Highwire

Mitchell L. H. Douglas

“The children are always ours, every single one of them,all over the globe; and I am beginning to suspect that whoeveris incapable of recognizing this may be incapable of morality.”            —JAMES BALDWIN

He turns cartwheels in the crosswalkon my block where “drivers”are known to raise wheelslike planes.                  Friends in tow, two his size cut lowto the pavement & a third w/his froin the wind.                  They’re so small, you think.Doesn’t           someone           miss           them?The gymnast looks up@ your sweat through the cutof your lawn & says “Hello”in a voice that belies his body, like a songborn years before his run. You returnthe greeting, make sure he hears youover the hum of the mower.                                          & they’re off, the worldnot big enough to contain the wonderin their eyes for what they might findon this corner, the next—all the streetsthat they call home. How you find yourselfwanting something for childrenwho aren’t your own.                  Be careful, you say,(maybe out loud, maybe in your head)& the next time you see them, they walkon the telephone wiresover the street, dance high aboveour same numbing days, carsthat rev & spin, drivelike stop signs are suggestions.                  Maybe they’re safer on the wiressince it’s not New Year’s Eve & revelersaren’t sending automatic resolutionsto the sky. They turn, balance,never miss a beat. Turn,balance, laugh, dare oneto backflip say, “Oooooooooh!”when they dolike it was everything. & maybeit is& alwaysshould be.                  May you see anxious carslearn to crawl. May you knowendless cartwheels& friendswho follow& friendswho leadso you can be back-bone or tide. Whateverkeeps you free.

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Headshot of Mitchell L. H. Douglas
Photo:
Teneice Durrant

Mitchell L. H. Douglas is the author of Universal Corner, dying in the scarecrow’s arms, \blak\ \al-fə bet\, winner of the Persea Books Lexi Rudnitsky/Editor’s Choice Award, and cooling board: a long-playing poem, an NAACP Image Award and Hurston/Wright Legacy Award nominee. His “Poem that Begins w/a Tweet About Gwendolyn Brooks” was featured in This is the Honey: An Anthology of Contemporary Black Poets edited by New York Times best-selling author Kwame Alexander. A 2021 National Endowment for the Arts Creative Writing Fellow, his visual art has been published in The Adroit Journal, The Offing, and Callaloo. He is a cofounder of the Affrilachian Poets and a Cave Canem alum.

Dancing at the intersection of melody and humanity, Mitchell L. H. Douglas' Universal Corner imagines what beat moves the world.  Douglas' poetry rides the skip and pop of vinyl, radio waves, and mixtape collage through a complex modern life, his voice equally shaped by freestyling and stage diving, having come of age in two seemingly different musical cultures: punk and Hip-Hop. These seemingly disparate genres reveal surprising connections in Douglas' poems, in which he finds that, through the experience of memory and musical communion, common ground abounds. Reconciling rage and joy, public and private, Mitchell Douglas is one of our most vital voices of the urban Midwest, a poet of with both a critical and compassionate perspective on the pulse of America's heartland.

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