Palm Springs
By Christian Gullette

We drink Fernet by ironic sculptures
under misters that make our bangs damp.

It’s our anniversary,
though that time feels faint.

We are searching for a place
to escape his diagnosis,

laws against gay marriage,
our leaky, flat roof.

Every Memorial Day
and Labor Day, we go to the desert.

Sometimes also the Fourth
of July.

Palm Springs rewinds things.
We almost buy that mid-century chair

proud of our rule that love for it
needs to be immediate.

At the Parker, a guy with a calf tattoo
brings drinks.

You can ask for anything here.
We toast to another year without cancer.

After dinner, we wander the hotel hedge maze,
nowhere to go that late but home.

About the Poem

Christian Gullette’s Palm Springs is a poem of sleek surfaces and simmering tensions. The desert resort town—so often painted in mid-century glamour—becomes here a backdrop for longing, performance, and queer recognition. Palm Springs is both mirage and mirror: a place where artifice and authenticity blur, where the hot light reveals as much as it conceals.

The poem doesn’t settle for nostalgia or kitsch. Instead, it examines what it means to inhabit a space so layered with history, expectation, and desire. Gullette’s Palm Springs isn’t just a sunny escape; it’s a charged landscape where intimacy pulses against the façade of cocktails, poolsides, and desert views.

Queer poets have long re-imagined spaces marked by leisure or luxury as sites of deeper reflection, and Gullette does just that. Palm Springs is lush but not naïve, glamorous but not shallow. It suggests that behind every stylish lounge chair or glimmering pool, there’s a body hoping to be seen, a self negotiating the terms of love and exposure.

As readers, we are left with a sense of recognition—of what it means to find ourselves in a place where beauty and fragility intertwine, where queer desire is both illuminated and complicated by the desert sun.

About the Poet

Christian Gullette is an acclaimed poet and translator based in San Francisco. His debut collection, Coachella Elegy (Trio House Press, 2024), earned critical praise and became a finalist for the 2025 Northern California Book Award in Poetry. The volume has also been featured on several “must‑read” lists from LitHub, Electric Lit, Alta Journal, and Debutiful. Ron Charles of The Washington Post Book Club lauded its “cool, elegantly controlled poems,” while Publishers Weekly described it as “tender and deliciously sly.”

Gullette holds a Ph.D. in Scandinavian Languages and Literatures from the University of California, Berkeley, where he explored themes of sexuality, race, and neoliberalism in Swedish literature and film. He also earned an MFA from the Warren Wilson MFA Program for Writers and an M.Ed. from George Washington University, following a B.A. in English from Bates College. As a translator, he works professionally with Swedish texts—including poetry by Kristofer Folkhammar and Jonas Modig, as well as cookbooks by Roy Fares, Lisa Lemke, and others.

He currently serves as editor-in-chief of The Cortland Review and has taught workshops for the Kenyon Review Online Writers Workshops and the Poetry Society of New York. He was awarded a Bread Loaf Writers’ Conference scholarship in 2022.

A longtime resident of San Francisco, Gullette lives with his husband, Michael. His work intricately interweaves personal grief—including living through his husband’s ocular cancer diagnosis and the loss of his brother—with the luminous terrain of California’s desert landscapes, exploring themes of desire, mortality, visibility, and renewal.

I’m Dating a Man Who’s Married
By Aaron Smith

to a man who’s dating a man who’s
married to a woman. The husband

of the man I’m dating knows he’s
dating me and my boyfriend knows his

husband is dating the man who’s
married to the woman who does not

know her husband is gay. The guy
she’s married to—the boyfriend

of my boyfriend’s husband—just told
his mom he’s gay and she’s happy

because she never liked his wife
which is kind of funny but mostly

sad and I feel sad that her husband
who’s dating a man is also a man

with a mother who has never liked her.
I tell my boyfriend to tell his husband

to tell his boyfriend that he needs
to tell his wife sooner rather than later

and I know he knows that but still it needs
to be said. My boyfriend said his husband

said his boyfriend plans to tell his wife
Memorial Day weekend when his grown

kids are home from college and everyone,
I imagine, is eating potato salad by the pool.

She works at a flower shop two towns
over. I want to go there when she’s not

there and buy her flowers, leave a note
with her coworker at the counter:

You deserve happiness, Natalie.
You deserve love.

Love,

Your husband’s boyfriend’s
husband’s boyfriend.

About the Poem

Aaron Smith’s poem “I’m Dating a Man Who’s Married” is a witty, layered, and poignant exploration of queer relationships, secrecy, and the tangled webs of love and obligation. At first glance, it reads like a piece of small-town gossip, the kind of convoluted story that grows more confusing the more one tries to explain it. Smith himself admits he “wanted this poem to seem like gossip and to sound convoluted in the way these scenarios sound when we try to convey them.” And indeed, the poem succeeds—its sentences loop and overlap, names vanish into pronouns, and each relationship branches into another until the reader feels caught in the same dizzying spiral as the speaker.

The poem begins plainly enough: the speaker is dating a man who is married to a woman. But very quickly, the cast expands—his boyfriend has a husband, that husband has a boyfriend, that boyfriend is still married to a woman, and on it goes. Each turn introduces another complication, another layer of secrecy or disclosure. The humor lies in the almost absurd wordplay of “my boyfriend’s husband’s boyfriend’s wife,” a construction that captures both the awkwardness of explaining queer love in heteronormative contexts and the entangled reality of lives lived in partial closets.

But beneath the comic tangle is sadness. At the heart of this web is Natalie—the unsuspecting wife, working in a flower shop two towns over. Her husband is living a life she doesn’t fully know, and the speaker’s compassion for her emerges in the imagined gesture of leaving her a note:

Your husband’s boyfriend’s
husband’s boyfriend.

It is the poem’s emotional crux. For all the confusion and gossip, Smith doesn’t let us forget the human cost of secrecy, the pain of those excluded from the truth, and the longing for everyone involved to find honesty and love.

The ending drives this home. The planned revelation is postponed until a convenient holiday weekend, when the family gathers “eating potato salad by the pool.” The image is almost comically suburban, yet it underscores how deeply closeted lives are woven into everyday rituals. Queerness is here, already part of the family table, even if it hasn’t been named aloud.

Smith’s poem is, in its way, deeply queer—not only in subject matter but in form. It resists straight lines, tidy categories, or simple relationships. It embraces convolution, contradiction, and the messy truth that love doesn’t always fit the scripts we’re handed. It is funny, yes, but also sad, compassionate, and achingly real.

For LGBTQ+ readers, the poem may feel familiar: the half-truths, the awkward explanations, the struggle to claim love openly without hurting others along the way. And for straight readers, it may pull back the curtain on just how complex closeted relationships can be—not only for the queer person hiding but for everyone around them.

Smith reminds us that at the end of all this gossip, the heart of the matter is love—love withheld, love shared, love denied, love deserved. And that is a truth worth repeating, even if it takes a whole poem of tangled pronouns to get there.

About the Poet

Aaron Smith is the author of several poetry collections, including Blue on Blue Ground (2005), Appetite (2012), and The Book of Daniel (2019). His work often explores themes of queer identity, desire, humor, and vulnerability, blending candor with a sharp, conversational style. Smith has received fellowships from the New York Foundation for the Arts and the Massachusetts Cultural Council, and his poems have been widely published in literary journals. Known for his mix of wit and emotional honesty, Smith often examines the complications of gay life in America—balancing comedy, longing, and sharp social observation.

From A Midsummer Night’s Dream – Act 5, scene 1
By William Shakespeare

If we shadows have offended,
Think but this, and all is mended,
That you have but slumber’d here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to ‘scape the serpent’s tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.

One of my favorite passages in all of Shakespeare comes at the very end of A Midsummer Night’s Dream, spoken by the mischievous sprite Puck, also known as Robin Goodfellow. In this closing soliloquy, Puck breaks the fourth wall and addresses the audience directly, offering a whimsical apology and a gentle reminder that all the magical chaos of the play was nothing more than a dream:

If we shadows have offended,
Think but this, and all is mended—
That you have but slumbered here
While these visions did appear.

These lines invite the audience to consider the events of the play as a kind of dream state, a fantastical interlude where love and identity swirl in a moonlit wood, governed by fairies and folly. Puck—Shakespeare’s impish trickster—has spent the play both delighting in and accidentally disturbing the lives of mortals. Here, he offers a lighthearted reparation: if any of the night’s enchantments have unsettled the audience, they can simply imagine it all as a dream, and let go of any offense.

As a character, Puck embodies the spirit of mischief and transformation. He is Oberon’s jester and servant, the orchestrator of magical mishaps, and a symbol of the play’s themes of illusion, play, and unpredictability. Yet in this final moment, he becomes almost like a stage manager or storyteller, drawing the curtain on the night’s performance. The poem’s gentle rhymes and soft cadence give it a lullaby quality, reinforcing the idea that what we’ve witnessed was a fleeting vision.

Give me your hands, if we be friends,
And Robin shall restore amends.

With this closing couplet, Puck asks the audience for applause—literal hands—and pledges to make things right again, as if promising that art, like dreams, can enchant but also restore. As a poem, it stands beautifully on its own, a meditation on the power of storytelling to both dazzle and heal, to stir the heart and then gently release it back into the waking world.

About the Author

William Shakespeare (1564–1616) was an English playwright, poet, and actor, widely regarded as the greatest writer in the English language. He wrote 39 plays, 154 sonnets, and numerous poems, leaving behind a literary legacy that continues to influence storytelling, language, and performance. From comedies and tragedies to histories and romances, his work explores the full range of human experience with wit, beauty, and insight.

The Mountain
By Robert Frost

The mountain held the town as in a shadow
I saw so much before I slept there once:
I noticed that I missed stars in the west,
Where its black body cut into the sky.
Near me it seemed: I felt it like a wall
Behind which I was sheltered from a wind.
And yet between the town and it I found,
When I walked forth at dawn to see new things,
Were fields, a river, and beyond, more fields.
The river at the time was fallen away,
And made a widespread brawl on cobble-stones;
But the signs showed what it had done in spring;
Good grass-land gullied out, and in the grass
Ridges of sand, and driftwood stripped of bark.
I crossed the river and swung round the mountain.
And there I met a man who moved so slow
With white-faced oxen in a heavy cart,
It seemed no hand to stop him altogether.
“What town is this?” I asked.
“This? Lunenburg.”
Then I was wrong: the town of my sojourn,
Beyond the bridge, was not that of the mountain,
But only felt at night its shadowy presence.
“Where is your village? Very far from here?”
“There is no village—only scattered farms.
We were but sixty voters last election.
We can’t in nature grow to many more:
That thing takes all the room!” He moved his goad.
The mountain stood there to be pointed at.
Pasture ran up the side a little way,
And then there was a wall of trees with trunks:
After that only tops of trees, and cliffs
Imperfectly concealed among the leaves.
A dry ravine emerged from under boughs
Into the pasture.
“That looks like a path.
Is that the way to reach the top from here?—
Not for this morning, but some other time:
I must be getting back to breakfast now.”
“I don’t advise your trying from this side.
There is no proper path, but those that have
Been up, I understand, have climbed from Ladd’s.
That’s five miles back. You can’t mistake the place:
They logged it there last winter some way up.
I’d take you, but I’m bound the other way.”
“You’ve never climbed it?”
“I’ve been on the sides
Deer-hunting and trout-fishing. There’s a brook
That starts up on it somewhere—I’ve heard say
Right on the top, tip-top—a curious thing.
But what would interest you about the brook,
It’s always cold in summer, warm in winter.
One of the great sights going is to see
It steam in winter like an ox’s breath,
Until the bushes all along its banks
Are inch-deep with the frosty spines and bristles—
You know the kind. Then let the sun shine on it!”
“There ought to be a view around the world
From such a mountain—if it isn’t wooded
Clear to the top.” I saw through leafy screens
Great granite terraces in sun and shadow,
Shelves one could rest a knee on getting up—
With depths behind him sheer a hundred feet;
Or turn and sit on and look out and down,
With little ferns in crevices at his elbow.
“As to that I can’t say. But there’s the spring,
Right on the summit, almost like a fountain.
That ought to be worth seeing.”
“If it’s there.
You never saw it?”
“I guess there’s no doubt
About its being there. I never saw it.
It may not be right on the very top:
It wouldn’t have to be a long way down
To have some head of water from above,
And a good distance down might not be noticed
By anyone who’d come a long way up.
One time I asked a fellow climbing it
To look and tell me later how it was.”
“What did he say?”
“He said there was a lake
Somewhere in Ireland on a mountain top.”
“But a lake’s different. What about the spring?”
“He never got up high enough to see.
That’s why I don’t advise your trying this side.
He tried this side. I’ve always meant to go
And look myself, but you know how it is:
It doesn’t seem so much to climb a mountain
You’ve worked around the foot of all your life.
What would I do? Go in my overalls,
With a big stick, the same as when the cows
Haven’t come down to the bars at milking time?
Or with a shotgun for a stray black bear?
‘Twouldn’t seem real to climb for climbing it.”
“I shouldn’t climb it if I didn’t want to—
Not for the sake of climbing. What’s its name?”
“We call it Hor: I don’t know if that’s right.”
“Can one walk around it? Would it be too far?”
“You can drive round and keep in Lunenburg,
But it’s as much as ever you can do,
The boundary lines keep in so close to it.
Hor is the township, and the township’s Hor—
And a few houses sprinkled round the foot,
Like boulders broken off the upper cliff,
Rolled out a little farther than the rest.”
“Warm in December, cold in June, you say?”
“I don’t suppose the water’s changed at all.
You and I know enough to know it’s warm
Compared with cold, and cold compared with warm.
But all the fun’s in how you say a thing.”
“You’ve lived here all your life?”
“Ever since Hor
Was no bigger than a—” What, I did not hear.
He drew the oxen toward him with light touches
Of his slim goad on nose and offside flank,
Gave them their marching orders and was moving.

About the Poem

Since I had the chance to visit Lake Willoughby this past weekend, I thought it would be fitting to look at one of Robert Frost’s lesser-known but evocative poems, The Mountain. The poem mentions Mount Hor — one of the two dramatic mountains that rise on either side of Lake Willoughby in Vermont’s Northeast Kingdom. Having seen the lake and the mountains in person now, I feel even more connected to the scene Frost describes.

Frost’s speaker begins by describing the imposing presence of the mountain over the town, how it casts a shadow and seems to shelter him. There’s awe in the way the mountain “holds” the town — almost like a guardian — yet it also looms, cutting out stars from view. When the speaker climbs the mountain in search of its supposed secret, he discovers that the mountain doesn’t really do anything except stand there. There is no magical spring at its summit, no hidden source of the river — water comes from elsewhere.

This poem has always struck me as a quiet meditation on human expectations versus reality. We often assume that something as grand as a mountain must contain secrets or power. But the truth is simpler — the mountain’s presence itself is its gift. It doesn’t need to justify its existence with hidden springs or mystical origins.

Standing along the shores of Lake Willoughby, looking up at Mount Hor and its neighbor Mount Pisgah rising sharply from the water’s edge, I thought of Frost’s insight: sometimes, beauty and meaning are not about what a place gives us, but about what it is.

Have you ever visited a place that made you feel that way — where its presence alone was enough?

About the Poet

Robert Frost (1874–1963) was one of America’s most celebrated poets, renowned for his depictions of rural life, his mastery of conversational language, and his profound observations on nature and human experience. Though he was born in California, Frost’s literary identity is deeply tied to New England, where he lived for much of his life.

Vermont, in particular, features prominently in his work. He lived for many years in Shaftsbury, Vermont, and his poetry captures the landscapes, seasons, and rhythms of New England life — its mountains, woods, fields, and quiet towns. Poems like The Mountain reflect his sensitivity to the Vermont landscape and his ability to see both its grandeur and its simplicity.

In Summer Twilight
By Joshua Henry Jones Jr.

Just a dash of lambent carmine
  Shading into sky of gold;
Just a twitter of a song-bird
  Ere the wings its head enfold;
Just a rustling sigh of parting
  From the moon-kissed hill to breeze;
And a cheerful gentle, nodding
  Adieu waving from the trees;
Just a friendly sunbeam’s flutter
  Wishing all a night’s repose,
Ere the stars swing back the curtain
  Bringing twilight’s dewy close.

About This Poem

In the warm quiet of a summer evening, there comes a moment when the world seems to take a collective breath — when the sun lets go of the day and hands it gently to the night. Joshua Henry Jones Jr.’s poem “In Summer Twilight” beautifully captures that fleeting moment, painting it in colors of carmine and gold, with whispers of birdsong, breezes, and moonlight. At its heart, “In Summer Twilight” is a love letter to the day’s end — a quiet catalog of its soft sounds, subtle colors, and farewell gestures. The poem’s language is delicate and luminous: “lambent carmine,” “moon-kissed hill,” “stars swing back the curtain.”

This poem reminds us that the beauty of nature is not just in grand spectacles but in the gentle transitions, the nearly imperceptible moments that signal change. Twilight is not a violent end to day but a tender and deliberate passing. Jones personifies the elements — trees nodding adieu, a sunbeam wishing repose — emphasizing the intimate, almost communal quality of dusk.

There’s also something quietly hopeful here. The day’s end isn’t mourned; instead, it’s a graceful curtain drawn by the stars, making way for the next act. The theme of harmony between the earth and sky, between time and rest, feels particularly poignant in a modern world that rarely stops to notice such things.

Joshua Henry Jones Jr. published this poem during the Harlem Renaissance, though he was based in Boston rather than Harlem. At a time when African American writers were pushing boundaries, reclaiming their voices, and asserting their presence in literature, Jones chose, in this poem, not to protest but to praise — to claim his right to beauty and belonging in the natural world.

In an era when Black Americans were too often excluded from mainstream notions of gentility, leisure, and pastoral bliss, writing a poem about the loveliness of twilight could itself be quietly radical. Jones’s work reminds us that the African American literary tradition is just as much about affirming humanity and celebrating grace as it is about confronting injustice.

About the Poet

Joshua Henry Jones Jr. (1886–1955) was an African American poet, journalist, and novelist who became an important literary figure in Boston’s Black community in the early 20th century. Born in South Carolina, Jones studied at Ohio State University and Yale before moving to Boston. He became known for his sensitive poetry, his novel By Sanction of Law (1924), which explored an interracial marriage in Boston, and his leadership in civic and literary circles.

His poetry often reflects a deep appreciation for nature, a gentle lyricism, and a quiet dignity — qualities that shine beautifully in “In Summer Twilight.”

As we enjoy these summer evenings, let Jones’s words be a reminder to pause and notice the world around us: the nod of the trees, the flutter of the sunbeam, the curtain of stars drawing closed. There is still room — and need — for this kind of quiet wonder.

America
by Walt Whitman

Centre of equal daughters, equal sons,
All, all alike endear’d, grown, ungrown, young or old,
Strong, ample, fair, enduring, capable, rich,
Perennial with the Earth, with Freedom, Law and Love,
A grand, sane, towering, seated Mother,
Chair’d in the adamant of Time.

About the Poem

Walt Whitman’s six-line poem “America” may be brief, but its layers of meaning resonate across history, politics, and queer identity. First published in the 1880 edition of Leaves of Grass, it is often overshadowed by his longer, more famous works. Yet this small poem encapsulates Whitman’s vision of the United States as not only a political ideal but also a deeply emotional and physical presence—one that holds particular significance within LGBTQ+ literary history.

At first glance, “America” reads like a patriotic hymn. The poem praises a nation made of “equal daughters, equal sons,” where all people—regardless of age or status—are “alike endear’d.” This inclusive language is typical of Whitman’s democratic ideals. He often celebrated the collective body of America: not a faceless mass, but a communion of individuals bound by shared experience and affection. His use of words like “endear’d,” “fair,” and “love” reflect his romanticized view of a nation built not just on law and order, but on emotional connection.

But Whitman’s vision of unity goes beyond mere nationalism. His America is not militaristic or imperial. Instead, it is “perennial with the Earth,” suggesting a natural, almost spiritual presence, and one that is rooted in love. Love, for Whitman, was often embodied in the male form and in same-sex affection, offering deeper layers to his patriotic verse.

Though “America” is more abstract than Whitman’s overtly homoerotic poems like “Calamus” or “Live Oak, with Moss,” it is steeped in his lifelong merging of the sensual and the political. Whitman, a man who celebrated “the love of comrades” and reveled in the touch and sweat of male bodies, did not separate his love for men from his love for his country. In fact, he often imagined the two as intimately entwined.

To Whitman, America’s promise of equality and freedom was not just a civic ideal but a personal one. The phrase “equal daughters, equal sons” carries resonance for LGBTQ+ readers, particularly those who have long fought for recognition, rights, and representation. In declaring that all are “alike endear’d,” Whitman gestures toward a radical inclusivity—one that, at least in theory, includes queer lives.

His description of America as a “towering, seated Mother” may seem traditionally maternal, but the sensual grounding of this maternal figure in “adamant” and “Time” adds an almost mythic gravitas. This is not a soft figure of sentimentality, but a resilient presence that endures. For queer readers, Whitman’s “Mother America” might even serve as a symbol of a nation large and loving enough to include all her children—regardless of who they love.

For LGBTQ+ Americans, Whitman’s “America” offers both comfort and challenge. It’s a vision of what the country could be: a place of true equality, of celebration rather than repression, of love alongside law. At a time when queer Americans continue to face political backlash, book bans, and legislative attacks, Whitman’s dream of a “grand, sane” republic remains aspirational.

Yet it is also a call to action. If America is to live up to the Whitmanian ideal—a nation of “equal sons, equal daughters”—then we must continue to demand that equality, to assert the place of queer people within the American story.

Walt Whitman is often called the father of American poetry. For many LGBTQ+ writers and readers, he is also our queer literary ancestor—one who dared to blend the erotic with the patriotic, the body with the nation. In “America,” he offers us not just a reflection of his time, but a challenge to ours: to imagine, and to build, a country worthy of such love.

⸻

About the Author: Walt Whitman (1819–1892)
Whitman was a poet, essayist, and journalist whose groundbreaking collection Leaves of Grass helped revolutionize American literature. Though he never publicly identified as gay, Whitman wrote openly about same-sex desire and affection, especially in the “Calamus” poems, which have since become foundational texts in LGBTQ+ literary history. His bold embrace of the body, the soul, and democratic ideals continues to inspire generations of queer writers and thinkers.

“To a Stranger”
By Walt Whitman (from Leaves of Grass, 1860 edition)

Passing stranger! you do not know how longingly I look upon you,
You must be he I was seeking, or she I was seeking, (it comes to me as of a dream,)
I have somewhere surely lived a life of joy with you,
All is recall’d as we flit by each other, fluid, affectionate, chaste, matured,
You grew up with me, were a boy with me or a girl with me,
I ate with you and slept with you—your body has become not yours only nor left my body mine only,
You give me the pleasure of your eyes, face, flesh, as we pass—you take of my beard, breast, hands, in return,
I do not ask who you are—that is not important to me,
You can do nothing and be nothing but what I will infold you,
To one side for you is the onward road and to my side the same, I give you my hand,
I give you my love more precious than money,
I give you myself before preaching or law,
Will you give me yourself? will you come travel with me?
Shall we stick by each other as long as we live?

About the Poem

In “To a Stranger,” Walt Whitman captures a moment many queer people know intimately: the electric, instantaneous recognition of someone—another man, perhaps—whose presence stirs desire, curiosity, and a sense of deep, unexplainable connection. The poem unfolds in a fleeting encounter on a street or in a crowd, a stranger seen and felt in passing. But within those seconds, a whole imagined history blooms. This is not just a glance; it’s a lifetime distilled into a gaze.

Whitman’s poem belongs to his “Calamus” cluster—arguably the most homoerotic section of Leaves of Grass. In it, he expresses a spiritual and physical love between men with tenderness and boldness rare for the 19th century. Though the poem never explicitly mentions gender, the “stranger” often reads, in context and tone, as a man. Whitman universalizes desire while also encoding a personal and radical queer perspective. The fluidity of the poem mirrors the fluidity of identity, attraction, and intimacy.

This encounter is imagined as eternal and reincarnated: “I have somewhere surely lived a life of joy with you.” Whitman’s speaker does not ask for a name or demand recognition—only that the stranger accept his open hand and heart. The poem dares to believe that love and recognition can transcend boundaries, even if unspoken. During Pride Month, it feels especially poignant as a celebration of queer connection in a world that still too often passes by without noticing.

About the Poet

Walt Whitman (1819–1892) is widely considered one of the foundational poets of American literature, and Leaves of Grass remains a revolutionary work in both form and content. His radical embrace of the body, sensuality, and nonconformity challenged the poetic conventions of his time. Though Whitman never openly declared himself gay (the concept didn’t exist as it does now), his writing speaks volumes. The poems in the “Calamus” section express a loving, spiritual intimacy between men, often autobiographical in nature.

Whitman lived in Brooklyn and Washington, D.C., working variously as a printer, journalist, nurse, and government clerk. During the Civil War, he tended wounded soldiers—experiences that deepened his compassion and his poetic vision. Scholars and readers alike have long recognized the homoerotic dimension of his poetry, even as it was obscured or censored in his own time. Today, Whitman is embraced as a queer literary forefather—one who gave voice to the sacred beauty of male love in a society still bound by silence.

In “To a Stranger,” Whitman offers not just a look or a line, but an invitation. As we close this Pride Month poetry series, it’s worth asking his final question once more: “Shall we stick by each other as long as we live?” In community, in love, and in remembrance—we say yes.

Scheherazade
By Richard Siken

Tell me about the dream where we pull the bodies out of the lake

and dress them in warm clothes again.

How it was late, and no one could sleep, the horses running

until they forget that they are horses.

It’s not like a tree where the roots have to end somewhere,

it’s more like a song on a policeman’s radio,

how we rolled up the carpet so we could dance, and the days

were bright red, and every time we kissed there was another apple

to slice into pieces.

Look at the light through the windowpane. That means it’s noon, that means
          we’re inconsolable.

Tell me how all this, and love too, will ruin us.

These, our bodies, possessed by light.

Tell me we’ll never get used to it.

About the Poem

Tell me about the dream where we pull the bodies out of the lake
and dress them in warm clothes again.
How it was late, and no one could sleep, the horses running
until they forget that they are horses.

Richard Siken’s “Scheherazade” opens with a plea—not for survival, exactly, but for comfort in the face of despair. The speaker begs for a story, for beauty, for something to keep the darkness at bay. Much like the legendary storyteller of One Thousand and One Nights, who told tales to delay her execution, the speaker invokes narrative as a form of desperate preservation. But this is no gentle fairy tale. The world of “Scheherazade” is urgent, feral, and emotionally raw. Bodies are pulled from lakes. Horses run themselves into forgetting. Desire is dangerous, and love may be indistinguishable from destruction.

The poem speaks from a place of vulnerability familiar to many queer people: the hunger for connection even when it feels unsafe or impossible. Siken’s images are at once cinematic and deeply personal—romantic love merges with trauma, tenderness with violence. What the speaker wants isn’t just affection; he wants to be told that this brutal, beautiful life was worth it. The poem’s dreamlike structure, full of fragmented longing and looping pleas, mirrors the psychological toll of being queer in a world that does not always offer safety.“Scheherazade” is not just a love poem—it’s a survival poem. The speaker wants to be told that everything is going to be okay, even if that reassurance is a fiction. That need to believe, even briefly, in the possibility of warmth, of home, of a night spent in someone’s arms rather than alone or erased, is one of the deepest truths the poem offers. It resonates with anyone who has ever clung to love as a lifeline, even if only for one more night.

About the Poet

Richard Siken (b. 1967) is a contemporary American poet whose debut collection, Crush, won the 2004 Yale Series of Younger Poets competition, selected by Louise Glück. The book quickly became a cult classic, particularly among queer readers, for its fierce intensity, lyrical beauty, and unflinching depiction of obsession, grief, and desire. Siken wrote the collection in the aftermath of his partner’s death, and that grief infuses every line—making Crush not only a portrait of romantic love, but of love haunted by loss and fear.

Openly gay, Siken has spoken about the complex relationships between memory, violence, and the longing for safety that emerge in his work. His poems are often constructed as psychological collisions—dreams and flashbacks, fantasies and fears, stitched together with urgency and tenderness. In the queer literary canon, Siken’s voice stands out for its unapologetic emotional exposure and its refusal to tame desire for the sake of palatability.

As part of Pride Month, reading “Scheherazade” reminds us that queer love stories don’t have to be sanitized or simplified to be worthy. Siken’s poetry gives space to the full spectrum of experience: the danger, the ache, the beauty, and the need. His words speak directly to those who have survived by telling themselves stories—and to those still searching for someone to tell them they’re safe.

The City
By C. P. Cavafy

You said: “I’ll go to another country, go to another shore,
find another city better than this one.
Whatever I try to do is fated to turn out wrong
and my heart lies buried like something dead.
How long can I let my mind moulder in this place?
Wherever I turn, wherever I look,
I see the black ruins of my life, here,
where I’ve spent so many years, wasted them, destroyed them totally.”

You won’t find a new country, won’t find another shore.
This city will always pursue you.
You’ll walk the same streets, grow old
in the same neighborhoods, turn gray in these same houses.
You’ll always end up in this city. Don’t hope for things elsewhere:
there’s no ship for you, there’s no road.
Now that you’ve wasted your life here, in this small corner,
you’ve destroyed it everywhere in the world.

About the Poem

You said: “I’ll go to another land, I’ll go to another sea.
Another city will turn up, one better than this…”

You won’t find a new country, won’t find another shore.
This city will always pursue you.

In “The City”, C.P. Cavafy offers a haunting meditation on the inability to escape oneself. The speaker dreams of abandoning the city—representing failure, disappointment, and perhaps forbidden desires—for another, better place. But the poem undermines this fantasy, repeating the refrain that the city, and all it symbolizes, “will always pursue you.” The “city” becomes not just a literal place, but a psychological and emotional state—a metaphor for internalized shame, regret, or the burden of identity.

This theme has particular resonance in queer readings of the poem. For many LGBTQ+ individuals, especially in the early 20th century when Cavafy was writing, fleeing from one’s environment did not mean freedom from judgment or repression. The city follows not because of geography, but because it lives within the self. The speaker’s disillusionment—“You won’t find new places, you won’t find other seas”—echoes the pain of those who have tried to escape their own truths or reinvent themselves in new places, only to discover that what haunts them is internal.

Cavafy’s strength lies in this subtlety. He rarely wrote directly about homosexuality, but his poems are filled with coded longing, remembrance of fleeting encounters, and the quiet ache of unfulfilled desires. “The City” is often paired with poems like “Days of 1903” or “The Afternoon Sun” in queer readings, all of which evoke nostalgia for past loves or unspoken yearnings. The city becomes both the scene of desire and the prison of repression. During Pride Month, “The City” reminds us that visibility, acceptance, and healing must begin within—even as we fight for it in the world outside.

About the Poet

Constantine P. Cavafy (1863–1933) was a Greek poet who lived most of his life in Alexandria, Egypt. Though he worked as a civil servant by day, his poetry carved a powerful legacy that would influence generations of queer and modernist writers. His work often blends historical references from Hellenistic and Byzantine eras with deeply personal emotional landscapes. Published sparingly during his lifetime, many of his poems circulated privately among friends and admirers, adding to their aura of intimacy and secrecy.

Cavafy was a gay man writing in a conservative society, and he developed a poetic language that allowed him to express homoerotic longing while veiling it in allegory, history, and metaphor. He never married and lived a relatively reclusive life, but his poetry reveals a rich inner world of desire, memory, and loss. After his death, his work gained international recognition, with poets like E.M. Forster championing his genius and his role as a pioneer of queer literature.

In poems like “The City,” Cavafy’s voice is timeless. His ability to fuse the personal with the universal, the erotic with the philosophical, continues to speak to readers who have wrestled with identity, regret, and the yearning for a different life. For LGBTQ+ audiences, his poetry offers not just reflection, but connection—a bridge across time and silence.