Jon Sands

Wow, That’s a Rare Bird Outside My Window

but it was a plastic bag. The song it sang was not rare,

but beautiful, as it swooped towards me,

its skin aged, its parents in Ohio, I was relieved

at the way it levitated in the face of wind, the way

someone called it ugly, called it nothing, how it sighed

and offered itself to their window—and how might

it change if the bag had the word LUNCH spelled out

in big block lettering? If you thought it was hollow,

but inside was a note that said LOVE, MOM,

and a picture of one adult ox leading a calf across

a river, and before it said LOVE, MOM,

it said NEVER FORGET—and the bag was wet with

who knows, the instant vomit of any unnamed liquid,

so we never even know if there was a card like that,

I’m not looking. And me too, you fucking bag.

Who said sing? Still, I thought you were a bird,

still there was a moment, one moment,

where I was positive I was happy to see you,

where I wasn’t so desperate for a nap.

And if you are a bird, it was me who was mistaken,

me who calls his parents too much. I’d be happy

to welcome you onto my boots for a minute because

I’m outside now, and searching, bird. I’m not

withered or hollow or filled with cards, you metaphor

for nothing. I’m not used up or discarded. I’m not

a receptacle for something lovelier than myself.

I’m not flying towards a window desperately

singing the only song I know how to sing,

as fast as I can, and praying it opens.

Jon Sands is a winner of the 2018 National Poetry Series, selected for his second book, It’s Not Magic (Beacon Press, 2019). He is the facilitator of the Emotional Historians workshop, a series of generative writing classes you can find out more about on IG at @iAmJonSands. His work has been featured in The New York Times, published in The Rumpus, The Millions, Cortland Review, The Brooklyn Rail, Muzzle, and many others, as well as anthologized in The Best American Poetry. He is a curator for SupaDupaFresh, a monthly reading series at Babel Loft in Brooklyn, and has received residencies and fellowships from the Blue Mountain Center, the Brooklyn Arts Council, the Jerome Foundation, and the Council of Literary Magazines and Presses.