Thursday, April 05, 2012

La revolución emplumada | The revolution is to be human

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Arnoldo García

Tus palabras me alientan
tus manos me liberan
tu cuerpo me cambia, me trastorna
con la ternura

Tus palabras son la iel que vibra y viborea
entrando en mis sentidos
(aunque prefiero tu piel contra la mía)

*

Too much struggle
not enough love
will harden the eyes
and flay the heart.

*

You can organize with laughter
laughter will bring down the empire
laughter can stop the war
laugh at the rich
and see how long they last
before turning over their ill-begotten gains.

The revolution is plumed by laughter
draped in tears that cannot be
stopped. Laugh and the revolution
laughs with you. Too serious
and no one, especially the
revolution of laughter, will take you seriously.
The revolution of laughter makes
no concessions to those without
humor. Stalin never laughed, not even at his crazy world power scheme,
Hitler always frowned,
no pleasure in global genocide,
whose sole aim
was to eradicate even the
laughter of the German race
Stalin who let the posters smile as he
slaughtered the proletarian happiness
every five years or so.
The revolution will laugh or not be at all.
The revolution will soar and not let herself be dragged
The revolution is to be human....

Wednesday, April 04, 2012

Guitarra armada | Song vs war



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Arnoldo García

 Guitarra armada | Song against war


The vatos always laughed at me in disbelief because I’d always show up with a guitar.

They would always show up, their backseats loaded with bats, knives, chains, steel knuckles, rocks, the car jack or the occasional gun for the brawl, the rumble, the showdown with the other gang, who you didn’t really want to kill; maim maybe, hurt yes, intimidate away if possible so that you too wouldn’t get hurt.

“Whose ass are you going to kick with the guitar, ese,” someone would mockingly ask.

They didn’t know my guitar was the main weapon. I could strike down anyone with it; but it’s too valuable for one smash.

My guitar was a womb, a movie camera, a grand canyon to record and sing out the next corrido of the street wars.

You can’t really impress the girls with a knife or a gun. Maybe with a bruised face or a blackened, swollen eye.

But pull out a guitar before her, during or after the chingazos, and the girls will come to listen.

You sing a short corrido of the blows and then switch to a bolero to tell them how you really felt, why you fought – to protect her or the barrio’s honor. And no one in their right mind would think that the guitar is a weapon, much less the most powerful weapon.

The bullies scoff at it – you can’t be a romantic when you’re always threatening someone. The vato locos appreciate it cuz someone with a guitar will always sing their great deeds of valor. The armed dudes, well they know who has power and that it don’t grow from the barrel of a gun but from the fists of the man with a gun for added protection.

And you can’t hide a guitar like a 9mm.

You carry the most dangerous weapon in full sight. You carry it through the crowds, you stand at the front and wail away, getting in hits and licks on where it hurts most – in their hearts and souls.

After the fight, the guitar would heal us, soothe the hurt away with a beer or two and the rucas waiting for their song, their turn at my heart.

Tuesday, April 03, 2012

Prohibido no ser humano | Being Inhuman prohibited

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Arnoldo García

Prohibido no ser humano | Being inhuman prohibited


It was never allowed
Hablar español en la escuela
The white monolingual English-only teacher hit us with rulers, hands, swat-boards
Just for being Mexican
We were human, yet not human enough.

It was never allowed
You couldn’t get away with entering a room and not greet your elders with respect and reverence
To forget your dead, your ancestors and your ancestors to be
To forget the land, the gardens, the fields, where maize, watermelons, frijol grew underneath rooted to the ancestors, all of them

It was never allowed
To forget to pray, to mourn 40 days, 40 nights
and not be de luto for one year

It was never allowed
To talk first and not listen to the elders, the women, the viejitos, the infirm, those on their deathbed

It was never allowed
To receive pay, recognition or praise without work, without sweat, without sacrifice first
To put yourself forward ahead of others
To choose your friends
The squeaky wheel rolled away by itself

It was never allowed
To ignore the people, the community, the viejitas, the matriarchs, with their guidance, their good and best words
Who made us dream together
Who made us work together
Who made us live a shared vision
Who made us share a home, the food, the laughter
Who gave us life
Everyone else was first, you made room for them
Because you knew they were the other you.

Monday, April 02, 2012

Autorretratos | Self-portraits


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Arnoldo García

autorretratos | self-portraits

Palabras descalzas
lengua pelada
ojos pelones
corazón descarado
la naturaleza se desviste de humana

*

The communicating
community
transmitting hope
communicating knowledge
barring fear from invasion
human rights communication
where all our words
where all our labors
where all of us are safe
invaluable almost holy
certainly perfect
for each other
Either we transform
the border into a paperless division
or we transform ourselves
into a paperless existence
virtual citizenship without
the internet;
we act like world citizens,
inhabitants of an ecosystem
within the natural world.
We can transcend distances
but not terrains, not geo-
graphy, not the land.
We are place, look for it
talk to those who do know
their/your place
A people is
place
dust
language
seed
hands and tongues and eyes
to recreate her in place.

*
We are dilemma:
no one
is
without
ancestors.
When you don't know
where you're from
who your ancestors
where you bones are buried
where your seed explodes
what season
what time
what color
it is
it is because you
are both descendent
and ancestor
Elder before your time
You pluck yourself from your ribs
You engender new dust
Your bones are sperm & womb for the future
Revolución emplumada
Plumed contradictions of humanity

*

There are tiny apparitions on my tongue:
Guadalupe,
Soles,
whirlwinds of dusts,
tongue-twisting huracancitos,
tempest
shells,
my body her molecules
dispersed
in pleasures
in equal proportions
for every nation, skin
now and in the future
My shadow swimming
toward the impatient sun,
maize,
bultos of human rights movements,
orchards, her ruby veins, the explosion of volcanos
and earthquakes
The DNA
of her thoughts
and curvatures,
the hum of bones
the vibrato of desire

*

Esta poética
es de maíz
es hecha de maíz
sonriente
embarazado
danzantes de polvos y vientos,
arcoirises ondulando
poética-maizal
milpas en mi lengua
las mazorcas lenguas verdes
con sus banderas-manos
alabando soles y campesinos
los pueblos nacen y renacen
en los surcos de sus sueños
mi piel
la mazorca-cama de todas las metáforas verdes
colchas del elote elegante y peligroso
rueda, mástil, pené, vientre
gestado de pueblos indios
palabra antigua, naciendo solos en
la cúmbre de la milpa:
poema tortilla
poema tamale
poema pozole
poema atole
poema palomitas de maíz
poema mezcal
poema pudriento
poema prehispánico
poema molcajete
que pasa hambre para soñar
que sueña para acabar con el hambre
que se llena la boca de tierra
para germinar soles y estrellas
hacerlas cantar aquí.

*

El deseo es la belleza acumulada
La belleza tiene dos piernas
camina para salvarnos
del desierto.

*

Pulpo
palpa
palpo
pulpo
realidades
reales
irreales
proletarias
trabajadoras
no reales
comunas
como
la comuna
de mis manos

Sunday, April 01, 2012

Pueblos emplumados

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Arnoldo García


Pueblos emplumados

Voy a cantar la historia
de nuestro pueblo sin tierra
Que dolor éramos indios
con toda una geografía

Nos arrebataron el suelo
nos deplazaron del cielo
para explotar a la tierra
y de privarnos de ancestros

Los indios arrodillados
los horizontes sin cantos
nos expulsan a fuerza
haciéndonos extranjeros
en nuestras tierra ancianas

En esta caminata
atravesando desiertosd
cultivando labores
no olvidamos las raíces

Somos los pueblos obreros
Desde mesoamérica
a las calles y esquinas
trabajamos contra las sombras
desprecios, maldiciones
y fregones explotadores

Para recuperar la tierra
volver a ser pueblo emplumado
Sembradores descalzos

Me gusta cantarle al viento
porque vuelan mis cantares

Mis plumas son los cantos
de mi puebli
cortando y cosiendo las heridas
del viento

*

La revolución emplumada
es la revolución humana
es volver volver volver!
a las raíces de la tierra
a las raíces del agua
a las raíces del viento
a las raíces del cielo
para volver volver volver!

Con los pies enlodados de humanidad
con los pulmones llenos de estrellas
y la sangre derramando soles.

*

Donde están los pueblos emplumados
con sus alas de polvo
y sus cantos de lluvia?

Vuelo y voces llenas de lodo
inundan mis oídos, mis sentidos, tu cuerpo

Quién dijo que el horizonte
nunca podría alcanzarse?
El horizonte es el muro
de mis sueños
La primera línea de mis milpas
donde las cárceles se desmoronan
y la esperanza nos abraza y abriga
sin temor a nada y nadie
Allí están los pueblos emplumados
juntándose uno por uno
para acabar con el desvelo de la guerra
para cuidar las semillas
para alzar el polvo con nuestras danzas

*

Neither Spanish nor English
will serve to break us out of this jail called empire
El inglés el español los tenemos
que echar de nuestra lengua
desenraizarlos deslambrarnos
uproot upend unwire unlock
In english you can love cars
and not the homeless
En español te pueden gustar
los carros y no los ancianos
How can English free us?
Como podemos liberarnos
con el español?

"Land, like language," dice Mahmoud Darwish
"is inherited."

Heredé un inglés mochado un español pocho
Una tierra cercada, envenenada, un code switching para evitar el castigo
Construí paredes que muy poso quieren cruzar
Heredé una tierra perdida,
una tierra envenenada, sorda,
casi muda,
que tatarea cantos en el viento
lee labios como zurcos
Pierde conciencia,
se desmaya
mi tierra
en mi lengua

*

Molting
feathers
painted
tongue
ready
to bury
the invaders
the occupiers
the colonial settlers
the imperial national guard
the anti-dog soldiers
the gas guzzlers
they have us
plucking chicken
speed-up's
carpel tunnel
repetitive
global assembly-line
stress
when will we bury the pestilence?

*

Ah
farmworkers
we believe
the land
is trembling with cold
so we cover her
in quilts of crops
canals to anchor her soul
at night when she dreams
and will not be thirsty
patches of green yello black
red flowers, maize, potatoes,
beans, berries, apples, squash,
pumpkin, we cover her
so she is not cold
in the winter of our trails and tribulations
ah, migrant land workers
we make the land by walking
we make the land warm with our sweat
we make the land ours
embraced by hands, seeds, roots
and walks
we make the land ours with our work.

*

Where is our land
what happened to our seeds
why does my grandfather
plow with clouds
How did we get this way
plucking chickens, dismembering cows
processing apples, laughing drunk,
stuttering as if the dust did not speak
for us
My grandfather always reminded me
that the strongest deity, the most
powerful force in the natural world
were the clouds
The clouds carried rain, sunlight and our ancestors
on their backs.
The clouds, he said,
could blind you in fog or burst
you in rain and sunlight
He especially warned us of the serpent cloud
that zig-zagged its belly on the sky
descending on rivers and lakes
to drink water, quench
its journey.
(My grandfather, of course,
came from the place of clouds,
he was a son of the cloud people.)
Now his cloud people are no match
for the mushroom cloud
The serpent cloud hides in the stratosphere
afraid to drink the water
humans have dammed and made
Jetplanes slice with their turbines
the clouds,
no respect for their pilgrimages
between suns, rains, people,
Their only sorrow is not being able to connect
us once again.
The army of clouds only weapon are raindrops,
winds, the kiss between dirt and sky called lightning,
thunder. She does bit
march her armies, they walk, glide,
dance, rest on their backs,
looking down at humans
trying to see them as clouds, funny clouds,
serpent clouds, galloping to work
on the highway commute.
The clouds are perfect guerrillas
we slash them with our jet-wings
they envelope us, overwhelm us
make our landing instruments obsolete
We can't hear their demands:
stay out of my way,
get out of my body,
stay down there,
take care of your roots,
plug the smokestacks,
stop the carbon monoxide,
plug the tailpipes,
leave the rivers alone,
tear down the damns,
smash the human borders
that imperil
all clouds,
all cloud people,
all living beings
all of us.

*

"The universe is not made up of atoms," declared Muriel Rukeseyer, "It is made of stories."

When my story ends
she ends in the big bang
the big bang pounds on the drum
of my tongue
spitting and vibrating atom-stories, atom-words, atom-exclamation points
putting together molecules
onto paper, bark, howling waves
under the moon
the comal where I toast
my bread, my maize, my stories

*

Don't be afraid
of how I pray to my gods
Don't be afraid
of my prayers
don't be afraid
of those who believe
in different ways
to yours
Don't be afraid
of the reverent
of a god
you do't recognize
Don't be afraid
of how I pray
to our gods
but be very afraid
of my gods
be very afraid.

*

I invented English
so that my family
would not be mute, not hungry
I learned English
because Spanish
was beat out
of me.
My grandfather
learned Spanish
because Purépecha
was beat out
of him
Then I forgot
English because
I was kept out
of Purépecha
The I forgot Spanish
because English
drowned me

I vist my prison languages
every day
taking them out from behind the bars
one word at a time
one syllable at a time
My tongue will be free
My English'My spanish
My Purépecha
a cosmos for my next dream
of no jails no boundaries
no one telling me
not to talk.

*

Quetzalcoátl
jumps into the iron foundry fire
to save the world, the people
from the industrial smokestack cycle
of wars
Quetzalcoátl returns
as an urban pigeon
ill, can't fly, picks through the garbage
or waits for bread crumbs
from the homeless, Quetzal-
coátl's people
pigeoncoátl, snake-rat with wings
jumps into the smog
so that we are safe, reborn

*

The wobblies

Traversing the dust of my self,
my ancestors, my future seed
I claim the earth
I claim the spin
I claim the sun
I claim infinity
not for my self
but for her self
for earth
for the wobbling
for the sun
for space
have their own self-determination
as I have mine
because I am their offspring.

*

Todo
será
emplumado
o todo
será
destrozado:
vuelo
polvo
nubes
cuerpos
lenguas
lenguajes
serpientes
pájaros
tu sexo
tu amor
unión
de
tierras y cielos
abrazos y despedidas
auroras y desvelos
palabras y lodos
mujer y hombre
jotos y jotas
transversos humanos
voladores y arrastrados
espacios infinitos
encarcelados humanos
todo será emplumado
toda será emplumada
Dos, tres seres en mí en tí

Monday, February 20, 2012

Rubén Rangel: Old poems for new times & a short story

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"Somos Aztlán," mural by Emilio Aguayo; Seattle; UW Ethnic Cultural Center

man defines woman

puta/santa/hermana
explore and enjoy each other’s quirks and qualities
all men are assholes, she says.
and i can’t defend it as untrue.

So when i serenade you on the train
You think this is fucked up
trying to embarrass fat latina
But I don’t want to be with someone who’s afraid
to make a scene on the F train.

2oo4 bronx

*


Equal Opportunity Jail Poem 5inco
we out-number them

we out-number them
but that isn’t important
we have more strength
but that isn’t the main thing
we had the truth &
justice   
and they simply
kicked us in the mouth
& pulled us out by the hair


because
we held back
we held ourselves
back 
we did not release
all our power

knowing
there would be no turning back
& no copping out
because
they have .45 caliber guns &
all we have is the truth
but that isn’t enough, you see
and justice should be (more power
ful) enough

but for all we know
this could be
our last hour.


Equal Opportunity Jail Poem 3: Never Defeated

students going to jail—
the wino-brawlers & gangsters
24-hour grocery-store robbers
knew we were political
singing Quilapayun
in pinoy, Spanish
tagalog, english, swahili, farsi and creole
el Pueblo Unido the People United
fists raised
they knew                        we were
prisoners                          just like
                                        they were.


Equal Opportunity Jail Poem 6: Malcolm X

finally learned the African
song: we do not care
         if we go to jail
(bail money, political prisoners not criminals,
media coverage, who will organize while we're locked up…
and every Man-child of our ghettos is not a criminal but every Man-child of our ghettos is serving time
I am questioning your tactics…anyone can sit-in, a dog can sit, when he’s told, but to be a revolutionary
                                                asikatali no masha bowswa
zi zi mitzuli nekule ko

takes heart
(and no warrants or traffic tickets)
         it is for freedom
                                    that we surely go

um zee mah um twalo
ufuna madoda

         a heavy load, a heavy load
         and it will take some real strength

strength and unity
singing this African freedom song
until a sore-throat is overcome
with emotion hand-cuffed
singing in a round


Equal Opportunity Jail Poem 1: Police Van


they took us away in a police bus with grated windows
we sang el pueblo unido
and thought about the future generations
or the present generation that wanted
to leap into the future
& the masses
crowded around the enemy van
that had easily
too easily captured
our main forces
the people
el pueblo
gente unida
raza united
surrounding the police van
were not afraid
of the machinery
jamás será vencido
will never be defeated
the people pounding pounding angry
against the windows
& wanting to cry
with their fists

*


Sept 11 Rant in the Future Tense

These will not be terror times / these will not be peace times / these will be the times of choosing easy lies over shameful truths / of buying the cheapest made most malnourished lies / the most twisted legitimacies/  when everyone will want to sympathize and no one will want to analyze / when the limits of pain will only go back to last Tuesday

not to el 11 de septiembre that tank-rolled through Santiago
when the media could be shut out / when the press was a parrot on the General's shoulder/when there was no click, no recent post, no blog, no tweet / when history was the theatre of the absurdities / and the prison guards were the only avant garde of the vulgar / of torture and more torture / and words were tortured to death  to extract useful intelligence and useless ignorance but  no useful meaning/ no useful contentment

everything is different now / yet everything is the same / cloaked racism / drone killings / stealth sexism / to end the tyranny of select tyrants/ in defense of Afghan women / who didn't matter to the oily pigs yesterday / nor the day before / nor the century before the Shah/nor the eon after shah-zmat

and that's how I know everything is the same / because I have the memory / of ranting patriots / from decades before / and they can't erase what I choose to remember / and they cannot erase what you know to be true no matter how cruel this attack is at the heart of the World Trade

now greed will be different / boundless and shameless and blame will go hiding and the high tech taxi will not stop in my neighborhood/ and now the inhumane will be acceptable to maintain the unacceptable concentration of wealth and arrogance

and the wax museum of celebrities / will sweats out bullets and surgical bombs / and the pop star will keep smiling and selling jeans / bras/ deodorant / justifyin / as if the stench could be sprayed away / the whiffs of fascism perfumed in wiretaps and painless loss of life / loss of liberty / loss of happiness / near silent drones and near silent worker drones

united i stand / it seems with almost no one / I stand un-united with waves and waves of mustard yellow ribbons / attached to gulping big wheel sport utility vehicles / which are never used for sport / nor utility or humility/ vehicles of madness and insensation

garbage hidden from Fifth Avenue sidewalks / if we can't see it then it doesn't exist/
and everything will be okay / because we are the Good Guys / and the universe is just jealous and envious / like that ugly fat girl at the back of the classroom watching real life dramas unfold before her / but will never get asked to the prom

yet finally someone will be willing to say: not in my name/ not in my neighborhood / not in my nation trampled under Gods / of cybersex and Californication and ink stained Press-titution

and the black boy with the boom box / will step out into the wilderness / and will be drafted into this war / whether he  enlists or not

sept-octubre, 2001
bronx

*

The Event 2012

1

I get on a bus and it’s filled with old raddies, WPA types and petite bourgeois intellectuals with fading yellow pamphlets and antiquated membership sheets who ask me to join their Event Society but it’s none too clear what the Event Society is or how I might participate. Yet I am intriguingly drawn in as they temper their wit and acerbic commentary enough to convince me. I’m new to the city either SF or NYC and I like their almost self-inflicted politics.

At the event...

2

They sit at the Friends of Woodrow Wilson Guthrie Table but are not patrons or benefactors, just the last living souls who actually knew the Ramblin Guitar Man, The Johnny Appleseed of Blowin’ in the Wind. They aren’t dressed properly for a formal dinner and they are unimpressed with the fancy feast and the longwinded speeches. They want to start a breakaway Event but they know this is where the radicals unite even tho the Event has gone on so many years that it hardly even mentions Woodie and there is even some fierce debate as to whether it’s the 42nd or the 40th Anniversary of the Event.

I start to tell them I actually met Woodie once, not like them, of course...

3

Can’t escape the consumerism of the iPad WorldMart...

But I try... 

I will finally get to tell them at the end of my story that W not (Dubya) was wheeled in to see a dying Betty Marion and no one had ever thought to give him a guitar, but I gives him mine and whisper in his Parkinson’s Alzheimer deaf ear “This Machine Kills Fascists” and he begins to play and sing...full of youthful sparkle even at the age of eight decades....

4

And I want to cry and yet I don’t because he doesn’t play any of his famously popular tunes but an original Gutherie lefty ditty:

Irak, Iran, Afghanistan
Don’t let ‘em convince you
That you shouldn’t give a damn.

Detroit, or Princeton
Or Southern Alabama
We’ll never go back to Viet Nam...

5

Meanwhile, tho, I’m caught in a vortex or slights and multi layered entendres...and we are booted out or walk out of the event in protest. In the hotel elevata, Louie Poet challenges me to find meaning in the meaningless dribble of the Event or the psychotic rabble of his comrade friends and we almost miss my floor. The maid actually has to tie her apron and pry us up to the in between floor and all the rooms are non-sequential, get it?

6

And for the second time I leave an old timer waiting at my thin wooden door (they will not enter unless properly invited in). And as we enter I confide that I will write a poem on the old tennie-shoe that blocks the doorway.  And he booms Now! Write it now with such urgency that I am flustered and begin to paint in bright oranges and blues...

7

Someday the iPad will refuse to send our missive or even record them in our Drafts folder as pre censored...

I pray as the screen fills with phantom type that has no ink jet, no black and red ribbon, nor hard drive that I control...

I can’t stop it from auto spell.

Back to the dialog with Louie Poet “Are they angry that they didn’t get to speak?”
No.
Are they upset that the politics is too bland? That was Jessica Alba giving 2 million to StopGreedStreet.  (A word I invented nalgatraficantes...)
No.
They’re offended that it’s not focused on Woodie’s life anymore. Is that it?
Yes.
______________________________________________


Editor's Note: Rubén Rangel is mainly a poet, who's tied and tried his hands at civilizational-change community organizing. When he was in high school, he won a state poetry prize and showed great promise. Instead he ran into me, chipping his philosophical teeth on my forehead, and forever joined the good red road, making us different.
A migrant of sorts, Rubén Rangel moved to New York City, making the trek from one of many farm-worker valleys, to make love and revolution in the Big Apple. Like a good New Yorker, he now spends summers and winters with his roots. I don't know if he considers himself a Chicano; I don't. He was mentored by the Chicano poetics and liberation-aspiring visions; his work is a bridge between the Chicano and the movements he has participated in and lead. He has authored a young adult novel; unpublished. He has won numerous awards since high school and has mountains of unpublished poems and stories, and more yet to tell and write down. These particular poems chronicle student and youth struggles for equality and equal access to higher education in Seattle. EOP could stand for East Oakland Proletariat. Here Rubén Rangel is talking about the Equal Opportunity Program, affirmative action, civil rights meant to integrate the university and make it relevant to the future of our country and her communities. These poems represent the sit-ins and civil disobedience actions that young Chican@s, Filipinos, other Asians and African Americans took to keep the University of Washington accessible to people of color on our terms. The short story is a snapshot of a New York political community, I suppose, and her contradictions. I'm just saying.   -- Arnoldo García