Sketches for a Genealogy

1

To everyone, she was Little
Mother, mother’s younger sister;

sometime shelter, confidant, friend—
The maids in neighbors’ houses, especially,

shyly came to ask for her advice:
deboning fish, preserving fruit,

extracting savor from crushed heads
of shrimp. To all, she gave unstinting

service in her prime: from dawn to dusk,
the only acolyte at kitchen sink and stove;

red-knuckled hand that scrubbed soiled linens,
that cut our morning bread. I never knew

her secrets or her true desires.
Though clearly, having had me young

then given me up years before she had
three others, her heart could not

have been immune. One afternoon, while
in her care after school in kindergarten,

she put away the laundry and took my hand,
saying we would walk to the plaza and have

lunch at a Chinese restaurant. She put
her finger on my lips, and her lips said

Don’t tell. The rest is a blur
of noise and oily smells. And then I was too

involved with strands of slippery
noodles in my bowl to notice anything else

about the man who sat next to her at our table,
only that she could not keep her eyes from his.

 

In response to Via Negativa: Hermetic.

Fantasmagoria

This entry is part 17 of 19 in the series Morning Porch Poems: Summer 2015

 

In the aftermath, the center of the city
turns into a forbidden sphere.

From the air, thin vapors describe
what once subsisted there.

No one can remember signposts, bouquets,
or where the crosshairs focused.

The sky is a tray of hidden circuits,
tilting as it approaches full capacity.

Somewhere a lever flips and the chrome-
colored marbles begin their trajectory,

passing field after field
of stenciled poppies

then disappearing into funnels
or invisible throats.

 

In response to an entry from the Morning Porch.

If I write of the bamboo luggage handle

rigged with twine that broke when the boat

capsized and the stone of my arrival sank
into the murk beneath the waves, I become

more of what you are most convinced
I am— There, swallowed by a giant fish

which spits me up after months of servitude
and tedium spent scouring its insides

until they glow like powder rooms
in expensive hotels, wallpaper

the shade of pink Himalayan salt.
My ears, by your reckoning,

have curled sufficiently inward
to indicate that I have learned

the lessons of constant chastening.
Now I can be given papers, a name

that can fit into a mouth, picked out
of a great book sitting on the podium

of the landing station. The answer
to the complex problem that I present

is better arrived at, in your opinion,
if I write of rice fields bordered

by ruins, or of women smoking dark
rings at dusk in beer gardens,

while soldiers patrol the periphery. You like
the postcard of the explorer in dungarees,

grinning broadly for the camera as he fondles
the breasts of native women flanking him

on each side. You think the answer to the problem
is a story thick with the porridge of suffering,

the better somehow, for us who’ve eaten of it
daily to aspire to nobility— The answer

to the problem is not the sorrow of children
diving naked into the sea for the prize

of a single black pearl, but those depths
which will embrace us all, indiscriminately.

 

In response to Via Negativa: Troubled.

Cursive

This entry is part 16 of 19 in the series Morning Porch Poems: Summer 2015

 

In primers, in notebooks, we traced
the shapes of words with No. 2 Mongol

pencils. The heads of lower case letters
touched the broken red stitched in the middle

of each set of dark lines, the upper case
sported little flourishes. Big bosomed B,

puffer fish disguised as D; and my favorite,
the T like a cross between a boat and open

palanquin. In them, I sensed something
could perhaps take shape to lift

across the plain expanse of newsprint;
or break up space briefly, the way

so many separate wings come together
as one wing, as birds wheel and turn

in droves over the hills, on their way
from one place to another.

 

In response to an entry from the Morning Porch.

Where

(translation of Rebecca T. Añonuevo’s “Sa Diin”)

For what is a chair
if no one shall sit?
For what is the pencil
if no one writes?
For what purpose is a book
that no one will open?
For what is a song
no voices will make soar?
For what is a tug of war
when no one is left to pull the rope?

For what is to own land
if one is driven away?

For what is the grain
if no one is filled?
For what are the fields
if they are watered with blood?
For what is the fine woven cloth
when the wearer has been destroyed?
For what purpose is the Maker
when all the nurtured are gone?
What use is the poem
to those sprawled on the ground?

Diin

Para saan ang silya
kung walang mauupo?
Para saan ang lapis
kung walang magsusulat?
Para saan ang aklat
kung walang magbubuklat?
Para saan ang awit
kung walang iilanglang na tinig?
Para saan ang banlak
kung wala nang hihila sa lubid?

Para saan ang sariling lupa
kung mauuwing bakwit?

Para saan ang bigas
kung walang mabubusog?
Para saan ang bukid
kung dugo ang pandilig?
Para saan ang tabih
kung wakwak na ang magsusuot?
Para saan si Magbabaya
kung naubos na ang inaruga?
Para saan ang tula
para sa nakabulagta?

11 Setyembre 2015
#StopLumadKillings

Rebecca T. Añonuevo is a poet, educator, translator, and the author of six collections of poetry in Filipino, all of which have won prizes from the prestigious Don Carlos Palanca Awards for Literature; as well as National Book Award citations and nominations. She is the Philippine recipient of the 2013 S.E.A. Write Awards from the Royalty in Bangkok, Thailand. Rebecca and Luisa have previously collaborated on poetry translations (Filipino-English, English-Filipino).

You Lucky Girl,

don’t worry; don’t be so offended,
don’t take it all so personally.

You’re only misguided. If you don’t take it
all so personally, you’ll probably be the next
flavor of the month. So would you come

out and give the keynote at our next
ethnic heritage program? Your language
is so lush and lovely though I confess

I don’t always understand what you’re
trying to say. Don’t take offense, I mean it
only in the best way. And I know, it must be

because English isn’t your first language,
isn’t it? Why don’t you ever write in your
own language? It just sounds so beautiful.

I hear all kinds of sounds: lost rivers,
orphaned birds, the gentle bump of coconuts
landing on the sand. And your people! So

very industrious, always working hard,
so unassuming; always, always smiling, never
out of place. Does your name mean anything?

How do you spell that? Why do you insist
on carrying that sense of burden all the time?
Life, you know, doesn’t have to be so hard.

 

In response to They Pretend to be Us While Pretending We Don't Exist.

What can you hear in this downpour?

This entry is part 15 of 19 in the series Morning Porch Poems: Summer 2015

 

Who does not love, even a little, the sound
of his own voice? When the browser times out

I must prove my humanity by solving
an equation: 10 + 8 or 2 + 7,

in order to continue reading or making
commentary on the latest drama

that the world’s delivered to our door.
I ponder the question a little more

and realize it isn’t that, really:
not the speaking or the writing

as a one way telephone, but that even
above the canceling din and pummeling

wind and rain, all my histories
might count for something.

 

In response to an entry from the Morning Porch.

Suddenly

This entry is part 14 of 19 in the series Morning Porch Poems: Summer 2015

 

the phone call comes, the morning’s skin is pierced,
the holiday ruined before it even begins. Suddenly
the months of the years rearrange themselves. Suddenly
routine surrenders and substitutes must be found.
Suddenly you clutch at straws so hard you make each
one another kind of breaking. Suddenly the surf pounds
in your ear and nothing you say or do can console the one
who’s come in, tired from swimming, from walking. Suddenly
it’s evening, filled with the wings of moths that converge
in rooms where we’ve covered the furniture with drop cloths.
Suddenly the night unreels and the halls lead us round
and round these rooms that we thought were locked
but which give at the push of a fingertip. Suddenly a bird
calls out and a mirror drops from its frame. Suddenly
a shadow melts in the shape of a cage and the wall
is lit as if from within. Suddenly it’s raining.
And just like that, suddenly it isn’t.

 

In response to an entry from the Morning Porch.

Reek

Where dump trucks take
our trash, most of us

don’t know: an open pit,
a landfill, flotilla

of dark wings waiting
to tear into the reek.

Salt spray from the sea
cannot temper the stench

of human waste: the wind
slashes each plastic bag

and its contents, bursts
inner tubes and remnants

of coats. Everything has
a hidden seam— The children

who live there find five
mangled spoons, short of

a set; the carcass of a dented
thimble, an animal that once

was turned on a spit—
green, with lunar cast.

 

In response to Via Negativa: Gentrification.

Forgotten

(translated from poet Rebecca T. Añonuevo’s “NALIPATÁN,” 7 September 2015)

What humanity forgot,
the sea remembered.
It cradled the young,
delivered them to dreams.
Sky beneath the water,
playmates of prismed fish.
Coral that rippled
as if with laughter.
Dimpled calves in the gaps
that may have tickled the soles of their feet.
All creatures large and small,
living in each other’s midst
released from fear and war.
The waves have rescued the innocent
that they might no longer wake
to the cold stones, the earth’s
indifferent kiss at the edge
of the shore.

*

NALIPATÁN
Rebecca T. Añonuevo

Ang nalipatán ng tao,
Naalala ng dagat.
Idinuyan ang musmos,
Ihinatid sa panaginip.
Langit sa ilalim ng tubig,
Mga kalarong isda, sarikulay,
Mga korales na umiindak
At naghahalakhakan,
Mga binti ng pugitang
Nangingiliti ng talampakan.
Malalaki’t maliliit na nilalang,
Na nabubuhay sa isa’t isa,
Malaya sa pangamba at digmaan.
Iniligtas ng alon ang walang muwang,
Nang hindi na magising
Sa malamig at mabato, malayong-loob
Na paghalik ng lupa sa dalampasigan.

7 Setyembre 2015