The landlord called it
a market adjustment.
We called it:
Where are we
supposed to go?
The number
on the paper
climbed higher
than anything
we could afford.
Rent went up.
Groceries went up.
The electric bill
learned new numbers.
Everything became
more expensive
except the things
we needed most:
sleep, safety,
a place to put
children’s shoes.
They said
the neighborhood
was improving.
New buildings
rose like polished teeth
where old houses
used to smile.
Coffee shops appeared
where the corner store
once knew
everybody’s name.
They called it
revitalization.
But nobody asked
the people
already living here
what needed
to be revived.
We were already alive.
My grandmother’s hands
had touched these walls.
My mother measured
our childhoods
against the doorway.
There are pencil marks
on the kitchen frame
where somebody kept track
of how quickly
we were becoming taller.
How do you
put a price on that?
How much
does memory cost
per square foot?
How much is
a childhood worth
after the lease expires?
They can raise the rent.
They can repaint the buildings.
They can rename the streets.
They can replace
the cracked sidewalks
with glass and steel.
But love is stubborn.
It stays.
It stays in the recipe
my mother refuses
to write down.
It stays in the neighbor
who still knocks twice
before entering.
It stays in the children
playing beneath
the same fire escape.
It stays in the woman
who brings groceries
to the family upstairs
because she knows
what it means
to count dollars
before counting dinner.
Maybe that’s what
the developers
don’t understand:
A community
isn’t valuable
because someone
finally decided
to invest in it.
It was valuable
when we
were the ones
investing our lives.
And if you ask me
what abundance
looks like,
I won’t point
to the luxury tower.
I’ll point
to the kitchen table
where eight people
make room for nine,
where nobody asks
who brought enough,
where the rent went up
but the love stayed.
In “Rent is Up, But Love Remains,” a landlord’s “market adjustment” becomes a family’s urgent question: “Where are we supposed to go?” The poem brings the housing affordability crisis into the home, showing how a rent increase threatens both a family’s stability and its ties to the place it loves.
Amari Murray (she/her) is a poet and essayist from Brooklyn, New York. She holds a B.A. in Creative Writing from Purchase College, SUNY. She began writing poetry at the age of eight and later published her first poem, in high school. Over the years, her writing has expanded to include personal and creative essays, allowing her to explore her experiences through both lyrical and narrative forms. Her work is drawn from her personal experiences, rooted in the dualities of pleasure and pain, silence and voice, intimacy and independence. She explores secrets, self-discovery, and survival through vivid imagery, layered emotion, and lyrical rhythm. She has performed at Girls Write Now, Bowery Poetry Club, and Blinky’s. Her work has appeared in the 2021 Girls Write Now Unmuted Anthology, Italics Mine, Spoken Black Girl Magazine, Brown Sugar Lit, Black Youth Project, and elsewhere with many more forthcoming publications. Currently, she is working on her first poetry manuscript.