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.

 

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.

Empress: A Survivor Contemplates

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A Survivor Contemplates
the Crucifix on the Point
Ste. Luce-sur-mer

Christ of the Rocks
hanging here on the point
from the crucifix
with your open eyes:

do you see, out at sea,
where gray waves cover
the graveyard of the Empress,
at rest, her passengers,
caressed beneath shallow waters.

They have gone on before me,
those friends I numbered,
their piercing eyes
lie covered now.

Splayed toes:
last night’s footprints
erased by wind-blown
dust and sand.

 Dry crunch of skull and skeleton
crushed underfoot by sea boots
ascending, descending
the beach’s gentle slope.

Unknown,
these lands around me:
emitte lucem tuam /
send forth Thy light!

 Unexplored,
these mountains that surround me:
ipsa me deduxerunt /
such things have led me on.

 Unsolved,
these mysteries that confound me:
in montem sanctum tuum /
unto Thy holy hill …
… in nomine Patris /
… in the name of the Father.

 I wander from grave to grave,
reading the headstones:
quare me repulisti? /
why hast Thou cast me off?

Coarse grass weaves bindweed
with columbines combining.

Incessant mourning of glove grey
morning doves,
drawing tears from dawn’s face:
quare tristis incedo? /
why do I go sorrowful?

 Verdant stems,
unsophisticated flowers,
weeds dark between stark
granite stones.

 Names!
Whose names?
My long lost brothers’ names,
Eric, Phillip, Peter,
not yet carved in stone:

 non in tabernacula tua /
not yet in Thy tabernacle.

 This churchyard,
will it always be
as steady as a headland
even in a storm?

 Here, the terrestrial
centre is stable:
quare tristis es, anima mea? /
why art thou sad, oh my soul?

 The ark on the waters
moves from side to side,
lulled by the sea waves,
up and down.

 On the altar,
a gilded chalice,far from the far flung
malice of the sea:
quare conturbas me? /
why dost thou disquiet me?

Empress: Graveyard on the Point

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Graveyard on the Point:
A Survivor Remembers his Catechism
Ste. Luce-sur-mer

The survivor at the cross roads,
wreathed in his personal storm:

… et discerne causam meam /
… and distinguish my cause

de gente non sancta… /
from the unholy nation.

Rising waves:
bells on buoys
peal out sea warnings.

Tonight there is a grief across the grève.

Sa griffe / his claw,
ma griffe / my claw
homophonic puns

scratching at reality’s surface,
hiding inner meanings,
leaving the depths unplumbed.

Did he really paint
the reality of the shipwreck,
this Magritte?

 Cette pipe, qui n’est pas une pipe! /
This pipe which isn’t a pipe!

Mi grito que no es un grito! /
My cry which isn’t a cry!

Cette vie qui n’est plus une vie!
This life which is no longer a life!

This littoral bay
no longer a literal bay.

ab homine iniquo et doloso erue me /
from the unjust and deceitful man deliver me.

Over bird frosted rocks,
a ring billed gull cries out whose name
on its early journey to greet pale stars?

 On the beach at the cross’s foot,
a grey robed pilgrim

stands in dusk’s failing light.

et introibo ad altare Dei:
ad Deum, qui laetificat juventutem meam
/

and I will go unto the altar of God:
to God, who giveth joy to my youth.

Mouettes, göelands muets:
sea gulls, silent sea gulls:
white arrows shot over sea wet sand.

He stands solemn before this graven stone
waiting to be blessed:

 sicut erat in principio, et nunc, et semper /
as it was in the beginning, is now, and ever shall be …

The eider duck sigh for their siblings,
tossed from the crèche and lost
in the long low swirl of the sea.

Empress: A Survivor Lights a Candle

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A Survivor Lights a Candle
During the Latin Mass for the Dead
Before the Main Altar
at the Sanctuaire Sainte-Anne
Pointe-au-Père

I am afraid of fire:

 in principio erat verbum /
in the beginning was the word.

 I am afraid of the loud voice of the match
scratching its sudden flare,

narrowing my pupils,
enlarging the whites of my eyes:

 et lux in tenebris lucet /
and light shines in darkness.

Booming and blooming,
igniting the soul’s dark night.

Voice of fire:

et Deus erat verbum /
and the Word was God.

 Flourishing to nourishment,
flames whispering on the flood:

omnia per ipsum facta sunt /
all things were made by Him.

Wool and water,
this sodden safety blanket;
and what of the cold plush

of the pliant teddy bear,
the staring eyes of the doll:

et tenebrae eam non comprehenderunt /
and the darkness comprehended it not.

The lashes of their eyes
bound together with salt water,

they were doused in a silken mist:

hic venit in testimonium /
this served as a witness.

 Still the patterns pierce my sleep,
hauling me from my opaque dreams,

holding my wrists in this sailor’s double clasp:

 non erat ille lux /
he was not the light.

Oh! Curse these dumb waters rising!

“Not a hair on your head
shall be harmed!” he said,
hauling my sister up by her hair

only to find her staring eyes
belonging to the already dead:

et mundus eam non cognovit /
and the world knew her not.

Night waters rising.

The moon raising
its pale thin lantern glow:

et vidimus gloriam ejus /
and we saw His glory

 shining forth
upon the waters’
mirrored face.

Dark Night of the Empress

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Dark Night of the Empress

 Her cooled lights drowning now,
fires subsiding, dying under rising waters.

Grit and river-bottom clog the dream:
eyes and mouths wide open, faces blurred.

 Seaweed: mermaid’s hair
drifting slowly before the eyes;

the cold tide sucking in at ankle and heel,
pulling them down.

 Celluloid fictions,
black and white films,
their mouths stretched in a silent scream.

What became of the photographers,
of the men and women who stood their ground
clicking their cameras in unison
as the ship went down?

News!
The air breaks apart:
delirious with dots and devious dashes.

 The lighthouse light goes round and round.

It points a finger of silence at the collier
looming silent through the mist.

What price the black pearl in the oyster?

 What price the nightmare,
cleanly wrapped in transparent plastic,
desperate fingers tearing the see-through
fabric from the face?

 Salt water dashed on mouth and lips,
this dream:
sharp bows, wet rocks, and a tugging tide.

Toys and boys and dolls and girls
and men and women,
their bodies disgorged untidily,
their useless limbs
flopping at the sea’s foamed edge.

 Last night,
mist shredded itself on the sea-cradled headland.

This morning, the spring tide is a gentle hand
erasing life’s autographs from the witnessing sand.

Silence after the storm:

a pocket full of posies
gathered into a dreamless sleep

they have all fallen down ….