Tag Archives: heritage

The Grandmothers

Around the bed
where I lie
and try to sleep

stand generations
of grandmothers,
soft gray owls speaking to me
in all my native tongues at once,
and I understand none of it.  

My shame at being unable
to take what they offer
grows a snow storm,
a white-out inside me.

How dangerous my dreams are —
so dangerous I strive to convince myself
that they are nothing, that the fantastic
does not exist,

that the grandmother owls
crowding close,
hooting softly,
calling out to me,

are wind in the trees
and no more.


How I Fight

If I am,
then I am.  

You say, that’s ridiculous,
it need not be said,
is obvious.  

You say it makes no sense but
except to say it
is to force the issue:
when you say
I am not
in all the ways you say it,
I must say
I am.  Must present evidence, 
offer proof. No matter how tired I am,
no matter how weary I am
of having to say it.

So —
because I am, I am;
because negation
of such a thing
is 
evil, 

in spite of how unfashionable
that word is now, in spite of 
how hard we try
to find other ways to say it —
I say it.  I say it because

my insistence upon saying 
I am

is how I fight
evil.

Is how I fight Evil. 

Is how
I fight, how
we all fight.


Political Art

Old poem.  Reposted tonight just because it felt right, in this moment, to think again about the limits of political art — dates back at least to 1999, 2000?  Appears here in the “Poems From The Slam Years” page. Has also appeared in various anthologies over the years, and various journals as well.

 

a print of “Guernica” hangs on the foyer wall
above the drink table
here are the famous horse and the upraised human face
they’re screaming as the hors d’oeuvres are passed

and on the facing wall
behind the buffet
hang two photographs
carefully chosen for tonight

in this one is a girl we have seen before
running and burning on a road in Vietnam years and years ago
back then she was trying to fly to safety
on the innocent strength rising along her fiery arms

in this one is a man we’ve also seen before
and despite his death in 1890 he also keeps trying
but he’s frozen awkward and insolent in his attempt
to rise from the snow at Wounded Knee

we are making small talk tonight
clicking our tongues at all these pictures
making crestfallen small talk
because we know we should

handing over money
to save Afghani statues from the guns of rapists
handing over fistfuls of green guilt
for the anesthetic of aesthetics

buying permission to posture unflinching
before those who have fallen
permission to shelter in these picturesque memorials
in the hope of receiving from them some kind of prophylactic grace

as we stare at the burning girl
as we sadly regret Wounded Knee and genocide
as we admire the abstraction of that burning Spanish town
we will click our tongues

while marking the skill of the artist at having those faces
seem so stark in their angled black and white
seem so shot through and through
with an undertone of subconscious red

it’s from this we’ve learned how to watch the news
the news that gives us each day our daily dread
a new crop of victims to be cropped and photoshopped
and we know just what to do when we see the faces

we observe
we regret
we remark
we move on

tonight there’s a gallery fundraiser
tomorrow there will be another
we’ll see the burning girl and the rising corpse again
and we’ll make another print of “Guernica”

why
do we need to keep making
all these prints
of “Guernica”?

someday we’ll see
that if we had been changed by all this art
at the first hint of genocide we would smash our cameras
hang our paintbrushes back on the wall

stick our checkbooks back in our pockets
lift the paintings from their frames
and carry them through the streets
to the places of power calling why

why

if the people inside our work could speak
they would tell us that if witness alone could change the world
the world would be changed by now
and we would have no need to keep learning

that this picture
of that girl
is not
beautiful


Pursuit Of

The sun’s hot.  Too hot.
The water’s wet but it’s getting scarce
and the dirt’s becoming precious around our feet.
We look at our kids and say,
don’t get cocky about the pursuit of happiness
being easy.  Get a job and keep looking.
Pass a test and get a job and keep looking.  Kick a ball
and pass a test and keep looking.  Do it all —
go to school kick a ball pass a test get a job
kick a tire
and a man

and a woman
and a queer hide

and a brown hide
and don’t forget that Jesus, he kicked a lot of ass,
so I’ve heard, so we’ve all been told.
Keep looking, kick something that’s already down
and it’ll almost feel 
like you stumbled over happiness
in the dry weeds 
that are taking back our lawns.
Keep at it. 
It has to be here. Someone must have it and
it’s ours, damn it. We’ve got the paper
that says so. We’ve got the muscle. Dislocated
as the bones may be under our good skin,
we’ve still got the muscle and the guns. Rubble
piling up? That’s just good cover
for a sniper. Don’t get comfortable, kid.
You want it 
you have to hunt it.
You’re going to have to take aim

at the fucks who stole it.
Go get ’em, kid.
Go get ’em.


Mixed

Sometimes, 
I am ashamed
of my face,
of what it does not look like.

I am ashamed of the way
light 
bends across it
and of how 
it glows less bronze
than it might have
if certain twists of gene and fate
had gone another way.

I had former family and former friends
who often said, “you’re lucky
you’re like this, like this, how
can you not like this?”  They speak

of privileges and passing and 
presentation — how easy, they say,
how much easier;
some say the presentation
is all that counts.

All the while I am beyond mere
sadness, beyond shame.
It’s not those things
I’m feeling.

I can’t tell you
what I’m feeling.  
I can’t say 
the words
because this nation
and this era 
disallow those words.  

I can’t say I am different
and feel different and 
am not allowed to say
how this is different;

instead I am said to be
and told to feel
lucky or false
or lucky and false.

What I truly want
is a face with which
to face the issues. To face
my issues. A face to match the face 
I daily face inside,
a face I can turn to
and ask about

why I feel so ashamed, and then
to ask directions toward
the country where I
can feel good.


Shadow

Beneath

this longing
for good old
familiar
Order

runs an ancient spring of

Shadow

that is now
seeping up
into our homes and
streets

Is becoming Flood
Is drowning Order

Someday it will become
sweet water again
in full sunlight
Will drench and nourish
something New

but only after this 
when it sinks back into 
its own heart-bed

Till then
expect this match of

Order against Shadow

to pull some down
wash much away
kill and kill and kill

as Order struggles
to hold
its crumbling ground
before it 
flails and falls away

at last


When They Did Not Break Us

Originally posted 7/29/2013; originally titled “When He Broke Us.”

when they first came 
they called us
both resource and nuisance
land and labor bank
in the way
ultimately good for nothing

said it was high time to break us

they set to it
our mystery belonging broke
our fluency in stone’s tongue broke
our river dreaming broke
our river beds opened
and drained themselves down
to now mute bones

we ended almost
when we couldn’t speak to each other

our children were taken from us
they returned much later looking more like Him
and had no tongue to use with us

who were we then without them?

we searched
scrapped and fought
found our old words
or made new ones
mined old life from new seams

now they’ve begun to crack
shame lines crazing faces

tried to wear our clothes
they fell off
tried to steal our names
we called them back to us

we put them back on
somewhat the worse for wear
but unbroken

when we spoke those names out loud
for the first time in a long time
in long songs full of drum and tears
the stones cried welcome back
and welcome home
and welcome once again


Questioning Oz

We focus on the Man behind the Curtain 
no matter how often we say 
we should not pay attention to him.  

 

Let’s talk instead 
about the Machine he’s running
when the curtain is pulled back.

 

That’s a hell of a piece of technology back there.
Smoke and projection. End result, a terrifying Head
offering favor and demanding sacrifice.

 

Let’s talk about that Curtain too —
the most important piece of fabric
in all of Oz. It looks pretty plain —

 

the same color as almost everything else
in that city.  Made to be
nondescript.  To blend in.

 

Can you recall anything about it 
other than the request
to ignore it? 

 

Who’s the real wizard here — 
the bumbling Man
or the Head howling imperiously? Or

 

are the people
who hung the Curtain
more powerful than either of them?

 

If you buy the Man’s story
all of Emerald City knew he was behind it
all along. Do you buy

 

the Man’s story?  Did he build
or inherit or improve upon
the Machine? Who’s in charge here?

 

What do you think we should call the Machine?

Should we call it magic, or Magick?
Should we call it “green supremacy?”

 

What do we call the Curtain? Should we call it
“greenness?” Should we note that it is the color

of the default setting? What does it say

 

that the people of Emerald City
did not seem sad to see the Wizard go
as long as someone, anyone, 

 

was left in charge to maintain the status quo?

It likely took those three less than a week 

after Dorothy left

 

to step behind the Curtain
and fire the Machine up again — and this time,
no black dog appeared to pull back that veil.


Talking To My Children About The Night

Originally published in 2002 in my chapbook, “In Here Is Out There.”
Original title, “Talking To My Son About The Night.”

I have been thinking:
what do I tell my children
about the night?

Something wicked these days
stirs in the night,
and I cannot lie to them
and say shh, be still,
all is well and safe.

I will tell them the night
contains both darkness
and light.

What shall I say to them
of darkness?

Darkness is a young man
holding a knife to a lamp.
He adores how it separates 
skin from flesh,
sinew from bone.
He knows that when it is sharp enough
he can see the body’s coherence
fleeing before its edge.

Darkness is a woman
leaning out of her window on her elbows.
She sees something she does not favor.
She slips out the back door
to carry her gossip to the slaughterhouse.
Someone there will take the news
to the mechanics who will adjust the wheels
of the juggernaut for maximum kill.
On her way home
she will wipe her face with a stolen liver.
Behind her
she will leave a trail
of rumors and cartilage.

Darkness is a gaggle of children
trapped in a dream
where they are made to suckle straws
filled with their own blood.
They purse their pale lips,
draw the red up, columns red rising,
red cresting in their mouths,
falling red into their stomachs,
such sharp nourishment,
such a simple lesson:
living through the night
requires such a meal, 
a simple meal for a simple terror.
They have learned
to devour themselves.

We stink of rich meats, phobias, fires,
restless pride, secrecy. 
We inhabit our stereotypes,
slowed to the speed of custom,
houses crawling with indignation,
ferocity unbridled by logic,
atomic proverbs to live by —
a man decides to force himself
on the next random passer-by,
a boy slits an ancestor’s throat;
we shake our heads, we cry out
for the light, we get the darkness,
violent, clean cut, simple, fast:

darkness is thinking
that we can live forever
by living this way.

And after that?
After that, what can I possibly say

of the light?

I will say to them:
children, it is slander
to speak of the night
and only note the darkness.

I will say to them:
children, my children,
look at the stars.

I will say to them:
children, my children,
whenever you despair
of this world,
lie back 
and look at the stars.

I will say yes,
there is horror afoot in the night,
but always, always,
we have the stars.
I will say that one star
may singly pierce the darkness
but that one star
cannot cut through
the darkness alone.

I will say that there is
a forever beyond the darkness.

Then I will say,

children, my children,
if ever you despair,
look up at those hints

of the hoped-for forever
behind the darkness
waiting to be torn,

and tell yourself:

I am a star, 
and I do not
shine alone.


The Garden

They came to me where I lay
in the poisonous bed,
center square of the rejection garden.

They came to me and said
if there were any real danger
we wouldn’t be here.

They came to me and said,
you can take it, friend.  Said,
you were born for this.

All I wanted was to suddenly find myself
somewhere else, in another time,
perhaps in another world, 

and they came and stood over me
and told me to endure and to wait
and to see the blooms above me

as some show of hope for the future.
They said a lot of things.  I tried to explain
that the flowers they asked me to love

were killing me, that they themselves
had planted them in my flesh,
that they fed upon me,

that they were rooted in me
and tore me, that I lay and thrashed
and screamed, that I did not see

how they could be blind to this,
how they could be deaf to this,
how they could not see me dying

in the poisonous bed,
the center square
of the rejection garden.

They walked away saying,
see how lovely the world is? See how 
the wind bends the garden to and fro?


Half, Awake

Originally posted on 7/19/2009.

A man with long hair and memory
is trying to break into my house
to rob or smudge me
while I am sleeping.

I hear him trying the locks and murmuring to himself.
It’s not a language I understand but I recognize it
as what I hear whenever I contemplate
nature versus nurture.

Louisville Slugger behind the door,
Bowie knife in the nightstand drawer.
One move, and I can pull that knife.

Two steps, and I can have that bat in my hand.

Two more and I can be
waiting behind the cabinet
where he won’t see me
as he enters,

but I’m still lying here
with choices hovering above me.
I can easily snatch the right one
out of the dawn at any time…

Grandfather, Stranger, whichever you are —
please come in. I’ve got coffee and tobacco
to scent the morning. For today, anyway,
we don’t need to bring the war into this.


Microaggressions

Street scene:

my eyes unmet,
their hands drifting

onto wallets, their bags 
pulled in tight to
their guarded bodies.

Office observed:

stumble, whisper,
awkward pause,
sudden stop,
change in subject,
question without thought,
thought without question.

Media, in media res:

what does a story say
about what a blog says
about what a blog says
about what was said
about what was said
about what was said
about how they died?

Surrounded,
sundered,
smothered, 
simmering, 
smoldering — 

Now this? No.
Not here, I beg,
not with you too —
not you too;
do you understand

that I am far beyond ready
to burn my home? That
if I have to ignite
the here and now
to reach the future,

I will?


My Favorite American Indian Stories

Originally posted 7/24/2007.

There’s the one
about how 
once upon a time 

I saw a man at Acoma
replacing a pine post
and doing note-perfect
Monty Python routines
with a couple of his friends.

There’s the one that begins at a party 
where a friend of mine insisted
that once upon a time

Tonto
was in love with the Lone Ranger,
but every time he tried
to make a move
the big guy said something like
“hiyo, Silver,”
and eventually Tonto realized
he could do so much better
than a goody two shoes
into cosplay.

There’s the one about
a man who walks the high steel
for a paycheck
and doesn’t drink it away.

Did you hear the one about
the old guy who scared me
by looking like my father,
who tried to pay me four bucks
to drive him from Alamogordo 
to Mescalero
and who smiled and shook my hand
when I said I could not take
his money?

Let’s hear the one
about Robin Chatterbox
and how she became a doctor.
The one about the casino
that paid for a new school.
The one about how the TV show
pulled a shameful episode.
The one about the meth lab
prayed (and then chased) off the rez
by the old folks.

Note the overt absence of 
Coyote, Crow, and the Great Spirit.
Note that nowhere here does the moon
speak to the hunter

and that no one’s bones 
call out to the beloved 
left behind.

Some things are best kept 
in the family

but, for you,
in the spirit of
“multiculturalism,”
here’s one more:
once upon a time

someone left this fire for dead.

See the ashes starting to stir? 
Goddamn —

is that
some kind of bird?


Ghost Dance

Originally posted 7/19/2012.

Urged by some
to believe that history
is not destiny so 
we should just forget it —

never believe what those liars say;
millions of ghosts
inside us
beg to differ.

There’s a dance, an old dance
I’m willing to try,
something to turn the world
upside down;

I’ve got a shirt, an old shirt
I’m willing to wear —
something designed for the big dance
and the afterparty.

There’s a song, an old song
I’m ready to sing —
something written just for the occasion,
a keening joyful sound;

it has a chorus, a swelled chorus
millions and millions strong,
singing of history
as prelude to destiny.

Stop believing what those liars say.
It’s time. Join the singing
and the circle
and the dance —

history’s proven
our ghosts
are more honest
than theirs.


“My Spirit Animal”

Originally posted 10/5/2009.

It’s one of those stolen concepts
that makes for easy internet memes
and casual adoption by everyone
from hipster ironists to hippie holdouts.

They choose the glamour critters
for their comfort and aggrandizement.
It’s all Hawk and Eagle, Crow and Bison;
none of it fits, all of it feels good.  If I were to play along

I’d admit there’s not nearly enough Wolf in me. 
Not enough ferocity, not enough
pack loyalty, not enough startle response and care
in the face of the world’s savagery and bounty.

As for Coyote, the smaller cousin,
the Trickster dog of dream and myth —
no, I’ve searched, and no bone of mine
holds a scrap of that holy canine.

No, I know my “spirit animal”
(if indeed I have such a thing)
is a snail or slug, unsure of which. 
Cold slimer, afterthought drip from a Creator

who gave up
on pinning me
to mammal ways
and instead said:

This one will understand
how progress is inexorable but excruciating.
His trail will always be traceable
to its source.  

He will understand
the nature of small and unnoticed lives
and the damage that can be done in the dark,
as ravaging as any drama and howling attack.

There are thanks to be offered
for such knowledge
but tonight,
it overwhelms me.

I have
no mouth or throat
to scream
for change.

All I can do is crawl
and hope no weight from above
falls onto me before
I get to where I belong.