Smooth peals of Curtis Mayfield offer the story,
a warning that repeats too many times in cities
all over the world. The third person turns into
love letter because each time the song plays
in the heads of young players, they think
I didn’t have to be here. Curtis keeps singing
as if he’s pointing out that a game is always
set for losers and winners who look nothing
like Harlem. Expect the next move to be
a against a jaw, a 2 x 4 in a dark hallway,
an overdose of a friend who knows too much.
Curtis knows it’s all finance, the brutality
of paper and coins, and a chess board is easily
checked by whoever can afford the most knights.
Sad, quiet eyes and plotting minds populate portraits
in the world’s cities, but not one of them is a still life
until they turn the wrong corner on the wrong day
fallen through the trap door of alley and after dark,
maybe the same places where their mamas called
them from before streetlights brightened into curfew
above their once small heads. Streetlights excite
more than dim living room lamps and glimmer
on a roach’s back. Each player imagines clothes
crisp as vines, Cadillacs with more shine than those
old streetlights, women like new leather coats
for every day of the week, while Curtis keeps ringing
in ears beneath taut brims holding each choice
as close as long lost relief pleading Let me be.
Let me be. Let me be.