Springtime Again

Alison C. Rollins

after Sun Ra as well as Danez Smith’s “summer, somewhere”

Again, a spring in the step of boys
headed to meet their maker.

A swagger, a darkness sprung
with the obsession of flies.

Sunflower seeds litter god’s front porch,
the yard overrun with dandelions,

yellow starbursts picked over for the pinks.
Again, snow. Angels. Girls named Hope and Faith,

their braids capped with black and gold beads,
glimmer of fireflies affixed with rubber bands.

The stork is actually a blue-footed
booby. The babies. Come alive.

Summer and Sally Walker
swaddled in brown liquor.

Johnnie takes his spirits neat,
ice uncalled for at winter’s end.

                                                                                                   *

Why must I chase the C.R.E.A.M.?
‘Cause cat rules everything around me,

young blood in young world of
pussy-whipped buffoons. I see you;

can you see me watchin’ you lovin’ it?
Whether by microscope or telescope,

my body of work is accustomed to gaze.
An in-between state contributes greatly

to a country of longing. When in flux,
I have a strong constitution.

I no longer have a home in the present,
my sleeping bag splayed on Dante’s fire

escape. The circles of hell are a Spenserian
stanza, a rhyme scheme of Uhh! Na nah na nah.

When judgment comes, ain’t nowhere to run.
April snow is how time disciplines its children.

                                                                                                   *

Pride cometh before. The fall.
The redheaded oaks made our

blood boil. I don’t believe god
was ready to call me home, but

now was as good a time as any.
When asked my regrets,

I just remembered, remembered
freedom was life’s great lie,

remembered body is another
word for cage, remembered

night knew my name before
I ever had reason to fear.

Some days are measured by caesuras,
some hours by snakes in the grass.

Only a foolish king would
mistake the forest for the trees.

                                                                                                   *

This is how we are reborn:
come resurrection Sunday,

we pour out. A trail of Cadillacs,
rabbit feet and gator teeth hung

from rearview mirrors. The trunks
thumping so loud it’s enough

to wake the dead, to dust the dirt
from shoulders, to make room

for the elbows and capsized knees.
In the end we knew what was ahead.

Postapocalypse was our present tense.
We sold key chains at the pearly gates,

light-up toys, and airbrushed T-shirts
one for ten or three for twenty. The hustle

never dies, it just changes, and the more
things change the more they stay the same.

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Alison C. Rollins, born and raised in St. Louis, currently works as a reference and instruction librarian for the School of the Art Institute of Chicago. She holds a Bachelor of Science from Howard University and a Master of Library and Information Science form the University of Illinois Urbana-Champaign. Rollins has worked for various public libraries including the DC Public Library and St. Louis Public Library. She is the second prizewinner of the 2016 James H. Nash Poetry contest and a finalist for the 2016 Jeffrey E. Smith Editors’ Prize. Her poems have appeared or are forthcoming in The American Poetry Review, Hayden’s Ferry Review, Meridian, Poetry, The Poetry Review, TriQuarterly, and elsewhere. A Cave Canem and Callaloo Fellow, she is also a 2016 recipient of the Poetry Foundation’s Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship.

Inspired by the nineteenth-century image of an enslaved woman wearing iron horns and bells, Alison C. Rollins’s Black Bell explores and catalogues both individual experience and collective memory.

“Rollins instructs readers on how to navigate her latest collection, using diagrams, performance directives, and historical references within an Afrofuturistic text that challenges poetic norms.”
—New York Public Library, Best New Poetry Books 2025

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