, 2024), edited by Ada Limón. Copyright © 2024 Milkweed Editions and the Library of Congress. Used with the permission of the author. Published in Poem-a-Day on April 6, 2024, by the Academy of American Poets.

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“This poem is about taking comfort in not being at the center. The other animals with whom we share this world have a lot going on that doesn’t have anything to do with us, some of which I have been grateful to witness.” 
—Donika Kelly

Donika Kelly is a Black, queer poet and the author of The Natural Order of Things (Graywolf 2025) and The Renunciations (Graywolf Press, 2021), a winner of the 2022 Anisfield-Wolf Book Award and a finalist for the National Book Critics Circle Award in Poetry. A Cave Canem and National Endowment for the Arts Fellow, she is an assistant professor at the University of Iowa and lives in Iowa City. 

You Are Here:
Poetry in the Natural World

(Milkweeds Editions, 2024)

“Edited by Ada LimónYou Are Here: Poetry in the Natural World collects fifty previously unpublished poems by some of the United States’ most accomplished poets and reflects on our collective relationship to the natural world.”

About this special edition of Poem-a-Day

Donika Kelly’s poem “When the Fact of Your Gaze Means Nothing, Then You Are Truly Alongside” is featured in Poem-a-Day as part of a National Poetry Month collaboration between the Academy of American Poets, U.S. Poet Laureate Ada Limón, the Library of Congress, and Milkweed Editions.

“Acequia del Llano” by Arthur Sze
read more
“If the ocean had a mouth” by Marie-Elizabeth Mali
read more

Thanks to Cyrus Cassells, author of Is There Room for Another Horse on Your Horse Ranch? (Four Way Books, 2024), who curated Poem-a-Day for this month’s weekdays. Read or listen to a Q&A about Cassells’s curatorial approach and find out more about our Guest Editors for the year.
“Poem-a-Day is brilliant because it makes space in the everyday racket for something as meaningful as a poem.” —Tracy K. Smith

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