Mountain state (2)

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the song of the winter wren goes spiraling
into the treetops down cliff under ferndrip ledge
follows the loop of a fox grape vine
& lodges in the bend of birthwort’s
pipe-shaped flower

it twines across the altar of my concentration
electric now with offerings
every part of worry anxiety hope

& tunneling through a weave of rhododendron
the trail goes straight, gently undulating
like the narrow-gauge rail bed it once was
carrying out trees in short sections
from what somehow managed to remain wild
high bowl of a remote mountain watershed
& freed from any need to watch our feet
we scarcely notice how much we have climbed
how much we have left behind

I glide as through a gallery, hungry for visions
saunter as if along a city sidewalk
each tulip tree and oak another body
to measure against my own
each of us a stranger only to ourselves
the slick fictions we grow year by year
in rings around the so-called heartwood
where sap long since ceased to flow

I see myself held in an eye of wood
I am implicated in a ripple of grain laid bare
when the bark dropped off

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but the plant people if you want
to call them that are far more timid than we are
we look at them carefully out of
the corner of an eye & pretend
only to care about identification
as if membership in a tribe or species
tells us anything beyond what name to use
when talking behind their backs
what they really have to say I think has
something to do with how to hold our ground

even the most active beings can make me feel
less like a discoverer than the discovered
is this for example the same tiger swallowtail
weaving drunkenly above the water
for the last three miles
every time I catch a glimpse of the creek?

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the trail wanders past an old cellarhole with a new
display of plastic flowers that spell “Mom”
& a garden site gone wild with mountain mint
we stuff our pockets with the fragrant leaves

we pause at a spring where mossy stones sleep
like small green bears
I pull out my camera & my friend bares her teeth

here’s a veery, descending call
like a flute inside a bottle as
my friend puts it
or perhaps two flutes played by a single flautist

we cook lunch among the boulders on the creek
& afterwards go browsing for lichen patterns
my friend seeing endpapers for hand-made books

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I spend a short century in a smiling contest
with the mossy head of a demiurge of stone
rising from the water, lines of bubbles
swimming slowly through its patch of sun
rich baritone voice in a language I feel
I can almost understand
& all around it the creek in shadow

& I am whispering encantado,
desencantado
like a child
slowly plucking the spokes of a daisy
cantar is still the commonest
verb for “sing” in Spanish so
to be encantado really means to be caught
in a web of song I muse
focusing one at a time on each
voice in the watery chorus

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on the walk back we find a redrock shelf
at the edge of the creek pitted with potholes
some empty, others cupping moon-shaped pieces
of sky & a few mosquito larvae
wriggling back & forth in what
doubtless only looks like ecstasy

I can say anything, I think, arrogant
in my power to make little worlds from words
but anything I can say falls short of this world
its liquid laughter pure from the beginning
free of the salt of tears

just before leaving we stop at a spring with a waterfall
& a black PVC viaduct strung on a cable
gravity water for someone whose dog barks
from the other side of the creek
we fill all our bottles
& thrust cupped hands into the flow

surely water clear as glass should let us
see into some kind of future
or at least as far as the mountain’s stone heart
but it’s my own arteries I see
throbbing in my wrists
I lower my face to the would-be window & drink

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the next day on the flat-topped Allegheny Front
I study the cousinship of peak & bog
the same plants so often growing on both
& here the two kinds of places merge into one
when I piss at the edge of a dry boulder field
I hear the splash of water into water

Dolly Sods is still beautiful still teeming with life
despite its horrific usage by arrogant humans
who saw nothing but timber, pasturage
& a bombing range during World War II
natural extremity makes it at once more vulnerable
& more likely to resist the tendency of the badly used
to become ugly common & mean

& I know nothing, I think, suddenly ashamed
of my inability to look beyond wounds to
the grace & power of the wounded
which includes virtually every part of this land
which has been your land and my land for far too long
& needs to be its own land again

an interpretive sign explains how
wind-tortured red spruce trees grow branches
only on the leeward side for decades until
other spruce grow in around them & then
they knot their roots together among the rocks
gather stillness & the spongy beginnings
of new humus between their trunks
make a place too moist for lightning
to strike a spark & then all together
they rise up

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on the drive home the edge of my concentration
grows blunt as a butter knife
which is to say I lose my temper
& my ordinarily kind companion loses hers
& we ride in silence for a while
discoveries made in a mountain state
must not be transferable
I think glumly
everything we found remains behind

but the truth turns out to be otherwise
because unbeknownst to us
three craneflies got into the car at the last stop
before our long descent
& we can’t get rid of them
rolling down the window at the strategic moment
only blows them into the back of the car
& though for a while we think they’re gone
eventually they reappear
dancing in front of the windshield on flimsy wings
their long legs dangling & we give up
& laugh & let them ride & by the time
we get back I’ve forgotten all about them

I carry my gear into the house unpack & sit out
on my front porch watching the fireflies blink
under a second-quarter moon
until my eyes won’t stay open any longer

where state lines fall is an accident of history
& come to think of it I have yet
to leave the mountains
we will keep on returning whichever way we travel
the mountain state is still there & so are we

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Cibola 117

This entry is part 116 of 119 in the series Cibola

Simon Zopeloxochitl (conclusion)

My lord, this stranger whose dream-
double I could never find, this shaper
of destinies, his mist still lingers.
Though one who took
the ash heap for a mother,
the crossroads for a father–
though a slave–his rumor
still lends an iridescence
to these ruined cliffs.

In the end as in the beginning
no tongue is equal to its task,
a soft piece of leather flapping
between flint knives.
The sayings of the wise,
the paintings,
the flowery songs–all vanish
in the flames of rebirth. And since
even the sages couldn’t tell
whether we dream or wake,
how can our strongest spells
be more
than smoke?

My lord Yacatecuhtli,
the vulture is a thing that circles
& never has to land.
Everything he sees is on the way
to its final appointment:
all words to him
are last words.

Grant your servant instead
the penultimate: the four-
cornered flower
turning in the dark, rooted
between fire & water, is & was.
In the day that nears,
let the dawn star alone
feed the sun.
__________

Most of the metaphors in this segment are based on classical Aztec kennings. The two sentences beginning “The sayings of the wise” echo common themes in Aztec poetry.

dream-double – An animal alter-ego who lives in the underworld, where the sorcerer travels in dreams. Killing someone’s double results in their own death.

Yacatecuhtli – Patron deity of travelers, especially long-distance traders. Simon is addressing his human patron as if he were the avatar of this god.

Mountain state (1)

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High in the mountains
one hayfield remains uncut.
A doe’s ear twitches.

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Bed of the Dry Fork
scored for tic-tac-toe: water fills all
the squares with zero.

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Camp at the woods’ edge.
Morning sun brings rhododendrons
into your tent.

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Steep banks, big boulders,
pools – everything but otters
in Otter Creek.

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At Dolly Sods
when the wind slows down, it’s delicious:
wild azaleas.

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When they cut the forest,
the soil burned off. Bleeding hearts
bloom among the rocks.

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On two different hikes
I looked at lichens & left
the map in my pack.

Visit the Monongahela National Forest webpage for more information about some of the places referenced here, including Dolly Sods Wilderness (history here) and Otter Creek Wilderness. For a previous Via Negativa post on West Virginia, see Almost heaven.

Cibola 116

This entry is part 115 of 119 in the series Cibola

Simon Zopeloxochitl (cont’d)

My lord, it’s true, everything
I’ve written: they honor the Lords
of Earth & Sky without drawing
a drop of blood.
Any man can carve a god
in his own image: feathered shaft,
sacrifice reduced to mere intent,
pure attention.
Their priests, sitting in darkness,
can raise the Earth’s very pulse.

Despite their suspicions, they let me
observe their ceremonies–though once
they found a pile of my sketches
& burned them. I learned
of a lake to the west where
the ancestors live, a place of herons.

It’s true, they impersonate
the gods of our youth:
Xilonen, Xochipilli, Xiuhtecuhtli.
No writing, no calendar competes
for the Sun Priest’s loyalty;
his accounting is immaculate.
The nameless days
announce themselves
simply by showing their unrepeatable faces.

I have learned
the Popoloca murmur
of wind through dry reeds,
the blood-colored canyons
where the rivers go
to hide under roots of willows.
I have seen the sun & the moon
trade places.

Toward the end, the nahualli
rarely slept except in snatches.
He half-believed a yellowbeard fable
that left no place for him,
an above-ground version of
that World where every locale
melts into every other.

Out of cliffs & crags & buttes
he tried to dream it:
a No-Place just for him,
garden within walls.
They scattered his remains
like dangerous seeds across what they call
Corn Mountain.

When I found the hidden trail to the top
I brought two scraps of deer hide
I’d prepared in lieu of paper,
one dyed red, the other painted black.
On the red parchment
in black ink I inscribed
the names of Christ–
Dios, Plumed Serpent,
Tloque Nahuaque, Sacred Heart–

& on the black scrap, in red ink
the mirror-words
for Tezcatl-Ipoca:
World-Owner,
Self-Parodist,
Enemy-of-Both-Sides.

I opened a vein, scattered my heart’s
petals across both pieces,
placed them at opposite ends of the butte.
In four directions I sent my breath,
calling Vulture by his secret name,
Lord of Oracles.

Six days later
when I went to check
both scraps were gone.
Two scrolls of coyote shit
sat in their place,
concise & pointed.
__________

Popoloca – Barbarian. What the Aztecs and other Mexica invaders of the Valley of Mexico were called by the urbanized Toltec, whom they eventually supplanted.

the gods of our youth – I.e., those presumed to predate their cultural assimilation into Mesoamerica.

a yellowbeard fable – I.e., the Seven Cities myth of a Christian utopia in the wilderness.

one dyed red, the other painted black – The Aztec kenning (traditional metaphor) for writing is “the black and the red,” referring to the colors of ink used for the glyphs and illustrations.

mirror-words – Aztec kenning for a kenning.

Tezcatl-Ipoca was the patron deity of sorcerers and the mythological opponent of Quetzalcoatl, the plumed serpent. The former was identified primarily with the Mexica and the latter with the Toltecs and their predecessors.

Cibola 115

This entry is part 114 of 119 in the series Cibola

Simon Zopeloxochitl

My lord, the black nahualli is dead.
I went with the brownrobes as
you ordered, saw to it
that the lay brother called Honoratio
got left behind in Petatlán
with a sudden sickness.

Lacking a second white man, then–
an official witness–what Spaniard
would take the word of one
credulous friar, however many
natives he quotes? A foreigner even
among foreigners: he speaks their castellano
worse than I do. And whatever he meant
by “city of gold”–a world-denier
like him–no one thought to wonder.
Coronado’s soldiers hated him
from start to finish.

The nahualli Esteban is dead:
& with him the gravest threat
to the gods of our long-lost cousins
at Chicomoztoc,
at the Seven Caves.

I escaped their arrows;
they let me live among them
until the governor’s visit.
I taught them the art
of surrender, how to avoid
the yellowbeard’s venom.
To lend him what he asks for
without giving up the title.
At my insistence they kept
their sacred images out of sight, just
as if they were women, or reckless
boys. I recounted the pathetic
tale of Montezuma.

They would’ve killed me
for a witch as well
but I repeated Esteban’s admonitions
in language they’d accept:
You can’t stop a torrent–
but you
can stand back, let
your check-dams capture the silt,
the rich litter.

(To be continued.)
__________

Simon Zopeloxochitl is an invented character. He first made his appearance as a participant in the song contest (see Cibola 86).

The idea of an Aztec sorcerer travelling with Esteban and Marcos as an undercover anthropologist/ambassador to “Cibola” is not as far-fetched as it may seem. The Aztec origin myth of Seven Caves and a Place of Herons somewhere in the far north was given new life by the reports of Seven Cities brought back by Cabeza de Vaca, Esteban and their companions, and was partly responsible for fueling the enthusiasm for an expedition of conquest. (The myth lives on to this day, reflected in the name of the state of New Mexico and in local NM toponymns such as Montezuma and Aztec.) In a few years, a native Aztec revivalist movement would spark rebellions and possibly even a Ghost Dance-type attempt at a new religion, according to one scholar (John Bierhorst). The unspecified “lord” addressed here is presumably a disgruntled nobleman or native priest plotting a revolt.

nahualli – In Nahuat belief, a shaman/sorcerer able to transform him/herself into an animal for travel in the underworld; broadly, any skilled magic-worker.

the governor’s visit – Coronado’s expedition of 1540.

Cibola 114

This entry is part 113 of 119 in the series Cibola

Reader (20)

Gold is shining in your sapodilla house of trogons.
Your home abounds in jade water whorls, O prince,
O Jesucristo.
You’re singing in Anahuac. . . .
You’re hidden away at Seven Caves
where the mesquite grows.
The eagle cries, the jaguar whines; you,
in the midst of the field–a roseate quechol–
fly onward, in the Place Unknown.
ANON. CHRISTIAN AZTEC, 16th century
(adapted from the John Bierhorst translation of Cantares Mexicanos 33:3-8)

You people desired to capture Elder Brother so that you might destroy him. You secured the assistance of Vulture, who made a miniature earth; you saw him at home engaged in this work. He shaped the mountains, defined the water courses, placed the trees, and in four days completed his task. Mounting the zigzag ladders of his house he flew forth and circled until he saw Elder Brother. Vulture saw blue flames issuing from Elder Brother’s heart and knew that he was invulnerable. In his turn Elder Brother knew that Vulture wished to kill him and had made the miniature earth for that purpose.
JOSí‰ LEWIS AND FRANK RUSSELL
“Elder Brother as He Restored Himself to Life” (version of a traditional Akimel O’odham speech/sermon)

Cibola 113

This entry is part 112 of 119 in the series Cibola

Marcos de la Sierra (a.k.a. El Donado) (conclusion)

But I don’t have a quarrel with the Lord
of the Close-at-Hand,
only with you who brandish
the law of Love.
You who flaunt
your stylized poverty,
patched robe & cowl
I’m forbidden to wear.
Telling yourselves that more virtue accrues
the more wealth & privilege you’ve had
to give up.

Or if sincerely humble–like this
haunted Frenchman, Marcos–unsuited
for battle. At the mercy of storms
& currents he can’t
even name.

This is an Order where bullies flourish,
men poisoned by envy of our own Founder.
They say the fighting started
while he still walked the earth,
too saintly to understand
the ways of vipers.

They say he preached to birds,
to unschooled fish.
Who then went
throughout the world to spread
the gospel. So
we who have gotten
all our news of Heaven
from birds
for ages–
what do we need these friars for?

Ah, but–says the Saint
in my dreams–
they need you.
__________

Lord of the Close-at-Hand: Aztec designation for one of their chief deities, applied also to God by the first Christian converts.

Cibola 112

This entry is part 111 of 119 in the series Cibola

Marcos de la Sierra (a.k.a. El Donado)

The land lives within me
like a nest of nails.
I know what they want from me,
these hypocrites: to renounce
the world, the flesh,
all creatures,
all Indian thoughts.
                                I know
as much about God as they do,
possibly more: which is to say,
nothing. A night wind,
an obsidian mirror
that fogs with your dying breath.
No prayers, no ticking glass beads
can you take . . . even
the crucified Christ
gets left behind. Why linger
in the doorway, clinging
to the empty frame?

I was born with a caul–
singled out for service to Tlaloc,
rain-god & gourmand.
Cortez came just in time.

The friars say I was given to the church
through a misunderstanding:
it seems my parents were among
the first few thousand converts,
heeded the exhortation to plunder
their former idols.
It seems they were hoping
to save their own skins
from the pox.

Imitatio Cristi indeed–a lamb of God
ready for the spit
before I even reached the age of reason.
Now turned scapegoat, put out
to find forage in the desert.
Free to harangue
every whirlwind.

(To be continued.)
__________

El Donado – “The Donated One”: In the early years of the Conquest, Indian children were donated to – or kidnapped by – a religious order and raised as servants and oblates. Many among the idealistic first wave of Franciscans, Dominicans and Jesuits dreamed of creating a Christian utopia in the New World, and assumed that the Vatican would soon grant permission for full native admission to the priesthood and religious orders. This never happened. The sincerity of Native American Christians remained suspect for hundreds of years – and in fact is still distrusted by conservative Catholics for whom any hint of syncretism or deviation from Western European cultural norms is tantamount to heresy.

This Indian Marcos is an invented character who first appeared by name in Cibola 80, and was mentioned in a couple of the “Marcos” sections. I picture him as a non-Nahuatl native of what is now central Mexico, perhaps an Otomí­.

A night wind, an obsidian mirror: Traditional pre-Christian images for the divine.

Tlaloc: God of the earth or underworld, which native Mesoamerican peoples picture as an all-devouring monster or serpent (but also as the main afterlife destination, the place we visit in dreams, and to some extent a mirror of the aboveground world).

Cibola 111

This entry is part 110 of 119 in the series Cibola

Reader (19)

A fire devoureth before them; and behind them a flame burneth: the land is as the garden of Eden before them, and behind them a desolate wilderness . . .
JOEL 2:3

The unofficial chronicler of Coronado’s expedition, Pedro de Castañeda . . . [when referring to de Niza’s expedition] speaks constantly of three priests, as though the friar had companions. . . . [T]his seems to be highly inaccurate because neither Marcos nor anyone else mentions any other priests after Brother Onorato [actually an oblate] was left behind early in the journey . . .
MADELEINE TURRELL RODACK
Adolf F. Bandelier’s The Discovery of New Mexico by the Franciscan Monk, Friar Marcos de Niza in 1539

To lose always and let everyone win is a trait of valiant souls, generous spirits, and unselfish hearts; it is their manner to give rather than receive even to the extent of giving themselves. They consider it a heavy burden to possess themselves and it pleases them more to be possessed by others and withdrawn from themselves, since we belong more to that infinite Good than we do to ourselves.
SAN JUAN DE LA CRUZ
“Maxims on Love”

Federico Garcí­a Lorca: two translations

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GHAZAL OF UNFORSEEN LOVE

No one understood the fragrance
of the dark magnolia of your womb.
No one knew how you tormented
a hummingbird of love between your teeth.

A thousand Persian ponies bedded down
in the moonlit plaza of your forehead
while for four nights I lassoed
your waist, the enemy of snow.

Between gypsum and jasmine, your glance
was a pale branchful of seeds.
I searched my breast to give you
the ivory letters that spell always,

always, always: garden of my agony,
your body forever fugitive,
the blood of your veins in my mouth
and your mouth already my tomb, emptied of light.

*

GACELA DEL AMOR IMPREVISTO

Nadie comprendí­a el perfume
de la oscura magnolia de tu vientre.
Nadie sabí­a que martirizabas
un colibrí­ de amor entre los dientes.

Mil caballitos persas se dormí­an
en la plaza con luna de tu frente,
mientras que yo enlazaba cuatro noches
tu cintura, enemiga de la nieve.

Entre yeso y jazmines, tu mirada
era un pálido ramo de simientes.
Yo busqué, para darte, por mi pecho
las letras de marfil que dicen
siempre,

siempre, siempre: jardí­n de mi agoní­a,
tu cuerpo fugitivo para siempre,
la sangre de tus venas en mi boca,
tu boca ya sin luz para mi muerte.

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GHAZAL OF THE TERRIBLE PRESENCE

Let the water do without a place to settle;
let the wind do without valleys.

Let the night do without eyes
and my heart without its flower of gold.

I want the steers to talk with the large leaves
and the earthworm to die of shadow.

I want the teeth gleaming in the skull
and the silks drowning in yellow.

I can see the duel between the wounded night
and noon, how they twist and tangle.

I resist a twilight of green venom
and collapsed arches where time suffers on.

But don’t illuminate this limpid nude of yours
like some black cactus open in the bulrushes.

Leave me in an agony of longing for dark planets,
but do not teach me the ways of your cool waist.

*

GACELA DE LA TERRIBLE PRESENCIA

Yo quiero que el agua se quede sin cauce,
yo quiero que el viento se quede sin valles.

Quiero que la noche se quede sin ojos
y mi corazón sin flor del oro;

que los bueyes hablen con las grandes hojas
y que la lombriz se muera de sombra;

que brillen los dientes de la calavera
y los amarillos inunden la seda.

Puedo ver el duelo de la noche herida
luchando enroscada con el mediodí­a.

Resiste un ocaso de verde veneno
y los arcos rotos donde sufre el tiempo.

Pero no ilumines tu limpio desnudo
como un negro cactus abierto en los juncos.

Déjame en un ansia de oscuros planetas,
pero no me enseñes tu cintura fresca.