The Professor and Ginger are standing in the space in front
of the Skipper’ s cabin. The Professor is wearing deck shoes,
brushed denim jeans, and a white shirt open at the throat.
Ginger is wearing spike heels, false eyelashes, and a white
satin kimono. The Professor looks at her with veiled lust
in his eyes. He raises an articulate eyebrow and addresses
her as Cio-Cio-San. Ginger blanches and falls on her knife.
There’ s a mystery
By the river, in one of the cabins
Shuttered with planks, its lock
Twisted; a bunch of magazines flipped open,
A body. A blanket stuffed with leaves
Or lengths of rope, an empty gin bottle.
Put down your newspaper. Look out
Beyond the bluffs, a coal barge is passing,
Its deck nearly
Level with the water, where it comes back riding
~
[our] nightmare : no
birdsong —
the jungle was riven emptied
of [i sihek] bright blue green turquoise red gold
feathers — everywhere : brown
tree snakes avian
silence —
the snakes entered
without words when [we] saw them it was too late —
they were at [our] doors sliding along
the passages of [i sihek]
empire — then
The fallen Latte is the sign. It is from within the row of Latte that
we feel our strength. It is the severed capstone that gives us Their
message, "Ti monhayon I che'cho." We will not rest until the
Latte is whole.
— Cecilia C. T. Perez from "Signs of Being: A Chamoru
Spiritual Journey" (1997)
~
i haligi
a pillar
i tasa
a capstone
i tataotao
a body
~
his hands —
husk coconut —
cooks and
feeds [us] —
stories — this
raised house —
at quarry
outline forms
Filled with old lovers, in the clutch of the chair,
you are a bloom of uncombed hair.
With a collection of roses, bowls of mashed petals,
I make a clear cup of sky.
Fold away clouds. Roll up blankets of blue.
I am a body of empty husks.
Indian corn is in your hair, the tassels,
the pollen, fertility.
Indelible ink is tattooing our lungs.
We speak smoke.
We exchange our lunacy for reverence.
Respect tornados.
Windy Woman. Four Winds.
We have extended the edge of expectation
by merely living.
Girls and boys, come out to play,
The moon doth shine as bright as day;
Leave your supper, and leave your sleep,
And come with your playfellows into the street.
Come with a whoop, come with a call,
Come with a good will or not at all.
Up the ladder and down the wall,
A halfpenny roll will serve us all.
You find milk, and I'll find flour,
And we'll have a pudding in half an hour.
They’ re all dressed up in carmine
floor-length velvet gowns, their upswirled hair
festooned with matching ribbons:
their fresh hopes and our fond hopes for them
infuse this sort-of-music as if happiness could actually be
each-plays-her-part-and-all-will-take-care-of-itself.
Their hearts unscarred under quartz lights
beam through the darkness in which we sit
to show us why we endured at home
the squeaking and squawking and botched notes
that now in concert are almost beautiful,
almost rendering this heartrending music
I
Vowels ploughed into other: opened ground.
The mildest February for twenty years
Is mist bands over furrows, a deep no sound
Vulnerable to distant gargling tractors.
Our road is steaming, the turned-up acres breathe.
Now the good life could be to cross a field
And art a paradigm of earth new from the lathe
Of ploughs. My lea is deeply tilled.
The song
sparrow puts all his
saying
into one
repeated song:
what
variations, subtleties
he manages,
to encompass denser
meanings, I’ m
too coarse
to catch: it’ s
one song, an over-reach
from which
all possibilities,
like filaments,
depend:
killing,
nesting, dying,
sun or cloud,
figure up
and become
song — simple, hard:
removed.
She dances only in her necklace,
scotch-lit surely. He touches his glasses.
Nightie-less, dugs whipping, hair sprung,
some music inside, out, wet tongue
tip at her lip, no mere palsied shuffle,
both bony feet lifted, elbows awful.
Shakespeare’ s banshee of wailing parts,
a woman with hair, a woman with warts.
He’ s fixed to the floor. Dear Heloise:
do other presumed-sane mothers do this —
wait in the dark after the ball
to strip for their sons at the end of the hall?
