Petitions

river in November light between bare woods and mountain
We drove one day years ago 
to La Trinidad, where a near-toothless
woman who could see the future lived,
surrounded by farmyard— heads
of cabbage and cauliflower, bean rows,
creeping vines of sweet potato on one side
of the house where tin washbasins leaning
against the wall reflected the sun’s rays
like the two giant radars on Mirador Hill,
built in 1900 and used for weather
observation and typhoon forecasting.

The clairvoyant did not take
money for payment, only accepting
a bag of groceries or bottles of cerveza
which we put into her leathered hands
before being ushered into her kitchen.
I don’t know what things my mother wanted
to learn about the days or years ahead, but
she was told barren women had gone to seek
advice and months later, conceived a child.

For other less pressing needs like fair
weather, no rain for important occasions,
it was the nuns we went to, in their Convent
of Perpetual Adoration. We wrote our petitions
on little slips of paper then slid them through
a window with a grille, along with a carton of eggs.
The eggs were no longer warm from the hen, but
they were speckled and brown and each could fit
and be carried in the palm of your hand,
then broken carefully on the rim of a bowl
so the good sisters could bake bread.

What I learned was this: we trust
in whoever is willing to listen. Everyone
and everything prays for something— the soil
for rain, fruit for sun, vines for something
to cling to. My mother for the body's doors to open
or close in certain ways. When we kneel and
offer what we can, it means the future can
still be placated, can still somehow be known
though nothing about our days seems to change.

Surcease

river in November light between bare woods and mountain
You ask if this    hurt is permanent 
if recurrence is the only language
allowed us in our passage
Like you I think certain days feel
finished before they even begin
while others unfold more slowly
I wanted to say even the fields
that look raked and empty hold on
to something Roots stones a memory
of water glimpsed as a drying puddle
The body remembers how to keep going
Day shift to night shift while
the mind finds the cruise control settings
I want to say it won't always
be like this but we know the difference
between now and tomorrow the day
after and the day after How life
is a management of moments even those
that bear down as the eye of a storm

The Hill Station: 10 Incipits

river in November light between bare woods and mountain
A hill station is a colonial construct.

A hill station means rest and recreation, which are also colonial concepts.

The hill station could only come into existence when the notion of indigenous land ownership was rendered invalid.

A hill station is a vision of utopia breaking through the tropical heat and swarms of mosquitoes.

A hill is smaller than a mountain but larger than an ant hill.

Station has a kind of military ring; or it can mean signpost, which can also mean the place where someone is tied or whipped like an animal.

A hill station is a dream of living close to the clouds.

Clouds are formations of precipitate, meaning they have formed by accumulation and are only waiting for an inciting instance to release their weight.

In the hill station, landscape is mapped by functions not native to the land.

What a surprise to discover underneath the hill station, stores of silver and copper and gold.

Self-taught

river in November light between bare woods and mountain
is what they call artists who didn't go
to art school or take a single formal
art lesson in their lives. And yet
visions in their minds took shape
in clay or burst open with oils
on canvas. Grandma Moses pieced
her quilt-square landscapes, Van Gogh
his bending wheat fields and vibrant
yellow-green interiors. Fingers
listened to every shape and shadow
in the world. A tarnished teakettle
on a windowsill is no accessory— only
part of the equipment of daily life.
Tea sets with missing cups. Mismatched
plates, silverware from yard sales;
armchairs covered with oily antimacassars
pressed to stiffness from the light
of countless afternoons. Isn't this how
you've always learned— figuring it out
one trial at a time, as if from memory
before it becomes memory? The lesson:
you prepare for joy the way you prepare
for sorrow. How to stand without flinching
as orchids and velvet moths circle your head
and a black monkey coils a necklace of thorns
around your neck, from which a dead hummingbird
with wings outspread now dangles like a pendant.

~ after "Self Portrait with Thorn Necklace and
Hummingbird," Frida Kahlo (1940)

Triplets

river in November light between bare woods and mountain
My beginning poetry class is unsure
about tercets and triplets. They're both
stanzas with three lines. The difference

is that all three lines of a triplet rhyme.
I ask, Who has triplets in their family?
The girl who always sits front, center,

raises her hand; she's one of a set
of triplets. She looks slightly confused
when I ask, Which one of you is here?

Come as You Are

river in November light between bare woods and mountain
~ for Marianne


Will it be saag paneer, warmly
green with spice, or pork belly
glossy under bar lights; that pupu
platter at Alkaline where cocktails
are cute and the sake is tinged
with the smile of tropical fruit?
It's noon and we've changed
our minds half a dozen times
but there's no need to apologize
or forgive the wild swings of desire.
After all, isn't this our practice?
Tasting, arranging, revising,
paring away then calling out Wait,
bring back the menu?
We want it all,

including a world wide enough
for our hungers. We want the longaniza
and egg rice bowl, but miss the tart
bite of atsara that should be on the side,
and so we'll ask politely for vinegar and
garlic. There are some people who fold
at Take it or leave it, as if the self
is an exact system. But we know this is it
each time. There's no rehearsal, no understudy
waiting in the wings. So we come as we are,
with all our mess and improvising, bearing
everything we carry to the table. Lint and loose
change in our pockets, maybe not even quite
enough to feed the meter, but right now it's OK.

Driving Home

river in November light between bare woods and mountain
It took years and four apartment moves
before we decided “to buy;” years before
my husband could start to feel maybe
he could call this place home. Then again,
he revised that to mean, home not as in this
region of the country but rather the house
we signed the mortgage on, this one with a fig
tree in the yard which, even more ahead of season
now than last, is pushing out little green bulbs
of fruit under each cluster of splayed green
leaves. Though we both left the country
of our first formation, I still know
all the street names, a map carved
in memory surer than stone. But sometimes
his sense of home seems more solid than mine:
his sense of family grown both older and more
burnished through the years, despite the death
of both parents— whereas mine is chipped
and cracked in so many places from a history
of rifts predating my birth, and current ones
that make it difficult to resurface any memory
without summoning clogs that choke the throat.
He can conjure streamers of many-colored pressed
rice petals strung at every window in May,
the indistinct susurrus of children’s voices
in the streets. Mostly, though, he remembers
what exactly a sibling or a parent said and
on what occasion of daily life, knighted
with the same quality of kindness.
Perhaps it’s why I’m the one more often
rendered bereft by circumstance; the ruminant,
easy to collapse in tears. These days, driving
home under the newly lush canopy of leaves
that tints green-gold in late afternoon light,
my heart constricts. It's a laden barge,
bearing crates of artifacts from each of my
previous lives to here, though I couldn't
possibly do a full inventory anymore.

Interiority

river in November light between bare woods and mountain
“I am myself the matter of my book.” 
– Michel de Montaigne




With moss and twigs, I build
a diorama. Branches knock against it

in wild weather. Tiles of slate
loosen in wind. Here, I clear a small

space, cover the walls with questions
like Montaigne did in his citadel.

But my retreat isn't made of stone,
and the hours I spend here are not

as leisurely as I'm sure his were.
How many days will it take to arrive

at the smallest room, and what flint to strike
for warmth and light? In this work of inwardness,

the dark is not necessarily made of grief,
the silence not necessarily an ending.

Footnotes

river in November light between bare woods and mountain
See: 
Orpheus, who learned
too late that looking back
can be fatal.

See:
Plato, who gave us the tale of humans
as originally whole, round with four
arms, four legs, two faces.

See:
How the gods were shook by the thought
of what could happen if these four-
limbed beings challenged them.

See:
How of course, after we were split in half
like melons, even in bed side by side, each
half longed perennially for the other.

See:
Sisyphus, who didn't start out
doing it for cardio, but most
likely looked ripped.

See:
The grocery cart with one
bad wheel, barging away from the meat
and into the vegetable display.

See also:
Time, which doesn't make sense
however way you cut it, and yourself,
making sense where you can.

The Waiting

river in November light between bare woods and mountain
There are things I can do 
and things over which I have
no influence. I can mail care

packages and transfer funds, check
in even if I don't get a response.
That winter, a weight arrived

uninvited and stayed. I know
I can't erase the accumulation
of hours the body has

already lived— a long chain
of hallways from whose windows
you glimpsed a train

whistling through the tracks,
the frozen landscape. All I want
for you is a normal life,

by which I mean mornings that don't
require courage, afternoons moving
forward without obstruction,

nights when sleep doesn't need
to be won by exhaustion. I scour
my world for words to hold

against its unforgivingness,
for words to lift without denying
the fires walked through, the wounds

and barbs. Since prayer is more
than asking, is waiting, then I wait for
the tender spots to show themselves

again, for the drain to clear and water
give itself so the spirit rinses even
just enough suffering from the day.