“History Repeating” 2nd Place Winner

Jukebox Rotation for War Days

by Marya Hornbacher
Unhoused man on his side

Editor’s Note

Marya’s poem softly sings to those wounds of war that never truly heal before being opened again. The resonance in “Jukebox Rotation for War Days” reflects these cyclical patterns of history and the way their echoes show up in our lives. Memories, music, and images are tenderly layered, each showing how violence reverberates through time. This symphonic piece is an account of war and its casualties—a record that resolutely weaves in “the low/low notes” amongst the beauty of living and loving that happens in between.

this morning the ocean is flung out across the sheets, flagrant and languid, 
beads of light on its skin, the street is slow and lazy, air thick and heavy after rain, 
sliding its thighs together for the sheer pleasure of their weight, hibiscus unfurling, 
batting their lashes, licking their lips like they’re sleepily eating something with honey, 
bees drowse and bumble, still a little drunk from last night’s debauch, 
none of them are picturing the poet 

who told me years ago about the day 
he understood that songs were poetry, he lay 
on his best friend’s bedroom floor in brooklyn, 
now he is lying on the floor of my head 
with the rest of history

scattered in snapshots, sometimes polaroids, sometimes salt prints, 
albumen calotype ambrotype tintype daguerreotype cyanotype 
gelatin silver it depends on the period, the history of the world 
according to high school dropout, useless archive 
of partial things, the poet 

was sixteen. the album had just come out. the song 
was 7 O’Clock News / Silent Night.
he and his best friend lay side by side 
on the floor of the bedroom in brooklyn 
in vietnam wave after wave of u.s. troops broke 
and broke over the nation they destroyed by the time i was born 
the poet was a professor and i was told 

to look vets on the streets in the eye when i stepped over their legs, 
don’t be afraid my father said, say excuse me, give them change if you have it
he gave me change so i would have it it doesn’t matter what they do 
with it, they won’t hurt you he said they’ve done all the hurting they ever 
meant to do and then some, this fucking
country my father said this fucking country and its fucking 
walking dead remember

being sixteen when the radio 
mattered, and the car and the car’s tinny radio 
countdown, the weight of the keys, the power 
of pressing the gas, of gathering speed, the mastery 
of steering, rush of shifting gears, the girl 
with red hair, her hand out the window, her cigarette, the wind 
blew strands of hair across her face it always got
stuck in her wet n’ wild lipgloss, i hooked my finger 
to pull it free of her mouth i always smelled like her

apple drugstore shampoo we sang along to billy joel she would pretend to 
sing i would pretend not to notice when her voice would fade out she’d listen 
to me catch the low low notes she couldn’t hit 
alone 
once
her lips against my ear, breath quick, she whispered sing
to me, i like the way the low notes feel 
inside so i sang 
into her ribs i sang
into the cleft of thigh i sang 
it didn’t even matter what i sang 
today

the ocean is flung out across the sheets, lifting her body offering herself 
to the flagrant sun, beads of light on her skin i can barely remember 
the latin declensions or the types of greek columns or the names 
of cloud formations until late at night when i least
need them

but the smashed vase of history 
is scattered in pieces all over the floor of my 
head and every day i walk barefoot across
crouching to fish out stray bits
of what might matter 
the poet who did not want to go to war 
the vet on the sidewalk who said thank you young man
solemnly to me when i handed him 
the nickel i’d been holding in my fist 
and i nodded solemnly in return
i wonder

if they played taps at his 
funeral, if someone was there
to play taps if someone was there
to take the folded flag 
the archive

of every song i’ve ever 
sung into someone’s 
broken body so it would 
hum with the low 
low notes they couldn’t hit
alone

Marya Hornbacher

“History Repeating” 2nd Place Winner
Marya Hornbacher is an award-winning journalist and the New York Times bestselling author of five books. She has received the Annie Dillard Award for Nonfiction, the Logan Fellowship for social justice journalism, the Fountain House Humanitarian Award, and the Saints & Sinners LGBTQ+ Poetry Prize, among other distinctions. Hornbacher’s work has been translated into more than 50 languages and appears in the New York Times, San Francisco Chronicle, Boston Globe, Smithsonian Magazine, Crazyhorse, AGNI, Gulf Coast, The Normal School, Fourth Genre, DIAGRAM, Arts & Letters, and many others. Her sixth book, SOLO, is forthcoming from Hachette/Cardinal in 2027.

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