Obsidian’s Edge 7

Room in my Mind
10:30 am

1

My latest  alebrije
wags his tail and flicks
forked lightning
from the forge of his mouth.

His ancient mocking spirit
slowly emerges
from the trickster wood.

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2

Made from scrap metal
by the man down the road
who recycles old scraps,
Don Quixote sits on the reinforced
toecap of a workman’s old boot.

Two spent sparking plugs
join to form his body.
His presence lectures me
on the ages of gold and silver
long since past.

“We exist,” he says,
“in an age of recycling.”

3

Shadows double
themselves in the mirror:
recycled lines of shade
carve the shower’s glass.

Wary of shade and flame
I stand in a dust-
laden beam of sunlight.

Motes in my mind:
flesh and blood chessmen
play their game,
dark squares and light.

4

My neighbour has six cats,
two children, and a tulipán tree.

I bought her youngest daughter
chocolate, and she showed me
how to play a simple game of cards.
But the pack was different
with the three
ranking above the queen and jack.

I throw away my threes and lose the game.
She laughs at me and calls me tonto.
She is ten.

5

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Nochebuena,
single and double petals,
crimson and cream;
cempasúchiles,
flowers of the dead,
guide their footsteps
leading my lost ones back to me.

6

I think of milk bottles placed on a concrete step.
When I go out in the morning, sparrows have pecked
the silver tops to get at the cream.

Memories: once open doors
now slowly close.

Keys no longer turn in the locks.
Sleep gathers in forgotten rooms,
falling like dust on silken flowers.

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My mind drifts in and out
between sun and clouds.

 

Obsidian’s Edge 6

10:00 am
Dark is her Shop

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1

I buy two liters of white mescal,
cheap and rough,
without the second brewing:
fire water, not smooth.

Two liters:
she sells them in
an old Coke bottle
she’ll seal with cellophane,
and a rubber band.

Six worms I buy.
Bedraggled fighters
dragging smoky trails
as they plummet
through a yellow sea.

2

In the shop next door
I buy poinsettias.
When I get home,
I put them in a vase
and watch them watching me.

Red poinsettias:
bloodstains scratching
a white-washed wall.

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Misshapen gems
in a ceramic prison,
their beauty
breaks me down:
decimated words,
worlds
born from mescal.

3

The eyes I see
are not eyes
because I see them:
they are eyes because

… twin brown ovals …

they watch me
as they float in a liquid mirror
within the upraised glass.

4

Outside,
beyond the balcony,
sun blood melts
like sealing wax.

The bougainvillea
strains sharp stains
through a lonesome
slice of sunlight
giving birth to
flamboyán and tulipán.

5

My lemon tree
leans over to listen.
Glistening pearls of dew
embellish its morning throat.
Christmas decorations
these postage stamp songbirds
thronging each twitching branch.

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Butterflies,
winged flakes of archaic paint,
flutter from temple walls
leaving them barren and bare.

Church towers,
strong when terra firma shakes,
quiver insubstantial.

Mescal melts the morning:
a quiver of shimmering air.

 

Obsidian’s Edge 5

Obsidian’s Edge 5

9:00 am
Mescal and Memory

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1

Frail old men
huddled under hand-woven blankets
sipping their morning mescal:
each face
a note book seamed with memories.

Crab apples
hastening to autumnal crispness,
their wrinkled faces,
their minds ready to tramp
the snow of today’s blank page.

Unwieldy limbs
bursting back to bloom,
flower by unyielding flower,
they squat in the square
beneath blossoming trees.

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2

Códice
characters lifted from the pages
of their pre-Columbian chronicles
and Mickey-Moused on modern walls:

Ocho Venado
framed on a restaurant menu,
Cuáthemoc
recalled on a hunded peso bill.

Cuáthemoc
has forgotten how to walk
on the burned, broken feet
that Cortés held to the fire.

Ocho Venado,
a king in his own right,
bows and bobs to tourists
in the restaurant that bears his name.

3

Colibri,
an errant, feathered knight,
whirs his wings and charges
at the sun’s twin windmills:
sun-dog ear-rings
tethered to a golden flower.

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4

Sweet flutter-by of yesterday’s butterfly:
Mescal

fragments the memory
holding it bitter between tooth and tongue.

Obsidian’s Edge 4

8:00 am
Up and about

  1

Last night,
a cataract of flame
flowed down
the cathedral wall.

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A black wooden bull
danced in the square,
sparks struck fire
from his horse-hide hair.

A red speck on my shirt
burned through to my skin.

Today
a heart of fire
burns in an iron barrel:
who will be chosen
for the daily sacrifice?

2

A sharp blue guillotine
poised between buildings:
the morning sky.

Scorched circles,
open mouths:
wide-open butterfly eyes
burn holes in the crowd’s
dark cloud of a face.

A street musician
stands in the shade
beneath the arches
playing a marimba.

The sun tip-toes
a sombre danse macabre
across bamboo keys.

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Sunlit bubbles float
dreams across the square.

 

Obsidian’s Edge 3

7:00 am
Breakfast

1

Yesterday,
I sacrificed a chicken.

Unborn,
it lay within its calcium cocoon,
dormant,
a volcano sleeping deep beneath thick snow.

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Tap, tap, tap,
the silver spoon bounced
off the hairless shell:
a sudden crack,
a spurt of orange blood.

Today,
I tap with my silver hammer
on the grateful grapefruit’s paper skull.

Silence.
No movement
within the honeyed
comb of pith and cell.

2

High in the church tower,
a hammer blow falls on an echoing anvil:
the cracked bell lurches into life.

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 Rooster crows his thick rich cocoa rico:
blackened torsos of fire-roasted beans.

3

Squeezed orange, racked by the inquisition,
its pale yellow robe spent and exhausted;
wasted disc of a worn-out, decadent moon.

4

  Naturaleza muerta:
the orange expires on the table.

Still sticky its carcass,
its life blood is a sacrifice:
thick, rich, golden liquid,
as fierce and sweet as
sunshine on a branch.

5

   Tabled motion:
my hand reaches out.
Arthritic fingers clasp,
but cannot hold
the golden glass.

6

The tequila’s wrinkled worm
tickles my fancy.

Grasshoppers
fried in garlic
no longer make me squirm.

7

Two Tigers
rage in my head.

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They crave mescal
at this hour of the day.

Obsidian’s Edge 2

6:30 am
Early morning mass:
San Pedro

1

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A single sunbeam descends.
Sharp blade of a heliocentric sword,
it shatters the chapel’s dark:
fragments of light
stained with glazed colors.

A pallid lily truncated
by the dawn’s pearly light,
the young widow
kneels in prayer.

Her head wears a halo.
Her pilgrim palm
presses into the granite
forcing cold stone
into warm fingers.

Flesh clutches
the statue’s marble hand:
a maze of human veins
— petrus / piedra —
this church now a rock.

2

Outside the church,
a boy pierces his lips
with a cruel spine of cactus.

The witch doctor
catches the warm blood
in a shining bowl
and blesses the  girl
who kneels before him.

On her head she carries
a basket filled with flowers
and heavy stones.
He sprinkles it
with blood.

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She will carry
this basket on her head
until the evening shadows
finally weigh
and she lays her burden
down.

3

Cobbles clatter beneath walking feet:

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when the stones grow tongues,
will they speak the languages
in which we dream?

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Obisidian’s Edge 1

At the Edge of Obsidian

“everything burns, the universe flames,
nothingness burns itself into nothing
but a thought in flames: nothing but smoke”

Piedra de sol
Octavio Paz

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“todo se quema, el universo es llama,
arde la misma nada que no es nada
sino un pensar en llamas, al fin humo:”

At the Edge of Obsidian is the second book in The Oaxacan Trilogy. It was published in 2005 and outlines the events of a single day in the City of Oaxaca (Mexico). I have always loved the Medieval Books of Hours and wondered if they would transfer themselves into a book of hours based on a day in a place with which I was familiar. This is my effort to do just that. I will publish regularly from this book, beginning at the beginning with the church bells and the early morning light that waken the sleeper from his dreams.

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6:00 am
church bells

1

The alarm clock shuffles
its pack of sleeping hours:

a clicking of claws,
needles knitting outwards
towards dawn’s guillotine;

a knife edge
sharpened on this keening wind
sets my blood tingling in my toes.

Bright jungle parrot,
its querulous caged voice glimpsed
darkly through dawn’s looking glass.

2

Tochtli was caught by the ears
then thrown against the second sun
sizzling in the sky.
His sharp teeth burrowed,
burying themselves deep in the fire’s red light.
The second sun turned into the moon;
now we can see Tochtli’s face,
simmering in its dwindling pool.

Old myths, like languages,
grow legs and wander away.
They gather in quiet corners,
in village squares
where the night wind weaves
dry leaves in endless figures of eight.

 An old man now,
I dream of white rabbits,
running down tunnels,
escaping the hunter’s hands.

 3

When my dreams break up,
they back themselves into a cul-de-sac:
a wilderness of harsh black scars.

Dream words:
scalpels carving
red slashes on white-washed walls,
trenchant shadows, twisted dancers,
old warrior kings
bent into pipe wire shapes.

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 Suddenly, beneath my balcony,
the handy man
tumble-dries a tv ad
in the washing machine
of his song sparrow throat.

Codices

Re-reading the Códices

The Mixtec Códices, indigenous screen-fold books written on deer hide, 
are Pre-Columbian pictographs that record the history of the Mixtec peoples. 
There are no words: only brightly coloured scenes 
containing information about rituals, gods, heroes, and ceremonies. 
Only a few very precious documents 
(Zouche-Nuttall, Vindobonensis, Borgia etc) survived the ravages of time
 and the continued purges of the Spanish Inquisition. 
This prose-poem, self-explanatory for the main part, 
verbalizes typical symbols from the códices. 
Clearly, such symbols, as the poems suggest, are ambiguous 
and open to radically different interpretations.

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“Two breasts: one green, one yellow, symbolic of the hill where the church stands; the church itself bi-colored, strong stone walls, a spire. A large red heart symbolic of the love we bear for you, our masters. Two feet walking the path of enlightenment you opened before us; two hands pointing the way. The feet below the heart; the hands above the heart, like wings; and the heart becomes the body of the new place you have built for us. And in the heart is our sacred symbol: the Earthquake, a sign of leadership and power used only by those of Royal Stature and the Noblest Blood. Attached to the heart is the Numeral One which means Lord of the Earthquake; for you are Number One in our Hearts. Attached to the heart is a speech scroll showing felicitous words of praise; below it is the sacred earthworm, and beneath that the serpent head of wisdom and the flint knife promising strength through sacrifice.

But be wary: for our symbols are double-edged!

The colors of the hill are divided, as the hill is divided, showing strife and division. The church is on top of the hill, for the symbol has conquered the people, and the people are starving, subject, and destroyed. The feet are pointing in opposite directions, for the people are stalled. They have no forward movement, nor will of their own. For they are conquered by the sword and not by love. And the hands are pointing in opposite directions; for the right hand knows not what the left hand is doing. And the hands are reversed showing anguish and distress. The sign of the heart is the sign of the disembodied heart, torn from the heaving chest of the vanquished and thrown to the dogs. The sign of the earthquake is also the sign of movement. And that movement is a bowel movement. And one movement in the middle of the sacrificed heart is the victor excreting on the vanquished and treating them with scorn and contempt. The scroll protrudes from the nether part and says that the victors are speaking words of excrement, that verbal diarrhea issues from their lips. And the serpent has no feathers; it cannot fly. It is as a snake treacherous and bitter, crawling on the ground. The head of the serpent is two tongued and tells of treachery and of deceit. The flint is attached to a heart; it speaks of the heart that is as hard as flint, knowing no mercy.

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And at the end that heart will receive no mercy in its turn.”

Dreams

Dreams are important in Oaxacan mythology.

Do we create them ourselves?

Or do they come to us as celestial messages?

Can they exist without us?

Or do we form a symbiotic relationship.,
each dependent on the other?

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Eight Deer or Tiger Claw / Ocho Venado or Garra de Tigre is a Mixtec Hero; 

his name is composed of two parts: 

(1) day name (ie the name of the day on which he was born) Eight Deer and 

(2) nickname Tiger Claw. 


His symbol in the códices is a small circle with a comma like a tiger claw.

Nuttall is the twentieth century editor of the Zouche Nuttall Codex 

in which Eight Deer’s history of conquest is recounted.

Nine Wind / Nueve Viento is another Mixtec Hero 

and the founding father of the race, according to some códices.

Dreams

Once I stole the nose from a sacred statue;
today I watch it cross the square attached to a face.
Eight Deer walks past with a fanfare of conches:
you can tell him by his donut with its little tail.

A shadow moves as zopilote wings his way across the square.
I caught him once on a midnight bus;
he begged me to fold his wings and let him sleep forever.

A gringa called Nuttall sells tins of watery soap.
Her children fill my days with enchantments:
bubbles born from a magic ring.

Eight Deer, eight years old, sets out on his conquests.
Nine Wind births his people from a flint,
or was it the magic tree in Apoala?

The voices in my head slip slowly into silence.
Sometimes I think they have no need of me,
these dreams that come at midnight,
and knock at my window.

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Masks

Sometimes they frighten us
tap us at midnight on the shoulder
bring nightmares to our sleep

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Dead warriors rising from the battlefield
grave their faces hollow eyes seeing nothing
open mouths flapping soundless

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Sometimes they bring life to us
sometimes they keep it at bay
forcing us to move away from what
we know and love and to face life
unmasked in an unfamiliar way

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Exile

a black-robed devil wielded a whip of wind
with a sea wave for a hammer he broke down our houses
drove us from our fields and struck down our temples

dark was the sky rage
deep was its anger
the sea god rose on stormy wings
his chariot was taller than our tallest house

who will wade in this river of mud?
who will ask for a blessing
now the sky has fallen?

homeless helpless
we seek our living abroad

beyond our hills:
a land where no man speaks our language
and every man’s hand is turned against us