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from And They Called It Horizon, Sunstone Press, 2010

"Santa Fe Sestina"

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"


                   "Santa Fe Sestina"  ©2009

 

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 ©2004
 
 
Out of stone

Out 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 Cemetery

O 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 falters

   in 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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