TSIKURI
“ La madre tierra te ve con su nierika [pintura tejida], instrumento para ver, que sirve como espejo y escudo…
una ofrenda elaborada…. Las rayas simbolizan las palabras de la madre que, según [la] artista, ‘te habla, pero no le
entiendes’. ”
Centro de Investigación Wixárika citando artista Xitaima Lucía Lemus de la Cruz,
( sobre su obra, Nuestra Madre Tierra Fértil / Tatéi kwié tinetɨ awetɨ), 1981
TSIKURI
that all the world be a spindling arm, where weapons spin so fast they become stars—
stars, where weapons spin so fast; they are no longer tactile but imaginary. suspended in mid-air
mid-air spin like stars, imaginary weapons sit in the eye of god*.
es decir,
es decir,
a weapon sits in the eye of god. draw in & tuck / tuck & draw in the wand so that we may see
see, un día puede que no seamos de esta tierra you says. i know what you mean, we walk not with gods;
instead through black topographies where the light of stars & weapons serve as only our guide
thru the dark
someone says, dancing man dancing aztec for coins singing aztec for coins you says,
son tiempos de incertidumbre— déjalo cantar. you says, en estos tiempos de incertidumbre
déjalo.
*god (the one whose gossamer thread sews guardians into) :
/THE BOY/
c. melín lara (a.k.a Car Lara) is a multidisciplinary artist and experimental writer of Mexican and Honduran heritage, born and living in Queens, NYC. A recipient of the 2024–25 Emerge–Surface–Be Fellowship, their work explores transculturality and mythic-domestic entanglements through translation play, formal experiments with typographical symbols and asemic transliterations. It has appeared in Noir Sauna, the Poetry Project Newsletter and Fine Print Press. @car1ara on IG & car1ara.carrd.co.