top of page

Luisa Igloria

“Where we live” by Luisa Igloria
Poet Laureate of Virginia, 2020–2022

It's good to think about how the U.S. Poet Laureate position was formalized through an act of Congress. In Virginia it was established in 1936 and codified in 1998. This seems to send the message that poetry is recognized as important to civic and social well-being. I believe this, because poetry and the arts, like community, have human empathy at their cornerstone. We first need to imagine to create conditions for freedom and possibility (and therefore change) in our lives. The language of poetry taps into places that are difficult to express otherwise—those where we experience our very human fears, rage, doubt, pain, but also joy, love, hope.


As a woman and immigrant, I think it’s significant that I’m now one of (to date) four poets laureate of color in the state. I see it as an indicator of important changes starting to manifest more forcefully in this country, having to do with the ongoing re-evaluation of history and the place that marginalized communities have been accorded in it.


When I was appointed the 20th Poet Laureate of the Commonwealth in July 2020, it seemed to carry additional significance, considering our shared experiences during this time—including but not limited to the pandemic, the Black Lives Matter movement, and the increased violence directed against Asian Americans. Because of all this, I was pleased to be 1 of 23 poets nationwide to receive a 2021 Poet Laureate Fellowship from the Academy of American Poets, with the mandate to create a year-long program of public poetry projects. And so, while I may not have been specifically required to write poems to fulfill poet laureate duties, I tried to create opportunities to highlight poetry’s importance in our lives as citizens and members of a community.


For Thanksgiving 2020, The New York Times asked state poets laureate to send in a statement about what communities in our states were grateful for. I chose to write a short poem about the taking down of the Robert E. Lee monument in Richmond, and how the site, covered in graffiti since the death of George Floyd, is now being considered one of the “the most influential work[s] of American protest art since World War II” (The Richmond News). The day after, I received an email from an angry reader who described herself as a proud descendant of families who’d owned slaves but taught them to read and write; she said something about how I don’t know anything, because I’m not really from the South. I got another email, thanking me for writing the poem; this was from someone in the Dilenschneider Group, which I learned had established the Civility in America Lecture Series—a forum for thinkers from a variety of professions to give “perspectives on what must be done to restore civility in our Country."


I did get a few commissioned works—A long poem responding to Maya Lin’s “A Study of Water” exhibit at the Virginia Museum of Contemporary Art, which I got to record and which visitors to the gallery could listen to while looking at Maya’s pieces; and to curate a community program where other writers, musicians, scientists, and artists came together to share their own responses.


In summer 2022, I had the opportunity to talk with the Hampton Roads Community Foundation through its then Vice President for Communications Cherise M. Newsome and her team, in order to write a poem reflecting on life and history in our Hampton Roads communities. The poem, “Where we live” appears below.

Then, on May 28, 2022, “We, Seafarers,” a poem I was invited to write, was read at the Unveiling and Dedication of the Virginia Historical Marker Honoring Filipino Sailors at the Philippine Cultural Center, Virginia Beach.

I’m proud of the poems that came out of these engagements, because they signify how poems are truly able to reach people in forms and venues beyond their “literary” occurrence.

I’ve found these experiences to be quite powerful; they inform me that yes, poetry is alive and well; it has an audience, and it can and does live in all the spaces where we live, flounder, and flourish. Whether or not I’m Poet Laureate any longer, I continue to write poems every day as I have for the last 12+ years because I’ve realized that poetry is my preferred way of thinking through and feeling through, “processing,” what the world brings to my door.



Where we live


is here, inside of

History— By which we mean

the soil and salt-laden air,

ridges and hills;


tunnels and bridges,

shipping channels, harbors,

trestles—Waterways

and woodlands


teeming with wildlife:

cormorant and tern, osprey,

oysters, crabs. Before

the colonists,


who were— before us—

here? What names did they bear?

Algonquian, Chesepian, Piscataway,

Powhatan, Nanticoke,


Kecoughtan … And who

remembers a world before

the famine time, before street

names, before paved


curves of interstates? Yellow

fever and Spanish flu; a quarantine

house at Lambert’s point nearest

“the anchorage between…


black buoys numbered 5 and 7.”

History, your brittle shards speckle

our shores and ports like oyster shells.

You are what we mean


when we remember commerce

of bodies brought over the water:

bound, weighed, marked, sold

exchanged for other


goods, enslaved. Their first

landing here: irony of a port called

Comfort. Each plague of fortune-

seekers ready to measure


and claim, plot, make war

or whatever it might take to fill

the scales. When one dreams of grace

or fortune now, how could it


only be for oneself? Where you live,

who came before you and twisted

cotton out of the ripened boll,

cropped it into bags


while trying not to cut their hands

on bristled stalks? Who fled from

some war abroad with one suitcase

in hand, and some wild hope


for a different life? Sometimes

in the evening, you’ll hear a different

hush inside the air: the sea’s

old voice? the ancestors


sending up a collective sigh

from out of marked or unmarked

graves? our bodies that swell the streets,

marching to the anger and ache


from so much death, saying no

more, no more, no more? A sound

that’s one long braid: echo of footfalls

and battle cries, ironclads


testing wooden vessels; a cannon-

bell that hurtled across burning

roofs to lodge in a wall on the side

of a church. Long-legged


waders step carefully through water,

almost as if they too can’t breathe.

And the swamp winds itself a sheet

of tempered iron, a mourning veil.


Nothing is new, or everything’s

new— but only because it’s come

from something that preceded it:

fireworks explode in July


over a landfill, mountain

fashioned from pressed layers

of waste and good, old-fashioned

soil. Summertime fills


estuaries with jet-skiers,