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Shakespeare's Monkeys

Infinite Monkeys. Infinite Typewriters.

More in Jasmine's Poetry

Viva Mexico

Para Sonia: mi amiga, mi hermana, mi curandera. Te quiero mucho mucho.

The streets in Mexico are built
upon the spines of the Aztecs.
The cobblestones and concrete
fusing into one another like the
bentback vertebrae of the poor.
Buildings give leeway to alleys
lined up like soldiers
where children play with a make-shift ball
from old linen scraps as I walk by.

I'm back in a church where
morning mass is being assembled,
and my best friend is whispering
the priest's homily in english,
telling me precisely when to kneel
and when to stand:
"Levántese", he lilts
(stand up)
"Siéntese"
(sit down).

On the streets we walk to her cousin's Quinceañera
and her father stops to buy us mangos frescos,
or fresh mangoes, as best the crude Mexican accent
of the street vendor can recite.
I still remember the man carefully choosing
a heavy, ripe mango as full of juice
as a mother's breast,
red as a nipple freshly suckled,
its nectar trickling down my chin
and sliding through my throat,
my tongue lapping my fingers for more;
I have never tasted a mango as sweet.

When I was sixteen I danced with my best friend
to the mariachi horns and guitars of Mexico
on the carpet in the middle of my room,
while my stepfather wondered why we
were listening to that "tacorena bullshit."
At night we rebelled and ate mango slices
with a drizzle of chile sauce on top,
just to spite his big, stupid, penile ideals.

We grew up in Houston
where the Confederate flag
flies as high as the American one,
and prejudice is as abundant as
pick-up trucks, country music and rednecks.
The wetbacks toil in the fields,
building the gringos bigger and better houses,
until their backs are not wet at all with
the waters of the Rio Grande, but sweat.
I remember a brown, plump Mexican woman
in a grocery store explaining to her daughter
as she shrugged shrivelled green mangoes into her cart:
"Miha, esto es el sueño Americano"
(My love, this is the American dream)

Back in the slums of inner-city Houston,
a Mexican girl is raped by thugs, crying:
"Soy sólo un gringa sucia!
(I'm only a dirty white girl!)
Soy sólo un gringa sucia!"
(I'm only a dirty white girl!)
but the only answer is her
virgin's blood shed on concrete;
when it is over she will hike up her skirt,
wipe away her tears and hope
the child conceived and birthed in blood
will not have to suffer the ripe,
red sweetness of mangoes in Mexico.

Comments

Colleen - on Oct. 13 2008

 Jasmine, I enjoyed reading this... I loved the first two lines, they completely drew me into the rest of the poem... and I love what you did in the second stanza...

"and when to stand:
siéntese (stand up)
levántese (sit down)
I can still hear the lilt of the words:
siéntese (stand up)
levántese (sit down)"

 


Jasmine Mann - on Oct. 14 2008

 Thanks Colleen! The Poetry Festival really helped me get back into writing again. :D

-----
"Milk is for babies. When you grow up, you have to drink beer." - Arnold



"Milk is for babies. When you grow up, you have to drink beer." - Arnold
Tracey - on Oct. 14 2008

Jasmine,

I read this last night and overall loved it, but couldn't put more words together than the ones in my quick festival post. I love the title, because you really do bring your memories to life. The imagery is vivid and a great example of how showing works so much better than telling. Your "voice" is really strong here, as in the poem for your brother. It's like you've taken your work to another level. Brava!

I have just a few very small suggestions that may or may not resonate for you:

*  In s2 I'd tighten up the lines "and I can hear my best friend/whispering the priest's sermon to me" by doing something like:

"and my best friend whispers/the priest's sermon/telling me precisely..."

  • In that same stanza, I know the repetition of lines works for other readers. I might think about tightening this, too:

telling me precisely when to kneel

and when to stand.

I can still hear the lilt of the words:

siéntese (stand up)

levántese (sit down)
 

  • In s 3, I'd put a period or semi-colon at the second to last line and slightly edit the last line of the stanza:

I have never tasted a mango as sweet.

  • In s4, I'd move the period after bullshit inside the quotation mark.

 

I need to continue my comments in another post, as I can't see all of your poem on this comment page. More in a sec!

 


Tracey - on Oct. 14 2008

  • In s5, slight tightening by putting this line:

and the pick-up trucks of rednecks blast Garth Brooks,
 
into active voice:
 
and rednecks blast Garth Brooks from their pick-up trucks

You can remove the word "all" from:

The wetbacks all toil in the fields,
 
I'd consider putting all of the Spanish lines in italics, which I forgot to mention earlier:

"Miha, esto es el sueño Americano"
"My love, this is the American dream"
as she shrugged shrivelled green mangoes into her cart.
 
*s6   I think it's the girl, but I'm honestly not 100% sure if the thugs or the girl are crying, "Soy solo un gringa sucia." The reason: I know enough Spanish to get to here, but I don't know what "sucia" is. I think you need a line in English as well as you did in preceding stanzas.
 
I think you can tweak the line:

of her virgin's blood on the concrete;
 
to something like:
 
of virgin blood on concrete
 
 
 
Jasmine, this is a wonderful, wonderful poem.

Jasmine Mann - on Oct. 27 2008

 Thanks so much Tracey! I love all of your suggestions. I'll edit it when I get around to it. I'm such a slacker.

-----
"Milk is for babies. When you grow up, you have to drink beer." - Arnold



"Milk is for babies. When you grow up, you have to drink beer." - Arnold
Tracey - on Oct. 27 2008

 

You're entitled to be a slacker. Among other things, you're raising a child! I look forward to seeing this in its next iteration.

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