Valerie Martínez |
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from And They Called It Horizon, Sunstone Press, 2010 from Absence, Luminescent, Four Way Books 1999 "The Little Number," "And Seeing It," "Tesoro" from World to World, University of Arizona Press 2004 "Invocation," "Nude," "Matter, Hunger, Storm" from A Flock of Scarlet Doves: Selected Poems of Delmira Agustini (Sutton Hoo Press, 2005) "Ofredando del libro/Dedication," from "Visión/Vision"
Late autumn blows leaves into women’s hair. On the plaza, Lydia feeds the pigeons—iridescent feathers gone blue in the tangerine sun. It is afternoon and adobe, crush of pueblo-style hotel rooms against a sky that holds them steady. Her skirt is wound in ribbons, gathered in ruffles, wind-flipped velvet, black and silver.
Merrymakers tumble from the doors of La Fonda, blue windbreakers and cowboy hats. Spun from adobe, they rush by Lydia like a tornado. A glance at the sky stuns them, for a moment, then they’re a ribbon of raucous laughter. Sunlight descends in silver, travels the metal rain gutters, trimming the plaza
in a membrane of liquid light. Like the gold (not adobe) the Spaniards thought they saw, coffers as wide as sky over Seven Cities. Lydia pulls on her coat, pushes on ribbon, remembers there’s jewelry to be sold, turquoise and silver flashing like eye-lets along the streets of the plaza. These days, under the shade of the portal, there’s the blue
of lapis and sapphire, too. All the colors of sky remind Lydia of dawn, on the mesa, digging. Ribbons of pale blue embedded in rock, aching for silver. Now the stone-cold cuff on her wrist jolts her back to the plaza, the bracelets for show and sell, cupped in the pale blue of a tourist’s cashmere gloves. Not unlike adobe
cast into bricks and walls, hugging windows ribboned in Virgin Mary ultramarine. Bells swing and ring the silver- toned song of the cathedral. It’s a late Mass, the nave a plaza of bowed heads. Where Lydia prays, the vault is a blue arc from mountain to mesa, over the endless adobean earth. Lydia knows it as the one, limitless sky
that cradles everyone from above--the caricaturist, silver- haired, at his booth, the Mexican girls skipping in the plaza, the santero wrapping up Saint Agnes in crisp blue tissue paper. It’s October. The day feels old as adobe, new as the drugstore’s loopy neon sign (sky- high and glowing), fluid as the clouds’ unruly ribbons.
My hair is silver, thinks Lydia, the veins in my hands are large and blue; my legs are earth-bound adobe. This plaza floats on time’s swirling ribbons. I’m swaddled; I’m half-swallowed in sky. "The Little Number" ©1999 A cell, in Beijing Prison #1, reserved for political prisoners. Only as large as a cardboard box, its light is never turned off.
How I dream, it opens: I have the bruised legs of that girl with baskets, soft peaches for my mouth. She never sits, Her hair keeps falling, sticking to her white teeth.
Awake, with the bulb one and one. Get one breath out, one in, before the room closes. View of my limbs over and over. No thing comes back, no remember inside the little number. It's my own voice, closes, with the light on and on. I haven't spoken. Write the walls with my eyes. Press the walls out. Logic of wall with their numerics, angles, borders--
Forest: it's the soul of the girl feeding me. It's the soul of the girl in my mouth. I'm not myself, too close. It's another man's knees pulled up, sores on the bones, sitting. His spine with its islands of dark bruises. I swallow it. He confesses anything.
"And Seeing It" ©1999
Orange, orange. And the hand arching up to hold it. The women's hand. The arching. Up. And the star exploding, seeing it where it wasn't, a telescope on the night sky. The thermonuclear flash. The explosion.
She had her hand out; it fell like an explosion into her fingers. It wasn't the cope and the eye, was hand, fruit. It was what I saw. It was what I imagine I somehow saw.
Out on the horizon of stars beyond the gigantic sun. Beyond the measure of the sun the star bursting.
And it was autumn. The shadows of oleanders made colors of bodies on the lawn. The girls dresses were red on the green lawn. Smelling of fruit. Making shapes of fruit in their hands.
With the sky all opaque, and the one star.
There, at the top of the fingers, the orange. At the tip like God and Adam touching. Like the ceiling of the Sistine where the stars might be.
And knowing about hydrogen, carbon. A collapsing in. The water drunk by girls, the breath given out. Breath, out.
The table of elements served up. Iron in spinach in the aqua bowl. Green explosion in the aqua bowl.
Clusters of grape stems without grapes. Molecular models like grape stems. To what we address, link. To what we speak.
Not in our lifetime will we see it. Not in the sky like this: supernova. Not ever again, they say. Drops. The orange.
Tesoro ©1999
for Timothy Trujillo, 1951-1991
Just a few years ago, when everything was permanent. Or on the edge of. Or, yes,perhaps over the edge, or falling away from--
Was like the façades of the Sagrada Familia with their delicate foliage, swans and turtles bearing the weight of. Everything alive & carved out of stone.
It was my treasure, this permanence, the architecture of living. Everything stone-true & buttressed: arc & arc & arc of an ancient city.
Can you guess what will come next? Can you? Touching you like the sheerest handkerchief of silk? When the beloveds fell from the sky & disappeared? From stone to diaphanous silk. On the wind. Sudden.
It was a mistake, amiss. It was perception of what is light as what is heavy & permanent. Sometimes, one's hand can pass through stone, & it is not a dream.
One got sick & another, another. Someone I loved, who loved me, disappeared. Two, or is it three, who died. This is honest enough, enough to say bluntly. This is for Tim.
In The Visitation it is beautiful: the handmaid's arms are barely covered, tender skin beneath transparent silk. The painter made no mistake, the maiden is the most present of all. She could be taken on the wind with those invisible wings & she is real, impermanent. Her weight compares to no universe.
To hear it in my sleep--tesoro-- the hardest gift I'll come to accept. In the cities of dreams my delicate arms reach out toward the substantial, to the place where they've all gone. Goodbye. Everything is like thin paper here. Sometime, I'll see you all there.
Invocation ©2004Out of stoneOut of salt-smell Out of silence and sepulcher Out of moon-chasing night Out of dead-of-the-night Night buoying them up They come
Out of the mind Out of dream Out of reminiscence Out of figments Out of gladness Out of grief They come
Girls with their earlobes Boys with their lower lips Men ravenous Women of parched thirst They come
Mothers and eyelashes Grandfathers and teeth Fathers with the backs of the neck Come
Grandmothers and underarms Daughters and sons aflame Infants and tongues They come
O Memory How you want to cradle them Drink under the syllables of their lips How you want to offer them Your regrets Tender as fingertips How you want to punish them To save them from the deep O Memory
O Second Sight They are issuing from corner turns They are disappearing They are half-sight And near-sight Are out of touch And into touch
The dead are watching (See their pupils growing large) The dead are sleeping (How they turn their eyes inside) The dead are swimming (For the suns are full of distance) The dead are humming (Now they wander in new sounds)
Pull them into you Tether your sighs to their hair Float among them tonight O Weary Travelers So they come
Ask them to speak in tongues you cannot know Listen as if the sounds Are the bones of prophecy O Dumbfounded Ones
Show them your birthmarks Your thin lines Your braille veins And numb scars For they have none to trace and lament Show them
They come in ribboned skirts They come in linen and earth They come with nothing to see They come with everything under the skin
In nakedness In cloth unwinding In absence So they are lovely So they come
O CemeteryO Honorary O Funerary Night of the Dead Help them come
The dead are moonstone The dead are hollow stone The dead are mist on the bones in mother-of-pearl
So fear them And hold them In the shadow of your ribs With open palms
Evening of the crossing Stars of the passing through Moon-hole beckoning
O Mouth Curve O Bodies Double Evening O Evening
Till the worlds converge On incantation O Double Life And Triple Life
The Sumptuous Hunger Reunion Hands upon hair upon Blue limbs incarnate
O Communion O Tears upon Sweet Tears Numenate.
Day of the Dead, 2000
Nude ©2004
Is she lying there where light faltersin rectangles of brown and bone as maiden? Is she courtesan, sister, slave, wife, student? Has she been paid to recline so, falling asleep like a creature in the afternoon sun, ankle a point of light piercing? Is she somehow nothing of these— new and capacious in sleepy defiance? Against history, then, so the eye for once suffers amnesia. She is not desire, not mother, not even bits of negative and positive space, color and shadow. No, not animal. Is she meek? Is she fearsome then? Where does the mind’s eye wander in this numb space? Is this her new redolence? She does not exist on the side of any boundary, nor in the definitive, nor for the man’s eye upon her nor the woman’s field of esteem. And while there is all this limiting, all this blinking out and blanking, something enormous fills the landscape, pure abundance. So it is with all we give away at great cost: paradise rushes toward emptiness. MATTER, HUNGER, STORM ©2004
As if this pale delicacy: petal, and the fire around it, and some hint of ash, and a time lapse, the brown eye that sees.
As if the gesture: desert, and the dark skin, women’s hands, and the silk not theirs, vanishing years, the clouds’ gradual descending.
As if the poor: bending, and the knees on fire, and some dull shimmer, the flash forward to aching, blue thunder.
As the dust lifts, as the tender, underneath. As the ankles. As the. As.
A wicked lightning. OFREDANDO AL LIBRO
a Eros
Porque hace tu can de la leona Más fuerte de la Vida, y la aprisiona La cadena de rosas de tu brazo.
Porque tu cuerpo es la raíz, el lazo Esencial de los troncos discordantes Del placer y el dolor, plantas gigantes.
Porque emerge en tu mano bella y fuerte, Como en broche de místicos diamantes El más embriagador lis de la Muerte.
Porque sobre el Espacio te diviso, Puente de luz, perfume y melodía, Comunicando infierno y paraíso.
--Con alma fúlgida y carne sombría... Delmira Agustini DEDICATION ©2005
to Eros
Because you turn Life's mightiest lioness Into a lap dog, and imprison it In the chain of roses of your arms.
Because your body is the root, the essential Knot between the discordant trunks Of pleasure and pain, gigantic plants.
Because it emerges in your hand, beautiful and strong, Like a brooch of mystical diamonds, The most intoxicating iris of Death.
Because beyond Space it is you I glimpse, Bridge of light, perfume and melody, Joining hell and paradise.
--With a shimmering soul and flesh that shadows us... trans. Valerie Martínez from VISIÓN
Acaso fue en un marco de ilusión, En el profundo espejo del deseo, O fue divina y simplemente en vida Que yo te vi velar mi sueño la otra noche?
En mi alcoba agrandada de soledad y miedo, Taciturno a mi lado apareciste Como un hongo gigante, muerto y vivo, Brotado en los rincones de la noche Humedos de silencio, Y engrasados de sombra y soledad.
Te inclinabas a mí supremamente, Como a la copa de cristal de un lago Sobre el mantel de fuego del desierto; Te inclinabas a mí, como un enfermo De la vida a los opios infalibles Y a las vendas de piedra de la Muerte; Te inclinabas a mí como el creyente A la oblea de cielo de la hostia... --Gota de nieve con sabor de estrellas Que alimenta los lirios de la Carne, Chispa de Dios que estrella los espíritus.-- Te inclinabas a mí como el gran sauce De la Melancolía A las hondas lagunas del silencio; Te inclinabas a mi como la torre De mármol del Orgullo, Minada por un monstruo de tristeza, A la hermana solemne de su sombra... Te inclinabas a mí como si fuera Mi cuerpo la inicial de tu destino En la página oscura de mi lecho; Te inclinabas a mí como al milagro De una ventana abierta al más allá.
Y te inclinabas más que todo eso!
Delmira Agustini
from VISION ©2005
Perhaps it was a moment of illusion, The deepened mirror of desire, Or I was simply alive and divine When I saw you tend my dream the other night?
In my room magnified by solitude and fear, Taciturn, at my side, you appeared Like a gigantic mushroom, dead and alive, Blossoming in the corners of the dark Damp with silence, and oiled With shadow and solitude.
You were leaning to me supremely, Like the goblet of a crystal lake Over the fiery tablecloth of the desert; You were leaning to me as to a patient Revived to infallible opiums, The stone bandages of the Dead; You were leaning to me like the believer Leaning toward the Host, the sky's holy wafer... --Drop of snow with your taste of stars Nourishing the lilies of the Flesh, Spark of God touching the spirits.-- You were leaning to me like the great willow of Melancholy Toward the deep lakes of silence; You were leaning like the ivory tower of Pride, Mined by a monster of sadness, Toward the solemn sister of its shadow... You were leaning toward me As if on my body the imprint of your destiny Was on the dark page of my bed; You were leaning as if to the miracle Of an open window to the beyond.
And you were leaning further than this! (continued) trans. Valerie Martínez
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