Cachoeira

- 1946-
We slept, woke, breakfasted, and met the man
we’d hired as a tour guide, with a van
and driver, for the day. We were to drive
to Cachoeira, where the sisters live:
the famous Sisterhood of the Good Death,
founded by former slaves in the nineteenth
century. "Negroes of the Higher Ground," 
they called themselves, the governesses who found-
ed the Sisterhood as a way to serve the poor.
Their motto, "Aiye Orun," names the door
between this world and the other, kept ajar.
They teach that death is relative: We rise
to dance again. Locally canonized,
they lead quiet, celibate, nunnish lives,
joining after they’ve been mothers and wives,
at between fifty and seventy years of age:
a sisterhood of sages in matronage.

We drove on Salvador’s four-lane boulevards,
past unpainted cement houses, and billboards,
and pedestrians wearing plastic shoes,
and little shops, and streets, and avenues,
a park, a mall . . . Our guide was excellent:
fluent in English, and intelligent,
willing to answer questions patiently
and to wait out our jokes. The history
of Salvador flew past. At Tororo
we slowed as much as the traffic would allow,
to see the Orixas dancing on the lake
in their bright skirts. The road we took
sped past high-rise apartment neighborhoods,
then scattered shacks, then nothing but deep woods
of trees I didn’t recognize and lands
that seemed to be untouched by human hands.
We stopped in a village, where it was market day.
We walked among the crowds, taller than they
and kilos heavier, tasting jackfruit
and boiled peanuts, embraced by absolute,
respectful welcome, like visiting gods
whose very presence is good news. Our guide
suggested a rest stop. We were sipping Coke
when a man came into the shop and quietly spoke
to our guide, who translated his request:
Would we come to his nightclub, be his guests?
We didn’t understand, but shrugged and went
a few doors down the street. "What does he want?"
we asked. The club hadn’t been opened yet;
by inviting us in, the owner hoped to get
our blessings for it. Which we humbly gave:
visiting rich American descendants of slaves.

For hours we drove through a deep wilderness,
laughing like children on a field-trip bus.
We made a side trip to the family home
of Bahia’s favorite daughter and son,
the Velosos, Bethania and Caetano,
in the small town of Santo Amaro.
The greenery flew by until the descent
into a river valley. There we went
to a nice little restaurant to dine
on octopus stew, rice, manioc, and wine.
Then we crossed a rickety bridge behind a dray
drawn by a donkey, and wended our way,
at last, to Cachoeira, an old town
of colonial buildings, universally tan
and shuttered, darkly lining narrow streets.
A tethered rooster pecked around our feet
in the souvenir shop. At the convent
I wondered what the statues really meant:
Was it Mary, or was it Yemanja
in the chapel, blue-robed, over the altar?
Was it Mary on the glass-enclosed bier,
her blue robe gold-embroidered, pearls in her hair,
or was it the Orixa of the sea?
There were no Sisters around for us to see;
they were in solitude, preparing for the Feast
of the Assumption, when the Virgin passed
painlessly from this world into the next,
Aiye to Orun. Posters showed them decked
out for their big Assumption Day parade,
big, handsome mamas wearing Orixa beads,
white turbans and blouses, red shawls, black skirts.
The man in their gift shop was an expert
on the Sisters’ long struggle to find a way
to serve the Christian Church and Candombl .
The eldest Sister is called "the Perpetual Judge";
every seventh year, she becomes the bridge
on which the Virgin Mary crosses back,
sorrowing love incarnate in a black
ninety-odd-year-old woman facing death
and saying Magnificat with every breath.

We drove out of the valley looking back
on lightbulbs which intensified the thick,
incomprehensible, mysterious
darkness of the unknown. Grown serious
and silent in our air-conditioned van,
we rode back into the quotidian. 

More by Marilyn Nelson

Dusting

Thank you for these tiny
particles of ocean salt,
pearl-necklace viruses,
winged protozoans:
for the infinite,
intricate shapes
of submicroscopic
living things.

For algae spores
and fungus spores,
bonded by vital
mutual genetic cooperation,
spreading their
inseparable lives
from equator to pole.

My hand, my arm,
make sweeping circles.
Dust climbs the ladder of light.
For this infernal, endless chore,
for these eternal seeds of rain:
Thank you. For dust.

The House on Moscow Street

It's the ragged source of memory,
a tarpaper-shingled bungalow
whose floors tilt toward the porch,
whose back yard ends abruptly
in a weedy ravine. Nothing special:
a chain of three bedrooms
and a long side porch turned parlor
where my great-grandfather, Pomp, smoked
every evening over the news,
a long sunny kitchen
where Annie, his wife,
measured cornmeal,
dreaming through the window
across the ravine and up to Shelby Hill
where she had borne their spirited,
high-yellow brood.

In the middle bedroom's hard,
high antique double bed,
the ghost of Aunt Jane,
the laundress
who bought the house in 1872,
though I call with all my voices,
does not appear.
Nor does Pomp's ghost,
with whom one of my cousins believes
she once had a long and intimate
unspoken midnight talk.
He told her, though they'd never met,
that he loved her; promised
her raw widowhood would heal
without leaving a scar.

The conveniences in an enclosed corner
of the slant-floored back side porch
were the first indoor plumbing in town.
Aunt Jane put them in,
incurring the wrath of the woman
who lived in the big house next door.
Aunt Jane left the house
to Annie, whose mother she had known
as a slave on the plantation,
so Annie and Pomp could move their children
into town, down off Shelby Hill.
My grandmother, her brother, and five sisters
watched their faces change slowly
in the oval mirror on the wall outside the door
into teachers' faces, golden with respect.
Here Geneva, the randy sister,
damned their colleges,
daubing her quicksilver breasts
with gifts of perfume.

As much as love,
as much as a visit
to the grave of a known ancestor,
the homeplace moves me not to silence
but the righteous, praise Jesus song:

Oh, catfish and turnip greens,
hot-water cornbread and grits.
Oh, musty, much-underlined Bibles;
generations lost to be found,
to be found.

Churchgoing

The Lutherans sit stolidly in rows;
only their children feel the holy ghost
that makes them jerk and bobble and almost
destroys the pious atmosphere for those
whose reverence bows their backs as if in work.
The congregation sits, or stands to sing,
or chants the dusty creeds automaton.
Their voices drone like engines, on and on,
and they remain untouched by everything;
confession, praise, or likewise, giving thanks.
The organ that they saved years to afford
repeats the Sunday rhythms song by song,
slow lips recite the credo, smother yawns,
and ask forgiveness for being so bored.

I, too, am wavering on the edge of sleep,
and ask myself again why I have come
to probe the ruins of this dying cult.
I come bearing the cancer of my doubt
as superstitious suffering women come
to touch the magic hem of a saint's robe.

Yet this has served two centuries of men
as more than superstitious cant; they died
believing simply. Women, satisfied
that this was truth, were racked and burned with them
for empty words we moderns merely chant.

We sing a spiritual as the last song,
and we are moved by a peculiar grace
that settles a new aura on the place.
This simple melody, though sung all wrong,
captures exactly what I think is faith.
Were you there when they crucified my Lord?
That slaves should suffer in his agony!
That Christian, slave-owning hypocrisy
nevertheless was by these slaves ignored
as they pitied the poor body of Christ!
Oh, sometimes it causes me to tremble,
that they believe most, who so much have lost.
To be a Christian one must bear a cross.
I think belief is given to the simple
as recompense for what they do not know.

I sit alone, tormented in my heart
by fighting angels, one group black, one white.
The victory is uncertain, but tonight
I'll lie awake again, and try to start
finding the black way back to what we've lost.