I’m in my room writing

speaking in myself

& I hear you

move down the hallway

to water your plants

I write truth on the page

I strike the word over & over

yet I worry you’ll pour too much water on the plants

& the water will overflow onto the books

ruining them

If I can’t speak out of myself

how can I tell you I don’t care about the plants?

how can I tell you I don’t care if the books get wet?

We’ve been together seven years

& only now do I begin

clearing my throat to speak to you.

Masons, when they start upon a building,
Are careful to test out the scaffolding;

Make sure that planks won’t slip at busy points,
Secure all ladders, tighten bolted joints.

And yet all this comes down when the job’s done
Showing off walls of sure and solid stone.

So if, my dear, there sometimes seem to be
Old bridges breaking between you and me

Never fear. We may let the scaffolds fall
Confident that we have built our wall.

Remember the sky that you were born under,
know each of the star’s stories.
Remember the moon, know who she is.
Remember the sun’s birth at dawn, that is the
strongest point of time. Remember sundown
and the giving away to night.
Remember your birth, how your mother struggled
to give you form and breath. You are evidence of
her life, and her mother’s, and hers.
Remember your father. He is your life, also.
Remember the earth whose skin you are:
red earth, black earth, yellow earth, white earth
brown earth, we are earth.
Remember the plants, trees, animal life who all have their
tribes, their families, their histories, too. Talk to them,
listen to them. They are alive poems.
Remember the wind. Remember her voice. She knows the
origin of this universe.
Remember you are all people and all people
are you.
Remember you are this universe and this
universe is you.
Remember all is in motion, is growing, is you.
Remember language comes from this.
Remember the dance language is, that life is.
Remember.

Life is short, though I keep this from my children.
Life is short, and I’ve shortened mine
in a thousand delicious, ill-advised ways,
a thousand deliciously ill-advised ways
I’ll keep from my children. The world is at least
fifty percent terrible, and that’s a conservative
estimate, though I keep this from my children.
For every bird there is a stone thrown at a bird.
For every loved child, a child broken, bagged,
sunk in a lake. Life is short and the world
is at least half terrible, and for every kind
stranger, there is one who would break you,
though I keep this from my children. I am trying
to sell them the world. Any decent realtor,
walking you through a real shithole, chirps on
about good bones: This place could be beautiful,
right? You could make this place beautiful.

because you are not
here it

rains for days and we think:
this is it until

the day it stops when we think:
is this it

and we remember the umbrella
like a ghost limb

as we pass through the sun and spend
most

of our time talking about
what it was like

when it rained.

    The crust of sleep is broken
Abruptly—
I look drowsily
Through the wide crack.
I do not know whether I see
Three minds, bird-shaped,
Flashing upon the bough of morning;
Or three delicately tinted souls
Butterflying in the sun;
Or three brown-fleshed, husky children
Sprawling hilarious
Over my bed
And me.

As my tongue runs
down your spine in bed,
outside my parents’ house
sea levels are rising,
the city filling, flooding,
predicted to disappear
in a hundred years. Outside,
the sky is glazed with light,
soap white. The Mississippi
shimmers. So much beauty.
So how wrong is it
to stay in this room?
To hold each other,
to keep our bodies
safe and alone together?
This house—pink stucco
latticed with mold,
water bubbles in the streets
from storm drains. Asphalt cracks.
And on our screens
bad news unfurls—
War. Fire. Drought.
In my childhood room, you mouth me open.
I close my hands
over your shoulders
then remember driving
to pick up our daughters
while a story about “ecological grief”
played on NPR,
the summer after my mother died.
Outside: magnolia tree lashed with rain.
Tongue. Mouth. Hair.
How wrong is it now to take solace
in the ordinary?
We slide out of our clothes.
A hundred years from now
when the world churns on
without us, the bridge drowns,
braceleted with light.
And here we are, in another
winter of wrong
temperatures. I slip on
my mother’s coat, flash
its red silk lining, invisible skin.
How I wish I could fill its pockets
not with smoke or flood water. 

Everything goes
into this three-pound confessional:
oil fragrant with peanuts,
sometimes sesame, always garlic.
It can reincarnate last night’s rice
I cook down hard, until it’s evolved
into brown crunch infused
with jasmine and salt. My skillet
has gone to war, seared
steaks, downed men,
transformed flabby pork
belly into an armor of crispy
chicharrón to be dipped
in peppered vinegar or tabasco.
It has cradled so many uncarved
chickens whose caverns have housed
whole lemons sliced like cathedral
windows of sun, apple pears,
or onions like unmapped globes.
I bless the chicken
with soy sauce, coconut
vinegar and even a bit
of ginger that bites like a woman
at the peak of bliss.

This is how I get the men
to love me.

I watch them eat
in unarmed silence,
spellbound by potatoes
I’ve scalloped, then fried
in butter and shallots.
I’ve sautéed that cod
to a softness that renames
their tongues, as if eating
were a thousand
and one nights,
and they can’t move
and they wait for centuries
on their knees,
begging: Just a bit more.
Just a bit more.

^{translated from the Spanish by William George Williams
              To Luis G. Monge}

I come from the remote borders
of the land of oblivion. My songs
will not sound beneath your balconies,
I am the singer of the broken sanctuaries.

Artist, dreamer, sensitive and tender,
my music is a voice of affirmation . . .
I am like a winter twilight
in love’s garden.

I love the fire of the sun. My delights are
the flaming rose, the bleeding pink,
and I love the white swans on the lakes
and the blue clouds in the wind. 

I love the sad—for life is Pain—
I love your black half-opened eyes
fixed in an unknown direction
where dead loves are forgotten.

I know full well that love is sleep . . .
and my soul sleepless. You are not
to blame for my sorrow. You are a dream . . .
I call you when I wake and you do not come!

You can come only as does death,
silent and fatal. You are anxiety,
no matter, come; my heart is strong . . .
Shed your petals in my hands, faded rose. 

I knew in my dreams that love is good
and today, impenitent, a rebel against love,
I weep upon the lilies of your breast
and kiss you on the forehead.