POSTS

Kristine Simelda

THE CENTURY PALM

I sprint down the narrow alleyway, arms pumping and feet flying. Boots pound the broken pavement behind me—blap, blap, blap. Babylon is hot on my tail. “Stop or we’ll shoot!” the cops holler like a line straight out of a movie.

        I pick up my pace. The pockets of my cargo jeans are stuffed with wads of lightweight cash instead of the bulky mangoes I pilfered in my youth, so I might have a chance. Yeah, man. If I can pull this off, everything is bound to improve. I can settle my debts, pay Ma’s doctor bills, liberate my sister from the gangsta who’s holding her captive, and maybe even wrangle a set of wheels. But first I have to ditch the law.

I race past closed shops and rundown shanties. A borrowed ski mask scratches at my eyes. Broken glass crunches underfoot, and ghetto dust that smells like stale pee fills my nose. A familiar voice rings in my ears when I swing around a tight corner. ‘Where you think you going, Lucien?’

Granny?

I lose concentration and step down on a nail sticking out from a rotten board. Blood gushes from the sole of my sneaker. I stagger into a dimly-lit doorway and try to pry the wood loose. It comes off in my hand, but the nail stays put. I stare at the pool collecting under my foot, and I start to feel giddy. But I can’t rest here for long.

The sound of angry voices launches me back onto the road. I tear off the sweat-soaked mask and see a telltale trail of red soaking into the dust. I limp toward the gate to the abandoned botanic gardens. For a moment I think to surrender. But the barrier that separates the innocence of my childhood from the chaos of this messed up modern world is right in front of me now. Breathless, scared shitless, I lunge toward the gate like a wild animal trying to escape its cage. Gunshots explode all around me. Sparks ricochet off of the chain link like fireworks. I vault up and over. My bulging pocket catches on a piece of stray wire on the way down. The bundle of money spills out while I struggle to get free. Fuck! I leave my pants hanging like forgotten laundry and hop across the lawn in my boxers. But the police have circled around and are waiting at the other end, so I pull up short.  

Lights flash and harsh words blare from bullhorns. I crouch down in the weeds under one of the few remaining trees in the place. Panting, I lean back against the trunk and gaze up through the huge umbrella-like foliage trying to come up with a plan. That’s when it dawns on me: I’m sheltering under the Century palm. According to family lore, it’s the same tree that my great-great-grandfather brought with him from England as a seedling and planted in our botanic gardens. Granny Lucy, who was my mentor and my round-a-bout namesake, used to bring me here during school holidays and tell me stories about days gone by. But now’s not the time to linger on memory lane. Things are extra crucial. I squeeze my eyes shut and hold my breath while seeds the size of ping pong balls rain down on my head. I don’t exhale until the cops pass me straight and head for the massive stand of bamboo where lovers meet and criminals lurk.

I’m thinking to make a break for it when I hear Granny’s voice again. ‘Can you believe it, Lucien? It’s been exactly one hundred years.’

The present moment slips away, and my mind rewinds to a simpler, happier time.

*

“Lucien, this tree is one of the most amazing plants in nature,” Granny Lucy used to say when we picnicked under the Century palm. “That’s why my grandfather, Sir Henry, brought a seedling along on the boat when he was appointed chief horticulturalist on this island. Near the end of its life, it sends up a flag pole from the center of its crown that turns into a Christmas tree when it blooms.”

I was just a little kid. “No way!” I giggled. “With baubles and lights and all?”

“Would I lie to you, boy?” She smiled and gave me a hug. “But it spends so much energy sending up that big shoot—making all those flowers and setting all that fruit—that it forgets about taking care of number one. Eight months later, it withers and dies.”

I didn’t like to hear about death since my father, Archie, had been killed in a car crash, but Granny Lucy continued talking as if dying was the natural thing to do. “Of course, I’ll never live to see it. It only happens once in a hundred years. That’s why it’s called the Century palm.”

“We’ll see it together, Gran,” I said hopefully.

“No, Lucien. By that time I’ll be gone. But if you keep your eyes open, you’re sure to witness it for yourself.”

Things were different after Granny passed on. My life wasn’t fun like before. I begged Ma to take me to visit the Century palm, but she never did. Then the weather on the island began to change. It was broiling hot and hardly ever rained. Rivers dried up, and water, which had always been so plentiful, had to be rationed. People used buckets and old metal drums to collect dew off their roofs, but there was barely enough water to keep mosquito larva afloat. After the island’s crops failed, folks weren’t much interested in anything beyond day-to-day survival. Horticulture was considered a lost art, and Sir Henry’s prized botanic gardens were permanently closed.

When Ma got sick with a viral fever, she lost her job. Things were tight at home, so I joined a teenage gang to free myself up. Granny would be vexed to know that smoking weed and jamming rude music with my partners was suddenly more interesting than family life. But as far as I could reckon, there was only one way to get the cash I needed for Ma’s medicine and to score the drugs I was hooked on. I started out stealing from friends and neighbors, and then I moved up to robbing gas stations, small businesses, and finally ATMs. I’d been running from a cash machine tonight, but I shoulda known that on a small island like this there’s really no place to hide.

*

So here I sit under the same tree where Granny used to bring me when I was small—caught like a rat in a trap, stuck like a fly on a strip of sticky yellow paper. I go to reach into my pants pocket for something to ease my mind, and I’m surprised to find I’m not wearing any—pants, that is. I left them attached to the gate.   

Something in the air shifts, like a bell being struck in the distance. The wind moans, and the dead leaves of the Century palm rattle against its trunk like shak-shaks in an old-fashioned jing ping band. Shak, shaka-shaka, shak. Time stands still for a moment and then fast-forwards. When I look up, I see a translucent sprout that looks like a fountain shooting from the palm’s crown just like Granny told me it would. It’s covered with thousands of white blossoms that shine like magic against the dark sky. Ghostly shapes that are either bats or jumbies slam into the ripe fruit. The moon passes through all of its phases eight separate times. I feel the ground shake. Then a long drawn-out cracking sound echoes through the abandoned gardens. Right on schedule, the Century palm collapses. It flattens everything in its path including me, worthless, thiefing Lucien.

I expect to get some sympathy from Granny Lucy, but she seems amused instead.  ‘Eh, eh. Took you by surprise, not true? Don’t worry, Lucien. You’re too young to die.’

As usual, Granny’s right. I might be knocked out on the lawn, but I’m still breathing.  Maybe there’s still hope for a rude boy like me. Maybe it’s not too late to change.

*

Granny and I used to play a numbers game. To be born, she said, everyone had to have had two parents, four grandparents, eight great-grandparents, sixteen great-great-grandparents, and so on. Granny Lucy, her grandfather Sir Henry and his wife, Priscilla; their daughter Jasmine and her husband, Geoffrey; and my father, Archie, were all milling around in my head. I hoped they might have some positive advice to offer me, but most of the talk was negative. As far as I can remember, the conversation went something like this . . .

“Lucien. I’m really disappointed in you,” Sir Henry said, shaking his finger. “I thought a chap with your breeding would have had better sense than to get yourself into this kind of mess.”

I swallowed hard. “Believe me, sir; I didn’t plan it this way. Why’d you plant that big ole stupid tree in the first place if you knew it was going to self-destruct?”

Henry frowned and straightened his vest. “The Century palm is not on trial here, you are! But for your information, Lucien, I planted the tree because I was brought up to believe it was important to leave something meaningful behind for future generations. That’s why I married Priscilla. She was a respectable woman who I expected would raise up proper, God-fearing children.”

I cut my eyes at Priscilla. She looked kinda fuzzy. “Are you okay?” I asked.

“Lord help us to rise above our suffering,” she mumbled.

“Speak up!” Henry boomed. “How many times have I told you to enunciate clearly?”

She didn’t answer, only shrank further into her shell.

Sir Henry turned his attention back to me. “As I was saying, I planted the Century palm as a legacy. What, I wonder, will be your contribution?”

I shrugged. I had to admit I’d never given it much thought. “Maybe I’ll have some cute little kids someday,” I said.  

“To what avail? So you can teach them how to thief like you do? In your case, genetics must have gone astray.”

His daughter Jasmine interrupted. She died the year I was born, but I knew her from a picture Granny Lucy showed me when I was small. “Why are you always so judgmental, Papa?” she asked.

“Because I’ve been knighted!” Henry shouted.

But Jasmine didn’t back down like her mother. “Well, things are a lot different nowadays. I hope you haven’t forgotten how hard Geoff and I campaigned for social reform in the Caribbean so people could have choices about how they lived their lives.”

Sir Henry peered over the top of his wire-rimmed glasses and glared at her. “You always were a rabble-rouser, working on that radical newsletter and delivering it to foolish women like yourself by bicycle. And when you married that colored man, a Catholic nonetheless, things went from bad to worse.”  

I knew that Henry was a devout Christian with very strict beliefs, but the fact that he was prejudiced, intolerant of women, black folks, and Catholics was news to me.

“I loved Geoff,” Jasmine said. “Together, we fought for equal rights and justice.”

Geoffrey, a handsome devil, smiled. “And I loved Jazzy, too.”

“Ha!” Henry ranted. “You left her alone with those horrible half-breed children in order to pursue your own trumped-up political career! And when they finally threw you out of parliament, my daughter welcomed you home with open arms. Had you no pride, man?”

Hmm. Interesting. According to Granny, Geoffrey had been a good father, and Jasmine was a shining example of maternal love.

“Get a grip, Grandpa,” Lucy said. “This is about Lucien, not some grudge you have against my daddy.”

But rather than being insulted, Geoffrey seemed delighted. He winked at Henry and swatted Jasmine’s backside. “Let’s go, sweetheart,” he said.    

Henry, fuming, followed them out just as my father, Archie, butted in. “Luce? Aha! There you are. I’ve been looking for you.”

I wondered when he was going to show up. Don’t get me wrong. I liked Archie. He was generous and funny when he was sober. But when he was drunk, it was a whole other story.

Granny prickled even more. “Who invited you?”

Come to think of it, Sir Henry wasn’t the only one in the family who was prejudiced. She never could abide the fact that Archie, a pureblooded Kalinago Indian, stole my mother away to live on the reservation and then disrespected her. As far as she was concerned, Ma had wasted her energy trying to turn the savage into a decent man.

Accustomed to Gran’s hostility, my father carried on as usual. “I thought this was supposed to be a party,” he said, making me wonder if they had cask rum here in La-La Land. “By the way, son, how’s your mother? How’s Rosie?”

“Ma’s been sick for some time.”

At the mention of my mother’s illness, Granny really went off. “That’s why Lucien took to stealing,” she said. “If you hadn’t been such a vagabond, there might have been something left over for Rose and the children when you died.”   

It was past time for this conversation to get real. “Actually, helping Ma wasn’t the only reason for my thiefing. I was greedy and hooked on drugs,” I said.

My father didn’t seem to hear me. He was already on the move, probably headed to the next rum shop. But by the way he looked at me before he faded into the background, I could tell he was disappointed.

“Wait!” I pleaded. “I can change! I’ll make you proud someday!” But Archie just kept on walking.

I turned to face Granny, who seemed to be the only one willing to listen. “Gran, I’m sorry I let you down. I love you, and I never meant to cause you any pain. I promise I’ll try to do better from now on.”

She squeezed my hand. Granny liked to talk tough, but she was like a hard nut with a soft, sweet center when it came to dealing with me. “Apology accepted, Lucien. Everyone deserves a second chance. Let’s just hope you’re smart enough to take advantage of it. Now snap out of it, boy!”

*

I wake up in a clean but unfamiliar bed as if Granny had waved a magic wand. My girlfriend Patsy is bent over me with a worried look on her face. “Boy, Lucien. That was some fever you had going on. We thought we were gonna lose you for a time.”

“Fever? What fever? Where am I?”

“You’re in the hospital. The doctors said you might have got tetanus in your foot. They gave you a series of injections. Whatever it was, it caused you to hallucinate bad, man.”

“What did I say?”

“You kept on raving about losing your pants.”

When I check under the sheets, I see that my foot’s bandaged, and I’m wearing the same boxer shorts as in the gardens. “Patsy, do you have any idea what happened to my jeans?”

“You were wearing those same boxers when you were admitted.”

“And what about the money?”

“What money?”

I decide it’s best to change the subject. “Never mind. How’s Ma?”

“Your mom’s doing better,” Patsy says. “She’s been to visit you every day.”

“How long have I been in here?”

“Over a week. But the doctors said as soon as the fever broke, you could go home. So many people are ill with the mosquito borne virus; I guess they need the bed.”

“Home to where?”

“Don’t you remember? We rented a house right before you got sick. It needs a lot of work—a couple of gallons of bleach to get rid of the smell and a new coat of paint—but the place is ours for the time.”

“Actually, I don’t remember much from before. How’re we gonna pay for it?”

“I got a job!”

“Doing what?”

“When the nurses saw what good care I took of you, they recommended me as an aide. I start next week.”

I can’t get over my luck. Somehow I’ve escaped from the cops, Ma is better, and I have a nice girl with a job plus a place to go home to. But then I remember the money. “Yeah, but what am I supposed to do to earn bread?”

Patsy has me sitting up in a wheelchair and is buttoning my shirt. “Don’t worry, baby, something will turn up.” She gives me a hug and a long, sweet kiss. “For now we just have to concentrate on getting you well.”

I grin. “I’m feeling better already.”

The bus ride through the ghetto to our shack is depressing. Peeling paint, derelict galvanized, and the smell of garbage are chronic. Partners dealing drugs and ladies of the night selling their bodies in broad daylight are draped on every corner. Old friends call out to me as we pass, but I turn my head and hold onto my girlfriend’s hand like a drowning man holds onto a life ring. A wave of déjà vu ripples through my gut when the bus turns into the alley that dead-ends at the botanic gardens.

Wait a minute. Was the scene with the cops chasing me real, or was it a hallucination caused by the fever? What about my bandaged foot and missing pants, not to mention the collapse of the Century palm and the time I spent in La-La Land with Granny Lucy and my troublesome ancestors?

I’m still wondering when I hobble inside the ramshackle house.

“Make yourself at home,” Patsy says. “I’ll warm up the food.”

I’m surprised to find a plastic leather recliner parked in front of a brand new TV set in the living room. I peep into the bedroom. “How’d you get the money for all this?”

“I took credit at Blings,” Patsy calls from the kitchen. “Once I start work, we can get a mirror and dresser to match the bed.”

I sigh and pick up her cell phone. I guess I left mine in my pants, wherever they are. I dial Ma. She sounds okay at first, but when I start to tell her about my run in with Granny and Archie, she doesn’t believe me.

“But it was so real. Archie even asked about you.” She sucks her teeth and cuts the call short.

While we eat, I quiz Patsy to see if she knows anything about a robbery that happened about a week ago. She thinks I’m talking about the news report that’s blaring from the TV. “Which robbery? There’s dozens of them every day.”

It’s time to come clean. “I might have robbed an ATM,” I whisper. “I kind of remember the Babylon chasing me. I stepped on a nail, lost my jeans with the stolen money in the pockets, and then the Century palm collapsed on top of me.”

“What collapsed?”

“The Century palm. The tree Sir Henry brought with him from England as a seedling.”

“Who’s Sir Henry?”

“Granny Lucy’s grandfather.”

“Granny Lucy?”

I realize I’ve never bothered to discuss my family history with Patsy. “Granny Lucy was the most important person in my life, besides Ma, and now you, of course.”

“You keep talking about money,” she says. “What money?”

“I guess that part might be wishful thinking.”

Patsy smiles and shows her dimples. “Lucien, you’re crazy, but I love you anyway.”

“I love you, too, baby.”  

*

Time passes. Patsy starts work, but I’m still too shell shocked to function. I can’t get the “incident” out of my mind. Friends call offering drugs, but I’m determined to stay clean. I need to look for a job, but I’m afraid to show my face on the block. So I stay inside the house brooding with the curtains drawn. Then one especially boring afternoon, I get up and wander outside. The yard looks like nobody cares. There are no trees or shrubs, not even a flower plant in an old paint tin to liven up the porch steps. I feel useless and ashamed. Why haven’t I bothered to try to fix the place up? I look longingly down the road toward the botanic gardens, the oasis that was special to me as a child. The gate is off its hinges, so it would be easy enough to squeeze through.

A mangy dog whines and beats its tail in the dirt as I wriggle inside. The place is like a desert now. There’s no trace of the Century palm or any other greenery, only a kind of corral made from branches of dead bamboo off in a corner. For some reason I start to cry. I guess it’s because everything that connected me to the past has disappeared, the present moment sucks, and I have no clue about the future. Tears are running down my cheeks when a voice—definitely not Granny’s—startles me.

“Lucien?” An old white man wearing a pith helmet with a ratty ole feather stuck in the hatband taps me on the shoulder.

I jump back. “Who are you, and how you know my name?”

He sets down his wheelbarrow and wipes his brow. “I used to work here. Your Granny Lucy and I are related.”

“Related how?”  

“By blood. I’m Henry.”

I study him. “Sir Henry?”

“You can drop the Sir, Lucien. I’ve come to realize that all that pomp and ceremony was ridiculous in the long view. Colonial times are gone, thank goodness. Everybody gets to be themselves now.”

“Okay. If you say so. What’s in the barrow?”

“Seedlings and whatnot.”

“What kind of seedlings?”

“Century palms. The ground was littered with seeds where the old tree used to be. I set up a nursery over there under the cover of the bamboo. Come on. I’ll show you.”

I follow him and his squeaking wheelbarrow across the parched lawn. He pushes back the circle of dead branches to reveal a patch of tilled ground. “Let’s plant the palms here,” he says. “If we water them regularly and give them some fertilizer, one or two might survive.”

“You want me to help you?”

“Everybody needs a little help.”

I’m surprised at Henry’s humility. I guess I’m not the only one in my family trying to change. Truth be told, I’m glad to have something constructive to do. Maybe caretaking runs in our genes after all.

“No problem, Henry. But maybe we should start with something that matures quicker. A Century palm takes a hundred years to flower, you know.”

“Of course I know. I’m just glad you were lucky enough to see it for yourself. But why not give your progeny the same opportunity?”

I’m unsure about the meaning of the word progeny, so I start to dig a hole. “You’re right,” I say eventually. “It would be good to leave something positive behind for posterity—that is, if I ever have any children.”

“Don’t worry. You will,” Henry says.

He seems so certain about my future that I believe him. We work side by side for a time before I get up the nerve to ask, “By the way, do you know anything about a robbery around here a while back?”

Henry grins mischievously. Then he gets up off his knees and walks to the barrow. With great flair, he pulls out my cargo jeans, the ski mask, and a blood-stained board like he’s some sorta magician. “Looking for these, boy?”

I try to snatch the evidence away, but he’s too quick.

“I was planning to burn these rags and bury the ashes in the same bed where we plant the seedlings. What do you think, Lucien?”

I nod. “Sounds like a plan, Henry.”

I’m so relieved I don’t even bother to ask what happened to the money.

Kristine Simelda was born in the US and has been a citizen of the Eastern Caribbean island of Dominica for the past twenty-five years. She is the author of three novels, a novella, two novels and a collection of short stories for young adults, as well as numerous works of published short fiction. Her debut novel, A Face in the River, was launched in 2015 by her imprint River Ridge Press Dominica and followed by the sequel, River of Fire in 2016. Nobody Owns the Rainbow is her latest work of Caribbean fiction. All are available from www.amazon.com in paperback and e-book as well as selected bookstores. Kristine currently lives on the edge of the rainforest where she writes, farms, and feeds large dogs. Her website is www.kristinesimelda.com.

 

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Ana Portnoy Brimmer

Backyard burial

“We’re finding dead people, people who have
been buried, [people] have made common graves […]
We’ve been told people have buried their family members
because they’re in places that have yet to be reached.”1

Dandelions sprouted from the splitting skin on the tip of her toes
                                  the grime snug between flesh and nail 
when I realized no one was coming

Five days had passed and my mother       
an oxygen-masked ghost at the flickering menace of a bulb 
                                                    grew garden-bed of chamomile and clover

No wailing sirens curled up the mountain    only wailing    
No machete-wielding rescue team    only my desperate swings to 
                                          clear a patch of welcoming ground 
No emergency funeral procession     only candles to drag her mossing 
                                          mound through humid darkness 
No relief helicopters on my driveway or half-a-roof    only overhead   like vultures circling                      
                                                         the dying with no promise of swoop devouring release 

I dug up a hole in the backyard    next to the flattened chicken coop
                                                 smell of damp rotting and excrement 
cleared slabs of zinc    branches   vine-choked fence   
and waited 


for a voice 
a footstep 
the slam of a car door 


instead
the dull thump of my mother’s body on hollowed wet earth 



1 The poem’s epigraph is a quote from the following article, “Hurricane Maria’s death toll in Puerto Rico is higher than official count, experts say”, by Omaya Sosa Pascual, published in the Miami Herald.  

A plea to Puerto Rico after hurricane María

All I have left is
spit and duct-tape
(and my spit is running dry)--
I will lick your wooden splinters into a house
        a salve to soothe the down-hill gash where it used to be
wrap your snapped trees whole again
             patch up the leak in your sky  
             your bleeding shore--
my tear-ducts    wells close to empty but 
I’ll cry your containers 
        in shaky hands full
fill your tired tanks to the top 
        drop by drop 
my hands have nothing to hold nothing
        to lose              let me             
cup your forced nakedness       hold 
our weeping people
        refugees in their own land
just give me a drink of water
a crumb to feast on
and tell me I can stay

This is not paradise

waters death-scented     chained corpses undulating to undercurrents  
waves whipping wildly  lunging layers of landscape suffocating the     
         lifeless   
weed glass and bottle caps    coconut missiles  palm projectiles  river branch bullets   aiming for
   
heads bobbing  hearts throbbing       because it’s all too beautiful
sun scorching scalps  blinding sockets      raindrops like army rockets drilling dents
into towel sprawled burning bodies        opening their mouths to say 
                  This is-      
         not what you think    these are not golden sands translucent waters and lush greens    this is not the place for flowered shirts    this is not sunshine and clear skies    this is not summer year-long    this is not a travel brochure    this is not a worry-free weekend    this is not a coconut-scented fantasy    this is not piña coladas and daiquiris    this is not yoga by the beach    this is not sun-bathing and cabana boy service    this is not made-in-china sarongs and beaded braids              
                  But this is-
         not your family summer    this is not those good old times    this is not like that movie you once saw     this is not an exotic getaway    this is not a tropical utopia    this is not an all-inclusive (exclusive of everyone except yourself)    this is not island life    this is not seaside living    this is not horseback riding by the shore    this is not sunsets and sangrias    this is not salsa, merengue, reggae and calypso all day every day  
                  Oh, this is-
         not a selfie-moment    this is not springbreak 2017    this is not a the-Island-in-a-day bus tour    this is not a romantic niche    this is not the-people-who-live-here-are-so-lucky    this is not your spa week    this is not an ocean clean of history    these are not fields free from memory    this is not a land unscarred by time    this is not a people of sunshine and amnesia    this is not an invitation    this is not yours this is not yours this is not yours this is not yours this is not yours this is not yours this is your dream
         soiled 
sandcastles     tourist skin sizzles and crackles   
you better put on more of that barbecue-block to   
protect you from the               truth                          is that                                this is not paradise


Ana Portnoy Brimmer is a Puerto Rican poet-performer, writer and ARTivist. She holds a BA and an MA in English from the University of Puerto Rico, and is an MFA candidate in Creative Writing at Rutgers University-Newark. She is the inaugural recipient of the Sandra Cisneros Fellowship, a Pushcart Prize nominee, and a co-organizer of the #PoetsForPuertoRico movement. Ana is also a Voices of Our Nations Arts Foundation fellow, an Under The Volcano fellow, a Las Dos Brujas Writing Workshop alumna, and an inaugural Moko Writers’ Workshop alumna. Her work has been published or is forthcoming in Gulf Coast, Foundry Journal, Sx Salon, Huizache, Kweli Journal, Centro Journal, among others. For more on her work, visit http://anaportnoybrimmer.com.

 

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Shivanee Ramlochan

La Criatura Handfasts the Forest

for Danielle Boodoo-Fortuné

She took a husband on the riverbank
after casting for his hearth tarot
through the coppice of his leaves.

Wayward she born,
bush delivered and sudden like
leaping moray tail slicing current.

Let no man say she never knew
what she wanted, or grew unable
to track her mate by the swells of Matelot.

She took him by the branch,
charting the progression of her sons
in his aspect of bayleaf and tamarind.

She knew him by his ease, by
the light in his forests that let in
all her several sisters:

solstice fox | pinnacle egret | the swan
who kept seasons by the shiver of wings
against the woman’s naked breast,

She knew her husband by the way all his
trees whispered, shy:
Bring me your creatures. Those you saved

from chainsaw and gravel hunger, from instrument
of collar and clamour and human want:
I have homes for them in me.

Relentless she chose, and married him with a silver leap,
claiming the residence that vetivered her wild skin,
knotting wedding rings like balata hearts in her palms.

That Barbaric Light

for Kriston Chen

I woke with the island making a new animal in me. 
I paid for the pirogue with my last bandage, stripped 
and cured it over the boatwoman’s cloven hoof. 
She dipped the oar, and the waters parted like bush
bracing for flambeau. She stroked the secret of my name
between the tines of her smile, slivering it for profit.

I went to the island because the animal asked me. 
One foot on Chacachacare, the boatwoman at my back,
I felt the old colony growl in welcome. Something creaked,
backbone or floorboard. Someone spoke, duenne or baptized. 
I raised my eyes to the coiled hair of the forest.
I read for promises in the inhuman tracks under my feet.

When I scaled the dying hospital, the animal followed. 
It spread wings over the bedposts,
cast the roof of its shelter beneath the abbey skylight.
Claw and palm, we muscled the darkness with an ancient nativity. 

I gave my sight for the animal’s eyes, my tongue for the animal’s song,
my pulse so the animal might make an island of me.

Summoner

for Anu Lakhan

And
there, at the bitten entrance of the island,
your skirt stripping itself back to switchgrass, 
you found the cure. You pulled the fletched arrow
from your lung, cast it deep,
watched it spread out in a sharp net, splintering.

And
there, fishing like this,
you seined up the cure for one year, and one night. You
balanced it in your pierced lungs, packing it for the hills. You
took the mountain by her hair,
roved her til you compassed up. 

And
there, in the notch-bordered jugular of the island,
you bathed the horses with the cure,
lavished them golden in the desert light, flecks of home
flying between your hair, the mountain’s, and theirs.

Photo credit: Marlon James

Shivanee Ramlochan is a Trinidadian book blogger, critic and poet. Her debut collection, Everyone Knows I Am a Haunting (Peepal Tree Press, 2017) was a finalist for the 2018 People’s Choice T&T Book of the Year, and was shortlisted for the 2018 Felix Dennis Forward Prize for Best First Collection.

 

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Juleus Ghunta

Mother Suffered From Memories

When she was fourteen
she fled Kendal on a market truck to Kingston.

The night blew air in her wounds.

She forgave grandma, then a single mother of six,
who fed her children with one hand
while choking them with the other.

The day her practised palm cracked my cheekbone,
I crawled into grief.

When I blamed her for my inability to love,
she reminded me of “the simple brokenness of [everybody]…
[the] lie of mothering…things we can’t rely on….”

These days her knees are falling apart
from years of bending to raise us up into dreams.

I no longer seek penitence for the beatings,
shaming, neglect–

mother suffered from memories.

The quote comes from Kwame Dawes’ poem Mother and Child.

Juleus Ghunta is a Jamaican poet and recipient of a Chevening Scholarship. He recently earned an MA in Peace Studies from the University of Bradford, UK. Ghunta’s poetry has appeared in several journals including The Missing Slate, Moko, Spillway, Chiron Review, Cordite 81: New Caribbean Writing, and In This Breadfruit Kingdom. He was awarded the Catherine James Poetry Prize by Interviewing the Caribbean in 2017. In 2015 and 2016 he was shortlisted for the Small Axe Poetry Prize. His picture book, Tata and the Big Bad Bull, was published by CaribbeanReads in May 2018 and launched in June 2018 at Bradford Literature Festival, UK. He is currently finalising the manuscript for his second picture book, Rohan Bullkin Learns to Read.

 

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Soyini Forde

Underside of Knowing

Branches draped elegiac,
possessive as lovers.

Everywhere the sun.
Lip of the horizon

split by teal sea. You’ve sewn me
up again, helped tuck twice-wound

ends away. ​Attend to my bruise garden:
cyclic, coiled stitches. Hands rooting

near the last caterwauling,
you reopened a rip unable

to mend.​ ​You said,​ We call
dat ol’ man’s beard
.

Much better than
Spanish moss,
I marvelled,

it gives trees
the wisdom they deserve.

My heart’s eye wide at the bark’s resignation
its acceptance of consequences.

When I think of a small mercy,
this sweet morsel forms on my tongue.

After Buju’s Love Sponge Since I was Never One

I said I didn’t want to be that, a poet who whines about love, wines for love, grinding gyrations pestle-heavy, thigh-drunk. My wild waist; you, hemmed by riddims. Slipknots of breath unwound from us. We were dark silhouettes on a wall. I preferred you not lyrically shooting batty bwoys, sounding death and damnation. Savoured open-throated moans clamouring, laughs bursting like ripe plums. What strains at the seam, scuttles out from memory’s trapdoor is this: years later, Buju entrapped in Babylon, and you, telling me how you nearly forgot, but your voice broke into a gravelly chant when the bassline dropped, never know you woulda really feel so nice. Stovetop you lit, pot you coaxed me into, glinting flanks you kept gnawing from—what would not be severed from bones. Your mouth is a nest of marabuntas, every sunken stinger’s anchor dragging me back.

Soyini Ayanna Forde is half Trini, half Guyanese and all diaspora. She has work in MokoSmall Axe, Apogee, Cleaver, and elsewhere. Her writing was deemed a notable essay in Best American Essays and nominated for a Pushcart. Her poetry chapbook, Taste of Hibiscus, is available from Dancing Girl Press. A graduate of the Stonecoast MFA program, she currently lives in Florida and blogs about West Indian culture, race, and occasionally, her love life at soyluv.wordpress.com/.

 

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Nia Andino

Mi Oración Egoista 

do you know
when the thunder boasts
and my cheeks bloom of frangipani 
it is a glorified asking

a Dios le pido 

for the land that scribes on the bottom of my heel
identifies me by weight and pressure
to drag my cartography to threshold
and scrape its sobbing memory outside my door

our family has a thing for forgetting
it is a convenience
                          until it is not
my shoe sings to swollen ankle
a line of mahogany and melancholy
drags a wing of yellow dockets and torn hibiscus
to a gentle flooding
where a hydrant becomes a displaced warming
for my body to remember

my grandfather's shoe song of seawater, soca and picket signs
swinging a gait of wandering jazz

for my body to remember

my grandmother's skin, a mural of stitches 
where life found its way to suckle and leave erratic braille 
for those who dare their love to touch her

for my body to remember

my mother living longer than being mothered

I tend to her dreams when she visits bodies of water
watch the river in her breath for when it appears too calm
cue my eyes to sing
mi oración egoista

que mi madre no se muera
y que mi padre me recuerde
a Dios le pido 
* 

and beg my face to decorate more than their memories

* Juanes, "A Dios Le Pido", Un Dia Normal 2003

For When Home is a Bruised Mango

La curandera told me Puerto Ricans are a people of always searching
I understood this
I searched for mangoes in school
The kind that had San Juan trade winds tucked in its skin
Or baked to the ends of copper and viridian by a St. Thomian sun
I knew if there were mangoes in school, someone would understand calypso on Saturday mornings was home carried through speakers 
And I knew I could find someone to hum the violins of El Cantante with me like Sunday hymns

My grandfather pushed his existence onto a boat between islands
He was forever bridging
But somehow my arms were always machetes
To the peering fish and bruised fruit my grandfather was smuggling in
Severing song hummed through local news stained on cardboard and fraying twine
His hands,
a crackling of black creases embalmed by cooking fat and ostentatious suns
Would unpack home into our sink
While I stirred fungi and plucked out the slimed okra
Asking from the nook of his side
If home remembered me
And if it sent me mangoes

Wind Griots

holding a conch to your ear
feels quite redundant 
if you stand in the water

but we carry on this act
and instill our glee
from sounds of abandoned homes

now the sea of blue tarps
you see from the mountaintops
rivals the ocean

I search the uphill of sand
where the palm tree fans
these shells in to splendored post

the best view for a griot
is comings and goings
to place bodies in stories
for the life of a queen conch
averages seven
too short for a retelling

still now I ask her
if she saw a man
who took his last breath alone

a tall shell of glistening black
back curved by a tree
with limbs of unforgetting

she sighs
a drowning
whisper
do not worry his hands
still smell of fish
in the afterlife

Nia Andino is a New York born visual artist, writer and graduate of Parsons School of Design. Raised with the culture of Caribbean stories in her home, she is drawn to elements of visual and verbal expression that reflect her Afro- Boricua/Caribbean roots, and the beauty and condition of the human soul. Her art has been collected and shown at several galleries in New York, New Jersey, California and Puerto Rico. She has created the art for the book covers of In Defense of Glitter and Rainbows and Mujeres, The Magic, The Movement, The Muse. Nia’s writing has been published in Moko Magazine, The Abuela Stories Project, Mujeres, The Magic, The Movement and The Muse and Latinas: Protests and Struggles in the 21st Century USA. You can view her work at http://www.andinostyles.com and follow her on Instagram at andino_styles.

 

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Summer Edward

forest psalmody

“Whoever moves within the forest can partake directly of sacredness…”

– from The Island Within

Oh let us hear,
upon this rock,

the forest singing in its mass,
Sabbath tongue

of tree and fan leaves
playing the wind, organ,

ululant strains
of dark and light.

Let us, to the littoral
niche of islands

named for saints─
Saint Giles, unspoiled

as the Hermit’s
transfigured face─

tread our weary way.
On behalf of your congregations

of the migrant, of the roaming,
I repent for roaming

too far. Our grandmothers knew
the forest, close

procession of canopies
humming godstongue to the sky,

how full the monastery of night
creatures grew in chorus

when silence was
the God’s truth of these isles.

Above, constellations seared
on a black anvil heaven,

but only the iguana scuttling through
the forest heard the forging

of our concrete history,
naked foot resting on a now-lost rock.

Let us go then as the Amerindian
to her sylvan worship,

hear the holy witness of mora,
the crappo’s ancient testimony.

Pause as black bodies
of tamanduas, still as zemis

before the dark orison
of a peccary, perhaps,

dying in the grave and ritual
circle of the guatacare grove.

Here, a lamentation of macaws
haunts the bois mulatre.

Across the river’s wide scroll,
bitterns write their lapidary scripture,

drill into moss-crusted stones,
gem the specular surface.

At shore, mangroves hunch over
studying the river’s illumination

as priestly caimans prostrate
in silk tabernacles of water.

To this stand of sacredness
we come supplicant,

from forgetful cities.
Shaking off the lonely

sleep of civilization, dead
growth of revolutions,

we sing the great forest lyric.
Oh quivering

librettos of undergrowth,
oh plainsong of the kiskidee,

oh musical ring of heartwood,
teach us to sing again in your language.

Our Lady of Acres,
grant us your benediction.

Open the folio of foliage, each leaf
of the canticle turning

toward a new-blooming age,
wildlife of recollection.

The understory telling
our human chronicle.

Bell apple of our Eden
tolling in perennial light.

Summer Edward, M.S.Ed., grew up as a third culture kid in Trinidad and the USA. An alumna of the University of Pennsylvania, her writing has been published in The MillionsThe Columbia ReviewHorn Book MagazineThe Missing SlateNew Daughters of Africa (HarperCollins, 2019), New Worlds, Old Ways: Speculative Tales from the Caribbean (Peepal Tree Press, 2016) and many more. She divides her time between her adopted hometown, Philly, and her Caribbean homeland, Trinidad and Tobago. Read more of her work at www.summeredward.com.

 

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Gilberte O’Sullivan

Down the Islands

For each wrinkle, a logical sin.
Seeing myself freckle smattered
Through your UVA tint
I finally understand
Why you won’t look at me.

Who commands a stare with hazel eyes:
an indecisive colour?
At sunset, these seas are hazel.
Atlantic bred assuredly,
but river-muddled.

In her ending days my French-Creole grandmother
Doused her grays auburn as these hills
Singed from too many bush fires,
Blotted her cheeks to look like mine. 
Until one day in dry season’s fury
Sun baptised my face,
The freckles would not stop.
Just so, islands can come from nowhere
To slow things down, staunch the common flow.

Granny must have found I was too far from her kind,
She turned in her lips to kiss hello
To preserve the last decency of her line.
She was afraid of sea-salt snagging her hairdos coarse,
Of mosquito jabs, that lingered on white thighs for weeks,
Of Blackwater Fever that killed her Parisian aunt,
Of over-deepened waters wiled up by the pirogue’s rush,
Winds that blew her strands out of place.
Worst of all, she could not see her reflection
in these broken shards of islands
with primitive sounds, mocking rhyme:
Monos, Gasparee, Chacachacare.
An outrage to tradition,
Submerging definition.
She feared my mummy’s sorceress hair,
glazed and thick as pitch,
would stir up terrible currents.

“There once was a man from Madras”
Her son, my father recited with bawdy joy
When he met my mother.
Such an indelicate way to woo,
But that was the effect of these waters’ brew.
Boldfaced are these islands,
Waters inter-braid and drown out legacy.

ii
What truth is there to bloodline, shoreline and sea?
And the portent fingers and toes,
that crumple like crepe in feckless, tourist strewn waters
Where the cruise ships let off their bowels fwey.

History itself is murky.
Part of me is Indian Ocean,
Part Afghan Rivers,
Part Riviera,
Along with the Paria’s Gulf
Yet I am servant to all.
‘Beke’ white, a ragged, overwashed colour,
I hold their sins mingling in me.
But what lurks these bays shrives impurity,
Befuddled by river, diluted by sea.

Gilberte O’Sullivanis a poet and writer from the island of Trinidad. She has recently published poems in Concrescence (Australia), Zanna (UK), Barren (USA), Voice of Eve (USA), pastsimple.org, Moko (BVI), and more, with forthcoming work in other journals. Gilberte is also an MFA candidate at the University of the West Indies.

 

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Celia Sorhaindo

Sugarcane Artists

He was a jus’ come artist,
they whispered behind
grizzled, green and yellow fingers.

But sometimes the best lessons
are self taught—
no more letters need come after
the name we decide to own—
a university degree my take us no further than
the arduous 360 degree trek we took
to find ourselves.

He was quietly confident;
courageous—
sugarcane raw talent.
Demons exorcised in
furious, cane-cutting,
cathartic cutlass strokes
on blank white canvas.

He taught me to see—
bravely mix colours; blue
green, violet, yellow, white
to make a brown boy’s body live;
paint with a violently emotional brush
dipped into the bright brash palette
of lineage and my view of my world.

Fear of Stones

I never thought I would have to fear stones—
like Kei’s Miss Mary boy, Mark;
like the heat seeking stray dogs,
the persistent indigents;
all pelted plenty.

Fear of stones—

like my Father, after his head
caught a missile at Carnival;
like the village after the river
batted storm-bowled boulders.

Metaphorical stones
(rocks from ages cleft for me)
these have landed hard for sure,
(built you a whole road not to follow)
but broke no bones.

As with objects
of dread or envy,
or things in the way,
obliterated by fire,
or cutlass courts,
perhaps this was yet another
innate island initiation; inevitable.

Yesterday I faced my first flying stone—
one I am implicated in choosing—I flinched,
held out flat hand as shield, even though
I knew only in games and good books can
paper conquer rock—

[Breathe out]
[Breathe in]

Must I turn to Jakuta or Stone?
I hope
it will take me to the end
of this poem to free me
from thrown-stone phobia.

My name is Celia Sorhaindo, a poet born in Dominica, West Indies. I lived many years in the UK and returned home in 2005. I was an organising committee member of the Nature Island Literary Festival and also the Dominica Link for Hands Across the Sea, a US based non-profit organisation which aims to help raise child literacy levels in the Eastern Caribbean.

My poems have been published in The Caribbean Writer, Moko Magazine, Interviewing The Caribbean, Susumba’s Book Bag and the New Daughters of Africa anthology. A poem of mine was also long-listed for the UK National Poetry Competition 2017/18.

I am a 2016 Cropper Foundation Creative Writers Workshop fellow, a Callaloo Creative Writing Workshop 2017 fellow and am currently finalizing my first poetry collection. 

 

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Janet McAdams translates Paura Rodríguez Leytón

22

An eye devised for night
spits out bright figures that dance in symmetry
/disorder
can’t reach the word for mulching the ground where
/we have lily dreams.
An eye devised for night
beats stealthily behind your ears,
proposes slow sentences interlacing daytime
/routines.
An eye devised for night
clothes you in the pelt of a lynx charging,
whose howls bruise the unmarkable,
who catches butterflies like words soaring on the
/wind.

22

Un ojo diseñado para la noche
escupe figuras brillantes que bailan en simétrico
/desorden,
no alcanza la palabra para abonar la tierra donde
/hemos soñado lirios.
Un ojo diseñado para la noche
late con sigilo detrás de tus orejas,
propone oraciones lentas que entrelazan las diurnas
/rutinas.
Un ojo diseñado para la noche
te pone la piel de lince que avanza frenético,
que aúlla magullando lo inmarcesible,
que atrapa mariposas como palabras caladas por el
/viento.

23

This thirst turns checkered over dog days,
dances to the rhythm of flies glistening above
/the table of afternoon napping.
At memory’s end,
I have the key to the desert.
A ritual’s machinery recurs in the afternoon’s
/whirring
opens in time like a mirror.
Anguished and tame is the afternoon’s melody:
making a nest to shelter our fears.

23

Esta sed se cuadricula en la canícula,
danza al ritmo de las moscas que brillan sobre
/la mesa de la siesta.
En el fondo del recuerdo,
tengo la llave del desierto.
La mecánica de un rito se repite en el zumbido
/de la tarde
que se abre como un espejo en el tiempo.
Angustiosa y doméstica es la melodía de la tarde:
diseñada con pequeñas madrigueras
para anidar nuestros miedos.

26

No, we’re not fire from a tide inhabited by voices.
Nor the quiet memory of a stone recording us
/in its blood.
A bird’s green song doesn’t come to brush against
/our eardrums.
No, we’re not the syllable occupying space in
/muteness.
Which bones instruct our shadow?
Sometimes, among the ruins,
we move luckily forward
ignoring our scar from angels in haste.

26

No, no somos el fuego de una marea habitada de voces.
Tampoco la memoria callada de la piedra nos registra
/en su sangre.
El verde canto de un pájaro no llega a rozarnos
/el tímpano.
No, no somos la sílaba que ocupa un espacio en
/la mudez.
¿Qué huesos edifican nuestra sombra?
A veces, entre las ruinas,
avanzamos dichosos
ignorando nuestro estigma de ángeles desalados.

translator’s note

Sharply wrought imagery and a gaze so intense as to be almost intimate—these are the forces that drive  Paura Rodríguez Leytón’s Small Changes (Pequeñas mudanzas). The three  untitled poems that appear in this issue exemplify Rodríguez Leytón’s world building, the dream-landscape perceived—and rendered—by “an eye devised for night” (“Un ojo deseñado para la noche.”) In translating these poems, I found I had to lean back fully into that dream-landscape, with its “thirst [turning] checkered over dog days” and its “lily dreams.” As figured as they are, the poems resist—they never settle for—conceit. In Rodríguez Leyton’s work, the image is everything; even, in the philosophical “No, we’re not fire from a tide inhabited by voices” (26), where ontological desire, the need to understand our essential nature is rendered largely through its negation: “we’re not fire . . . nor the quiet memory of a stone. . . No, we’re not the syllable occupying space in / muteness.” What a pleasure it has been to enter this world for a while to translate these poems.

Janet McAdams is the author of the poetry collections, The Island of Lost Luggage, which won the American Book Award, and Feral. A chapbook of speculative prose poems, Seven Boxes for the Country After, was published by Kent State Press in 2016. Her poems have appeared recently in Poetry, Spoon River Poetry Review, Southern Humanities Review, Shenandoah, and the anthology New Poets from Native Nations.

Paura Rodríguez Leytón (La Paz, 1973) is a poet and journalist. Her books include Del Árbol y la arcilla azul azul [From the Tree to the Blue Blue Clay] (Argentina, 1989); Ritos de viaje [Travel Rites] (La Paz, 2004; Caracas, 2007, ed. digital); Pez de Piedra [Stonefish] (La Paz, 2007) and Pequeñas mudanzas [Small Changes] (Colombia, 2017), which was the runner up for the 2017 Pilar Fernández Labrador International Poetry Prize (Premio Internacional de Poesía “Pilar Fernández Labrador” 2017).

 

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