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"contents": "The two poems that follow are different in style and context, but both speak to the potential of language and gesture to reach “through the bars.” Gabeba Baderoon’s poem laments a heedless betrayal of the human need “not to be alone.” Jeremy Cronin’s dramatic poem, written during his imprisonment under the Terrorism Act, re-enacts the gestural inventiveness and solidarity between isolated political prisoners.\r\n<p style=\"text-align: center;\"><strong>***</strong></p>\r\n<strong>Poetry for Beginners</strong>\r\n\r\nBy Gabeba Baderoon\r\n\r\n \r\n\r\nIn the evening poetry class for beginners\r\n\r\na girl in a thick brown coat she doesn’t take off\r\n\r\n \r\n\r\nbreathes in deep\r\n\r\nand risking something says fast\r\n\r\n \r\n\r\nMy boyfriend’s in prison\r\n\r\n \r\n\r\nI’m here to find out\r\n\r\nhow to write to him through the bars\r\n\r\n \r\n\r\nand someone laughs\r\n\r\n \r\n\r\nand she pulls herself back into her coat\r\n\r\nand from inside looks past us\r\n\r\n \r\n\r\nand the next week\r\n\r\ndoesn’t come back\r\n\r\n \r\n\r\nand I think of her for years\r\n\r\nand what poetry is\r\n\r\n \r\n\r\nI think this is my origin\r\n\r\nwhere poetry is risk, is betrayal\r\n\r\n \r\n\r\nAnd the memory of the first question\r\n\r\nhow not to be alone\r\n\r\n<em> </em>\r\n\r\n<em>From </em>The History of Intimacy, <em>Kwela Books, 2018</em>\r\n<p style=\"text-align: center;\"><strong><em>***</em></strong></p>\r\n \r\n\r\n<strong>MOTHO KE MOTHO KA BATHO BABANG</strong>\r\n\r\n(A PERSON IS A PERSON BECAUSE OF OTHER PEOPLE)\r\n\r\nBy Jeremy Cronin\r\n\r\n \r\n\r\nBy holding my mirror out of the window I see\r\n\r\nClear to the end of the passage\r\n\r\nThere’s a person down there.\r\n\r\nA prisoner polishing a door handle.\r\n\r\nIn the mirror I see him see\r\n\r\nMy face in the mirror,\r\n\r\nI see the fingertips of his free hand\r\n\r\nBunch together, as if to make\r\n\r\nAn object the size of a badge\r\n\r\nWhich travels up to his forehead\r\n\r\nThe place of an imaginary cap.\r\n<p style=\"padding-left: 80px;\">(This means: <em>A warder</em>.)</p>\r\nTwo fingers are extended in a vee\r\n\r\nAnd wiggle like two antennae.\r\n<p style=\"padding-left: 80px;\">(He’s being watched.)</p>\r\nA finger of his free hand makes a watch-hand’s arc\r\n\r\nOn the wrist of his polishing arm without\r\n\r\nDisrupting the slow-slow rhythm of his work.\r\n<p style=\"padding-left: 80px;\">(<em>Later</em>. Maybe, later we can speak.)</p>\r\n<em>Hey! Wat maak jy daar?</em>\r\n<p style=\"padding-left: 80px;\"><em> </em>- a voice from around the corner.</p>\r\n<em>No. Just polishing baas.</em>\r\n\r\nHe turns his back to me, now watch\r\n\r\nHis free hand, the talkative one,\r\n\r\nSlips quietly behind\r\n<p style=\"padding-left: 80px;\"><em>-Strength brother,</em> it says<em>,</em></p>\r\nIn my mirror,\r\n<p style=\"padding-left: 80px;\">A black fist.</p>\r\n \r\n\r\n<em>From </em>Inside and Out, <em>David Philip Publishers, Cape Town, 1999. </em><strong>DM/MC/ ML</strong>",
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