
Creole Hegemony
“2015 Small Axe Literary Competition — First Place, Poetry”.
Playa de Andres
Piedra volcánica that pricks the skin,the basalts up north have nothing on you.So what if the sea at edge wears you smooth?At center you’re rough—you jutinto the piel that doesn’t take time with you.
Only the jaivas have your scuttle downand they would flee when we hung lanternsat the cliff’s edge every moonless night.
A traer las sardinas, whole shoals of them.Wilson and my grandfather hushing mecuando la linterna revelaba formaswhere the water roared up into sea.
Bring a board with which to sit upon the rock,take your time, and cast a line into the dark. [End Page 111]
Blackout
Cut current, snap each neckto attention. Fans, lights,flickering, fondling, stop.
It gets so damn hot stickyevery body starts leavingHiroshima shadows of sweat.
The boredom physically hurtsafter fourth hour manuallyaerating the fishtank. Hey, look!
Inside each tiny bubble a City,absolute abject alone (exceptfor the fish.) What must atomic
people in bubble cities thinkof you, oh absent fatherin the cloying night? You left
just like the light. For work, foranother country. You’d callonce a fortnight, and when the power
went out I’d pick up the receiverand whisper into the phone: “Apagón,apagón, where have you gone?” [End Page 112]
Immigrant Fiction #1
From Lithuania lingonberry jam boltblue as the Baltic, thick asclotted blood
Hazy like visions GreatAunt Christiana had of hernever-born son
New worldswhere surf mewled upfrom sea like babies’ sour vomit.
We must place pectinon his chest, turn the firelow so sugars bubble.
Christiana reeking cat-piss, reading coffee grounds,whispering you after dinner when everyone else
ignored. Christiana, gap toothed,frumpy, so lost after your mother
our great grandmother, died.You taught me how to keep,
to add sugar, lemon, heat and rind for bitterness. [End Page 113]
Grandma, I love you but you’re a fascist
At first few, but every summermore apartments. Unfinishedbuildings left leaning in rain.The Haitian men who builtwould dream in them at night,their cooking fires glow likeamber. Like sap, like sap I sawa man fall down. Scaffoldcollapse. Nine, or ten, I ranto tell my grandma. Shesaid, “Bueno, por lo menos,hay uno menos.” I comefrom here, this burl of earth.
Abuelita, I love you, but youstill pray to Saint LyndonJohnson for delivering usfrom the comunistas in ’65.
My prayer differs. Like sap,that man clings to the air solet palms became palms; fingers,fronds. Teeth gnash into lianasoozing out all agony. Maywrapped vines turn into armsupturned to grasp, and let grassgreen weave a chest that unweavesinto a mountain: La CordilleraOccidental breathingsilver mist over Puerto Plata. [End Page 114]
Aboard El Pícaro
Firmament waters and our parents pierce them throwing us ina sleeping sea. My mother
bundles a rope about me. What if a knot slips? Her brother’s sailboata small dominion, pitching.
Back to the cabin! No, I’m not going in, but my uncle throws meoverboard so I can open my eyes
up vast underwaters where daylights dwindle down.I’ll keep this cold terror
of the open ocean until all my brightest days drown. [End Page 115]
Gideon’s Bible
Let’s call him Isaiah. I was seventeen the first time he died. On the dirty beach at dawn I encounter his blue body, sprawled.
I place a sprig of sea grape tover his milked eyes. He must’ve fallen off the boat taking him across.
Death by water I never understood until I swam in Lake Taghkanic, sweet dark and cloying she wouldn’t
hold me like all my oceans. That second time, in the motel bath tub with the television on dripping
water down the side; The Drowned Man thumbed pages of Gideon’s bible absent mindedly, observed the wood paneling
before mumbling: Who do you think braids the surf into the knees, twists the tide into your wrists? Let’s just
stack sea-glass until faraway mountains become the last Sunday bathers at the beach clinging to each other in the swell. [End Page 116]
Telenovela
He was cunning enough to break loose of hellwith one bristly pineapple under-arm, corneringanyone who would liste n: how boring the television was, that melodrama winding round his wrists like a boiledleather strap untilknots quicker than anyone, until the rapeseed oil ran down his chin, ruining her dress. [End Page 117]
Lincoln con Kennedy, 1989
Miseria is a carnival without stoplights where a lonepoliceman in colonial khakiis casi atropellado by fuguesof motorbikes donde hay ten
girls cantando entre snarlingcars y un one-armed mantrying to wash the windshieldof my mother’s Mercedeswith just a smile hay
Children too young balan-cing blue tubs of peanutbrittle upon so soft skullsy the most extreme caseof goiter que jamás verás
limping past in hot tears.Every now, then infantshanging from Haitianwomen brightly clad, smile. [End Page 118]
Immigrant Fiction #2
They came to. Passedfrom— Settling,They moved, Ran awayFled. fromWhere did they go?His mother isHer father, born into. They bothForget. Tried to.Sígueme. I know a man, havea Friend, have heard of a Placewhere we can all.
Roble
Grandfather never grew one hyacinth.No rosebud ever sprang from his dull spade.Instead, he would pick up old coconutsand with black carbón, blow orchids into themlike flames. He knew their proper names, too.Phalaenopsis and dendrobiumeran regalos when occasion demandedand escape when all else demanded too much.Yet, for the birth of his children’s children
el viejo plantó árboles:for Gabriella, a Caribbean pineto Daniél a royal palm, and I got a roble,an ironwood oak that grows, and grows. [End Page 119]
Mario Alejandro Ariza was born in Santo Domingo but grew up between Miami and the Dominican Republic. He currently teaches Spanish and history at a suburban Boston private school. The recipient of a Breadloaf Writers Conference work-study scholarship, his poetry and prose appear or are forthcoming in Gulf Coast, The Baffler, Bodega Magazine, Guernica, Lunaluna, the Rumpus, and Keep This Bag Away from Children.