Old Man from Tlacochahuaya

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Old Man from Tlacochahuaya

His skin
is heavy and thick:
the leathery pelt
of a working animal.

His bare feet
poke from the scratchy
leather of rough-hewn,
home-made sandals
carved from auto tires.

His toenails are iron claws
gripping the earth:
a climber’s spikes.

When I examine them
they seem cut off from the man
as if they protruded
from a bestial hoof.

I imagine him horned,
tailed, and bearded,
leaping in a bright red
devil’s suit
through black smoke
and orange flames.

Water is the bond
that binds the earth’s poor,
so I offer him
water from my bottle.

Then I see him sparkle
and his eyes are as clear
as the water he drinks
from the bottle I gift him.

Brothers across
artificial frontiers
we shake hands,
and now we are one.

Watered,
he is my friend,
my true amigo.

“Where are you going next?” I ask.

“Nowhere,”
he shrugs.

“I am just happy to be here,
squatting in this line of shade
that protects me from the fierce
knife-blade of the sun.”

Don Nadie

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Don Nadie
walks past the Jesuit Church
where the shoe-shine boys
store their stands at night.

He walks past
the tiny seat where
the gay guys sit
and caress each other
asking the unsuspecting
for unexpected dates.

Nobody asks him
for a match,
for a drink,
for money,
for charity,
for a walk down the alley
to the cheap hotels

The Yalalag witch
doctor sees things
other men don’t see.

He stretches out his hand
and brushes the mosquito
from Don Nadie‘s nose.

“Brother,” he smiles.
“I too have lost the way.”

Don Nadie is the one
who stops the hands
on all the clocks
at midnight.

He’s the one who leaves
this place and comes to this place,
all places being one

Don Nadie thinks
he knows who he is,
but he can no longer
sense his blood in the mirror
as the razor blade draws
its thin red scratch
across the dry husks of his soul.

Don Nadie,
my lookalike, my twin,
stares back at me
from the shop window
and I gaze into his eyes

In the back of the weavers’ shop,
three witches watch us.

One spins the yarn,
one measures the cloth,
one wields
the obsidian knife,

that will one day
sever the thread of our lives:

gimiendo gemelo,
hipócrito rector.

Small Corner

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Small corner

 And this is the good thing,
to find your one small corner
and to have your one small candle,
then to light it, and leave it burning
its sharp bright hole in the night.

 Around you, the walls you constructed;
inside, the reduced space, the secret garden,
the Holy of Holies where roses grow
and no cold wind disturbs you.

 “Is it over here?” you ask: “Or over here?”

If you do not know, I cannot tell you.

But I will say this: turning a corner one day
you will suddenly know
that you have found a perfection
that you will seek again, in vain,
for the rest of your life.

Gaia Sun & Moon

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Gaia

Worshipping the Earth Goddess, Gaia,
before the great altar in Santo Domingo

If the goddess is not carried in your heart
like a warm loaf in a paper bag beneath your shirt
you will never discover her hiding place.

She does not sip ambrosia from these golden flowers,
nor does she climb this vine
to mount to her heavenly throne,
nor does she recline in majesty
a pantocrator in a mandala frowning down.

In spite of the sunshine trapped in all this gold
the church is cold and overwhelming.

Tourists come with cameras
not the people with their prayers.

My only warmth and comfort:
not in this god who bids the lily gilded
but in that quieter voice that speaks within me,

bringing me light amidst all this darkness,
bringing me poverty amidst all this gold.

 

Apologia FFF

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Apologia
Friday Fast Fiction

                   Late last night, I opened Alistair Macleod’s book The Lost Salt Gift of Blood and I re-read the first story. I was soon dabbing my eyes with a tissue and blowing my nose.
This morning, I want to destroy everything I have written. I know I don’t possess the verbal and emotional genius of the great writers and I sense that I will never be able to write like them. Graduate school taught me to be passive, not active, and to write impersonally, choking every emotion when I write. Academia also taught me how to kiss and how to run away with my thirty silver pence. “Never challenge the status quo,” my professors told me. “Learn the rules and disobey them at your peril.”
But here, in this private space where I create and re-create, there are no rules. The enemy is not clear any more and the fight is not one of black against white. It is rather a choice between diminishing shades of grey, and all cats are grey in the gathering dark that storms against my closing mind. Should I destroy all my writing? I won’t be the first to do so; nor would I be the last. And I won’t be the first or the last to destroy myself either. Intellectual, academic, and creative suicide: as total as the suicide of the flesh.
I carry on my back the names of those who have gone on before me as if they were a pile of heavy stones packed into a rucksack that I carry up a steep hill, day after day, only to find myself, next morning, starting at the bottom once again. But this is not the point: the point is that if I cannot write like the great writers, how can I write?
I think of Mikhail Bakhtin and his cronotopos, man’s dialog with his time and his place. I have no roots, no memories, and that is where my stories must start: in the loss of self, the loss of place, the loss of everything. I was uprooted at an early age, soon lost my foundations, was sent into exile, and only survival mattered.
I look at the first page of one of my manuscripts. My writing manifesto is clear before me: “And this is how I remember my childhood,” I read. “Flashes of fragmented memory frozen like those black and white publicity photos I saw as a child in the local cinema. If I hold the scene long enough in my mind, it flourishes and the figures speak and come back to life.”
I am aware of the words of T. S. Eliot that “every attempt / is a wholly new start, and a different kind of failure / because one has only learned to get the better of words / for the thing one no longer has to say, or the way in which / one is no longer disposed to say it” (East Coker).
Are my stories an exercise in creativity or are they a remembrance of things past? How accurate is memory? Do we recall things just as they happened? Or do we weave new fancies? In other words, are my inner photographs real photographs or have they already been tinted and tainted by the heavy hand of creativity and falseness?
The truth is that I can no longer tell fact from fiction. Perhaps it was all a dream, a nightmare, rather, something that I just imagined. And perhaps every word of it is true.
I no longer know.

Tomb 104, Monte Albán: Sun & Moon

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Tomb 104, Monte Albán

 Crocodile wraps bat in the carved
crocodile jaws that open the doors to hell.

Cocijo clutches Owl’s feathers.
He wears a feathered headdress
as he flies on Owl’s back.

 At the back of the tomb,

a darker world hides in the shadows
beyond the finger of our flashlight:
hidden galleries,
carved and painted bones.

 Our torch
plucks faces from the dark.

 Brought back to life by our unsteady light,
shadows walk grey bristles
across cheek and jaw.

We blink like owls as we ascend
from the underground darkness.

Up here, in the false world,
the one we know and love,
our hearts sing like wild birds,
caged between red ribs.

 Above us,
the pocked skull of the moon,
bares white rabbit’s teeth.

 Tochtli
knows that life’s only reality
lies in wait for us

underground.

Sun & Moon

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Sun and Moon was published on Amazon and Kindle today. This is the second (revised) edition of Sun and Moon, the first edition having been published in 2000. Although this is the second edition, I have returned to and revised the original manuscript. It is clearer, stronger, and better than the first edition. Here is the description of the book as it appears on Amazon and Kindle.

“They tore down our walls,” Mono whispered, “stone by stone. A new church they built on the land they stole from us.” These opening lines begin the verbal adventure of Sun and Moon. Written in Oaxaca, Mexico, between 1995 and 1999, the poems tell some of the tales  of the voiceless, of the conquered, of the displaced, of the survivors, of the people who eat and sleep in the streets of Oaxaca, spinning their myths and legends and recalling their oral histories and memories. Sun and Moon traces the relationships between two civilizations, the indigenous and the conquerors, from the first contacts between Europeans and the people of the Oaxaca Valley up to the modern day interactions between locals and tourists. In these pages, some of the ancient ceremonies and beliefs, as described by indigenous people, are brought back to life in vivid images and colorful metaphors, so sharp, they can be grasped between the fingers and examined by the light of the sun by day and the moon by night. The multiple voices in the poems are those of human beings who, like the author, himself an émigré, find themselves in exile, lost, abandoned, and displaced. As the final character cries out in the final poem: “You do not worship at our sacred places … you don’t know even know the meaning of my name.”

Inquisitor: Sun & Moon

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Inquisitor

He told me to read,
and plucked my left eye from its orbit.
He slashed the glowing globe of the other.

 Knowledge leaked out:
loose threads dangling,
the reverse side of a tapestry.

 He told me to speak and squeezed
dry dust between my teeth.
I spouted a diet of Catechism and Confession.

He emptied my mind of poetry and history.
He destroyed the myths of my people.
He filled me with fantasies from a far off land.

I live in a desert where people die of thirst,
yet he talked to me of a man who walked on water.

 On all sides, as stubborn as stucco,
the prison walls listened, and learned.

 I counted the years with feeble scratches.

For an hour, each day, the sun shone on my face;
for an hour, each night, the moon kept me company.

Broken worlds lay shattered inside me.
Dust gathered in my people’s dictionary.
My heart was a weathered stone
withering within my chest.

 I longed for the witch doctor’s magic,
for the healing slash of wind and rain.

 The Inquisitor told me to write out our history:

I wrote
how his church
had come
to save us.

Note: I am still working on Sun and Moon. It will be ready for publication on Amazon and Kindle some time this week. Monkey Temple, Though Lovers Be Lost, Bistro, and Empress of Ireland are now available for review or purchase on Amazon and Kindle.

Monologue: Sun & Moon

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Monologue

 Mono means Monkey in Spanish. Monkey is one of the day names in the Mixtec calendar. 
Monologue, then, is Monkey, talking, perhaps to himself.

“They broke our walls,” Mono whispered, “stone by stone.
A new church they built, on the land they stole from us.
Red was its roof from a thunderstorm of blood.
The white bones of their lightning scattered us like hail.

They ripped out our tongues and commanded us to sing.
Carved mouths were ours, stuffed with grass.
Stone music forced its way through our broken teeth.

Few live now who can read the melodies of our silence.
We wait for some sage to measure our dance steps:
treading carefully, we walk on tiptoe.

A + cross  these stepping stones of time.”

 

Note: I am working on Sun and Moon. It will be ready for publication on Amazon and Kindle some time this week. Monkey Temple, Though Lovers Be Lost, Bistro, and Empress of Ireland are now available for review or purchase on Amazon and Kindle.

Casa Rosa: Flash Fiction

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Casa Rosa
            Rosa placed four glasses on the bar, poured three fingers of Cuban rum into each glass, produced as if by magic from under the old wooden bar two old‑fashioned bottles of Coke, and threw one ice-cube into each glass. She filled the glasses with a foaming, bubbling liquid that didn’t quite spill over the edge.
“Aren’t you going to join us for a drink while we wait?” Danny asked Rosa.
In reply, Rosa poured a large glass of dark rum, scowled ferociously, and chugged it. We gazed in wonder as it vanished silently down the dark tunnel of her throat. Rosa held out her hand and Danny placed a one hundred dollar bill in it. Rosa poured herself another drink.
“I thought they shut you down last week,” Larry took a careful sip from his glass. He preferred wine really, New Zealand Pinot Grigio for preference, and this in Spain where the white wine flows like water and drowns you in an instant.
Rosa downed another glass of rum and looked at the boys over the rim of the glass. They were so young and innocent. In what might be generously called the imitation of a knowing wink, she covered a porcine eye with a flabby eyelid.
“Only one policeman,” Rosa winked again. “Very young, he was, quite pretty really, and in civilian clothes. I might have fancied him myself, a long time ago,” she paused, poured herself some more rum and drank it. “‘Special duty,’ he said, and showed me his ID.”
“What did you do?” Larry sounded interested. He might have been taking notes for his next book.
“I invited him to sample my newest acquisition,” Rosa tightened her lips in what might pass for a smile. “You can all sample him yourselves later, if you want. He’s quite attractive.”
Danny proposed a toast to the latest acquisition, the savior of the human race. He hummed as he sipped cautiously at his Cuba Libre. Danny and Larry clinked glasses with Rosa and I allowed my glass to join them.
We sat for a moment in silence, our elbows rising and falling as we sipped, or pretended to sip, our drinks while waiting for permission to ascend the stairs.
Rosa waddled over to the wall and fiddled with the dimmer switch. The room became even darker and a red light flashed on and off as a soft and suggestive wailing noise came from the jukebox. “Better have some music,” she said. “I’ve got a feeling you might be in for a long wait.”
Danny looked around. The door and the open street were to his left. People walked constantly past the entrance, glanced in, and saw us boys sitting there, waiting.
Larry sat motionless, staring straight ahead, looking for inspiration. He inspected his feet. They were resting, about a foot above the ground, on a dull, brass foot rail that ran the length of the bar. Down there, on the floor, lay paper serviettes, cigarette butts, shells from peanuts, heads of shrimp, crusts of bread, all the debris of men who spend Sunday in a certain type of bar and throw what’s left of their meal on the floor at their feet.                   Suddenly, Larry raised his feet from the bar and cursed.
In the space between the foot rail and the bar, where his feet had been resting, a large cat, foaming and spitting, ran towards him. Behind it, red eyes glowing, white teeth snapping at the end of the cat’s tail, was the largest rat Larry had ever seen. It was at least twice the size of the cat.
“Jesus Christ,” he cried.
The cat pursued by the rat raced beneath the arch of Larry’s lifted legs and vanished into the street.
Rosa didn’t blink.
“Chinese ship in town, from Shanghai,” she said. “Lots of big rats around. What you expect?”
Loud cries from the exterior marked the animals’ exit. Two loud pistol shots followed almost immediately and a very young man ran into the bar. It was Luis. He wore the uniform of the local police and held a still-smoking gun in one hand with his police identity card in the other.
“You’re all under arrest,” he screamed.
“Don’t be so silly, Luis,” Rosa smiled at him. “She’s upstairs, waiting for you. I knew you’d be here early tonight. Look, if it will make you more comfortable, I’ll close the bar.”
The young man put away his badge and nodded.
“Get them out of here, Rosa,” he said, dismissing us with a gesture of his hand. “Back door. And tell them never to say a word. Or else …” He waved his gun towards us, blew the smoke from the end of the barrel as if he were John Wayne in a cowboy movie, then tucked the pistol back into its holster.
Rosa nodded and waddled to the front door, turning off the lights as she went.
Danny, Larry, and I looked at Luis, nodded agreement, pressed our index fingers to our sealed lips, ran out the back door, and vanished into the night.