The Legislation

A commission for a collaborative piece orchestrated by Carpetbag Brigade Physical Theater Company and Flam Chen, debuted at Arcosanti, Arizona in May 2014.

Photo: Jonathan VanBallenberghe

Photo: Maureen Medina

Above photos: Warren Van Nest, Melissa Dickman

Dear legislative body,

I write to you today
from a body of work
made by a working body
one that you call lawful,
one that I call lawless.

Let me try to understand you:

A lawful body is an understandable body
All bodies are lawful
as long as they are profitable
unless one is making profit off one's body––
then that's unlawful.

In which case, 

I confess first to the charge of self-possession,
confusing neurons for galaxies, see I feel
infinitely big and infinitely small. 

Herein our misunderstanding:

where you see separation
I smell sweat mixing,
where you proclaim nomenclature
I lose self through skin.

Am I making myself understood?

When we touch,
a lawful trespassing
of lightning butterflies
in a goosebump jitter
across skinscape.

I will have you know

your body of laws
cannot contain our bodies––

We hereto proclaim a fearlessness, unafraid of
the vermillion wilderness we carry inside
tight to bone, held to heart and not to standard.

Let me be clear:

your doublespeak,
ennui & entendre
innuendo et cetera
of a corpus litigious
look at this nonvicious
cuerpo cabal e infinito
asinine acediast
with gavel lawful

your body of laws
your laws of the body
and insecure systems:

ningún cuerpo es ilegal,
el cuerpo es un regalo húmedo
y fosforescente,
nuestra obra es santa
y la tuya podrida,

Dear sir,

we declare ourselves legal
we write our own papers
we love the bodies we will
we dance exonerated 

In conclusion,

I cannot tell where I end
and you begin.



a legible surveillance disclaimer
a distinct whine in blue sky
where drones roam freely
soon drones will keep quiet
a more convenient freedom
the windchime sounds unstable
the bee conducts search flower-by-flower
a swarm of self-directing drones
an obtuse infestation of bugs
a budding nest of security cameras
the trains of thought in choreography
a gold rush of data mining geology
a twenty twenty all aerial eyesight
an officious and casual voyeurism
a vain culture easiest to surveil
a watched society most secure
social media a great diy fbi fyi
a clear evolutionary craving
knowing what others are doing
security for whom & by whom
certain                cannot be used
prison regulates unemployment
war a fantastic job creator
self-surveillance smaller govt
the alibi sousveillance hobby
policing the self in private
a homegrown wet orwellian orgasm
or what do you have to hide anyway
you don’t know what you have to hide
until it has been finally found

First appeared in The Dictionary Project, Spring 2013

¿Por qué se nos va volando?

Porque el sol es grande grande y nosotros pequeños pequeños,
buscamos ser soles, los muchos todos que somos.
No es fácil ser cuando hay tanto que hacer, con todos
los quehaceres y todo lo que debemos a nuestros deberes.

Porque de tierra está hecha la tierra y de hecho todo
está hecho de tierra: los desplazados, los desterrados,
los enterradores, los recién migrados, los paracaidistas.
Con sangre se hace el lodo y hay de todo bajo el sol.

Porque el copiloto coyote nos cruce al azul:
horizonte-barda, de movimiento es el humano, altisonante salida:
azul azul nuestro sueño de siglos azul, del desapego está hecho el vuelo.
Nos cruzamos, soles, el cielo: lo logramos, todos solos, indiferentes.

Porque nosotros pequeños pequeños inventamos problemas
más pequeños para sentirnos menos pequeños que los problemas
con los cuales nos empequeñecemos. Es decir, una pregunta:
¿el sol se quema por celos del cielo, por vestirse de azul?

Porque discutimos atardeceres y el sol no sabe de qué diablos hablamos.
Pequeño día pequeño día pequeño día y así se acaba la vida.
Mar abajo, mar enventanillado. De lodo se hace el agua, mar adentro:
cuerpos de agua agitado, cuerpos con el sueño insólito de vuelo.

Porque el sol calmado, el mar calmado, el azul calmado.
Pero la tierra no se calma: pequeños pequeños nosotros,
por más pequeños que seamos, nunca quietos:
de inquietud estamos hechos; de soles nuestros sueños.

Three Circle Poems For Tucson

circle-poems side.jpg

I. Sunset after the long day

So many things a bullet can do
and most of all only one.
The weather just turned in Tucson;
it hadn’t seemed so cold this morning.

Most of all in this one, this
late dawn-drenched pueblo, sun metal-warm,
it hadn’t seemed so cold this morning
until bullet screamed first.

Gunmetal warm, tear-split pueblo,
a bullet interrupts, echoes, lingers
until all have screamed without wanting.
An exit wound in me, in every chest:

one bullet can find many bodies.
The political climate had slowly turned,
unforecast violence in every chest;
so many things a bullet can do.  

II. For my mother’s favorite politician

Most of all only one:
her smile rare for política. Smile,
the kind that seems a heart.
This morning your breaths are yours again.

A política rare, smiling:
contact at palms, one by one.
That morning your breaths stolen.
Finding them floating, you inhale them back.

Palms in contact, each one
with tears beading in palms,
find ourselves floating–
pull each other back– a smile is a circle we inhale,

deeply, until like you, we smile
the kind that seems a heart.
A circle breathed for each other
but most of all for only one.  

III. After Barack Obama

How well we have loved,
each of us, in our time,
widening ourselves into circles,
holding all inside our ribs.

But each of us in this time–
our instincts sharpened for gain–
hold all we can inside our stomachs
until each, alone, is sick with wanting.

Now, sharpen our instincts for empathy,
expand our moral imaginations
until solo sick wanting, left alone,
evaporates. We make believe

that all is already here,
widening the circle of our concern,
condensing our belief that now, making
each other well, we will love.

Three Circle Poems For Tucson by dirtyverbs

Colibrí Chilango


Un colibrí llega a mi azotea chilanga
y de repente todo me parece posible, aunque improbable:
flores donde no hay colores sino cemento,
metrópolis construida sobre metrópolis,
metrópolis suspendida sobre lago,
nervios tensos esperando tremores,
craneos esperando volcanes,
en fin todo, al final, todo finalmente.

Entonces colíbrí, ¿así? ¿Pero cómo?
Esta ciudad es cemento oxidado, ciudad suspendida
entre viaductos y periféricos, aviones internacionales
y humo humano ahorcador, colibrí júrame que vives así.

He oido lo que dicen de ti. Que eres el alma
de los guerreros aztecas que fallaron en batalla,
que eres el alma de las madres perdidas en el parto,
eso dicen, pero nunca les di la razón,

porque de ser así colibrí, esta ciudad estaría llena de ti:
viento vibrante, lleno del llanto de tus alas,
nubes negrillas resplandecientes con tus plumas,
mujeres acaso madres, muertas, chupaflores en cada florero,
zumbeando como moscas crecidas.
Por cada mexica muerto en el hecho de hacer ciudad,
un chupamirto aletea por un lecho de urbanidad:
cada mestizo urbano aplastado en el choque de dos mundos,
cada borracho azteca aplastado por el metro,
colibris viviendo en los tuneles como murciélagos.

Pero hoy te vi, colibrí, llegaste a mi azotea
entre el alambre viejo y caca de gato aun más vieja,
tú llegaste, y ya no tengo recurso,
tengo que creer

que en esta ciudad hay un sinfín de colibrís escondidos,
viviendo clandestinos en viveros, vivaces,
devorando el mercado de Jamaica por las noches,
atracando el azúcar, ratas de dos alas,
borrachos perdidos por las aguas frescas,
hambrientos, locos de horchata,
no me queda de otra
engo que creer

que hay corazones latiendo mil veces por minuto,
que hay alas batiendo doscientas veces por segundo,
que hay vuelo esperando a las madres muertas,
que hay un cielo heredado por aztecas asesinados,
así, tengo que creer

que aún hay colibrís en la Cd. de México,
DFectuoso ombligo donde todo es posible,
pero la vida no es segura, y tengo que creer
que un día de estos nuestras alas batirán este humo.

This Poem Writes the Ink


the ink writes the poet.
Headlines write the politics.
Sentences write the prisoners.
Textbooks write the memory,

lessons ignore everyone.
Grades make the student.
Students learn the teacher.

Jobs work the employee.
Streets drive the car.
TVs watch every household.
Religions rely on the fanatic.

Prices buy the customer.
Drugs do the poor.
Lines wait out the people.

Oil burns until
it runs us out,
airplanes fly themselves.

Dogs walk the owner.
Workers run the country.
Bicycles push the leg.
Forests make the rain.
Chocolates savor the tongue.
The sex makes the lover.
The baby births a mother.
The poet becomes a child.

Words write the poet,
poem writes the ink,
and poem makes the stage
seem small.

Live in NYC. Camera: moisés regla. Thanks to emily, geoff, eliel, geko, jon

Government Applause Ceremony

Pumping hands botox cheeks unjiggling photo op.
Budget speech—children are the future—
drugs are bad—
feedback squeal.

This passes for work. Elected officials, bored
reporters & governors, cops & whore dirvs,
robbers & parade pompous robbers,
taxdollars, tell-tale, checks unbalanced,
tale-tell, payola, no tale told.

Budget high heels hell to pay dirt,
pintail on donkey, elephant for peanut.
It goes to the head, to the headline,
headlong, headstrong soundbite.
Signature ceremony microphone,
government applause ceremony monotone,
cellphone monophone monotone
applause. The finger foods
run out

One Night And Your Hair

is everywhere: longblack
forget-me-nots tied in knots
around your pillow, in your sink,
in your kitchen, in your mirror.
It’s all yours now.

On your chest, between your toes,
under your nose and over your eyes,

It’s all yours now.
Laced with you,
graced with you,
thick traced with you,

etch-a-sketched with you,
wrapped in you,
hung torn breathed with you,

longblack you,
back to nails you,
one night you,
everything to do with you.

Your pillow, your mirror,
your kitchen, your sink,
your fingers and nose,
your chest and toes.

Rough, you left your hair
on what was once my pillow,
on what was once my chest,
in what was once my bed.

It’s all yours now.

Names for This

You Lightning-Flasher, Shirt-Raiser,
lack-of-control Power Blinker,
toss the trees around like wet cotton candy,
they’re drunk marionettes, Power Cutter,
Bed Rumbler. The night is a black-eye disco,
and you’re a violent drunk, Night Storm. Drenching
dreams, nowhere to go but right on top of us,
roof Slam-Dancer, Sky-Splitter Night Light,
Gutter-Defier, Waterfall-Caller tumbling down window panes,
Door-Groper, a puddle on the tile.
The nosleepers are listening to you,
Tomorrow-Maker, Midnight Rumbler.
Sharp clouds and nosleep,
yer no quitter, Kid, Mountain Bowler,
cement puddles, and a mud romance.

The clock blinking 12:00 in fear of You.

Nombres para esto

Tú Destellarayos, Levantacamisas,
Parpadeador neumático sincontrol,
zarandea los árboles como algodón de azúcar húmedo,
son títeres borrachos, Cortador de Poder,
Retumbacamas. La noche es un disco ojinegro,
Y tú eres un borracho violento, Tormenta Nocturna. Sueños
empapantes, ningún lugar a dónde ir salvo encima de nosotros,
Slambailador de techo, Luz Nocturna Cortacielos,
Desafíalcantarilla, Llamacascadas Tumbando paneles de ventanas,
Tientapuertas, un charco en la losa.
Los nodurmientes te están escuchando,
Hacedor de Mañanas, Retumbador de Mediasnoches.
Nubes afiladas y nodormir,
Tú nunca renuncias, chico, Lanzamontañas,
Charcos de cemento, y un amorío de lodo.

El reloj parpadea las 12:00 temiéndote.

Trad. de Alfredo Villegas Montejo

Nicaragua Night Hotel

The man who guards the front door sings to himself as he guards the front door. There’s one huge roof over the squat hotel, hovering over the rooms on columns. The rooms are a set of cement walls and a few flimsy doors.

Most of the guests try to bathe before trying to sleep through the slow tropic heat, and the showers have elaborate tiles which are old enough to be covered in something that looks like rust. Only near the door are the tiles smooth and bright, worn by feet into a thin trail. There are cement washtubs built into the corner of both small shower rooms. The guests never used to bathe with running water. Above, a single fluorescent tube is screwed into one of the vigas, the spiderwebs around it have become so clogged with dust that they have become the ceiling.

At night there are only the sounds. Men murmur to their lovers, water falls from a plastic pipe in the shower, the singing man guards the front door from a rocking chair. He will stand naked in the shower at dawn.

Then it starts to rain like teenagers throwing fistfuls of water against the fired-earth tiles of the roof. The drips start through the spiderwebs. Empty rocking chairs nod with the wind coming off the lake, which is running down the empty streets, looking for open doorways. If the guests were to take showers now, they’d run across the patio, trying to avoid the rain. They run their fans all night long, for the mosquitoes. For the sound.

A dog is echoing somewhere outside. Most of the guests are old. They’re asleep now, or laying awake waiting for drips, listening to the fans.

The man in the rocking chair also whistles. His tongue is a cello bow drawn across a bending handsaw. The flimsy doors are closed. Snoring harmonizes with the rain that harmonizes with the fans. The dog must be stuck on a roof somewhere.

The curtains are thin. The sheets are thinner. And the man who whistles a handsaw is the thinnest of all.

What Burns Above My House

There is so much happening in the sky
it's all we can do to keep ourselves distracted.

Late summer. The monsoon rolls in.
We set the mowers against the grass,
they graze like domesticated helicopters.
Their growl fills up the neighborhood.

Hawks float down from the foothills
bending the wind with their wide arms.
They watch for mice running from the mowers' whirling mouths.

The clear sky hemorrhages a beautiful white cancer,
the sun becomes more beautiful in its gradual eclipse
because we notice only transitions and invent things--like boredom-- 
to camouflage our moments.

Everything smells of clean electric sex.
The wind has distance on its breath.
The afternoon begins to explode.

A season like this
makes me wonder how we ever managed
to shove time into clocks and watches,
keeping time like a tiger on a leash,
oblivious to its obvious rebellion.

Sooner doesn't always come before later.
Now is never stuck in the middle.

The dirt roads will arrive eventually.
Today they're running late.

La Arquidiócesis

La Antigua, Guatemala, C.A.

Querido Adán,

I had to stop in for an americano after the experiencia that I've just had, and for that same experience it occurs to me that I should write you. It's true that there is a lot of tourism here in La Antigua, Guatemala, so much that a friend calls it "disneylandía." But the overall effect of wandering, sunburned foreigners, hostels and internet cafés is but a veneer––similar to the veneer of gringo culture that I've described as covering the southwest U.S. There are murmurings here in the still-rough streets. There is blood in the adobe of the collapsed churches. These are things that globalization can't touch. Sure, they gutted a colonial building and installed a puto McDonald's inside, leaving only the historic façade. In the end, it will matter little. Globalization's supposed danger is also its weakness––it is quick to spread, but stays shallow. Even as free trade agreements seek to change the course of Guatemala's history, they can do little against a volcano.

I'm thinking of the ephemeral nature of human civilization today, Adán. The experience that I mentioned at the opening of this letter has given me a good shake-up. Centroamérica is land of earthquakes and volcanoes, hence the shake-up. This city in particular has been hit so many times by earthquakes that the government decided to call it quits in the 18th century: they up and moved the capital to more stable ground, to what is now la Ciudad de Guatemala. Hence, this city became the "Antigua" Guatemala." Until the time of independence, it was nearly completely forgotten and abandoned.

Which, again, is a long intro (I'm one for long intros, no?) to the experience at hand: wandering the ruins of La Arquidiócesis de Guatemala, a giant cathedral ravaged by earthquakes. Soaring cupolas with their middles fallen out: standing below them and staring straight up, they form a decaying picture frame around the shifting clouds rolling off the volcano. The centers of arches have fallen to the ground, laying giant where pews once were, where exotic weeds now are. This is the leftovers of human civilization, immediately making it clear that nothing we do is permanent in the sense that we hope it will be.

The whole scene gets more complex when I start to think about what we were talking about in front of El Palacio de Cortéz that day in Cuernavaca: that nearly all churches in Hispanic America are built on indigenous holy sites and are constructed of the rocks of dismantled temples. Ritual remix in conquest, I think we called it. In the case of the Arquidiócesis, there are steps near the front of the main chamber which lead down into a smoke-filled crypt. Nine steps, somehow relating to the Mayan view of the underworld and its relation to the world of men. Candles are still kept burning here, hence the thick smoke that scarcely allows one to make out the dimensions of the chamber.

And who, querido Adán, has been buried here? Noneother than Pedro de Alverado, el conquistador de Centroamérica. Also his wife, killed a few years after him by torrential flooding. Still more impressive to my artsy-fartsy sensibilities is that Bernal Díaz del Castillo is also buried here. He was an early 17th century author that gave us what is the first approximately "peoples' history" of the Americas. He broke with the official line with "La Verdadera Historia de la Conquista de las Américas," which is a first person account written in response to the other histories which primarily concern themselves with glorifying Cortéz. Sometime-professors like me still use "La Verdadera Historia" in trying to teach the history of this continent. Fucking epic to be standing over his bones, carnal.

I then stood in another chamber of the crypt and––taking advantage of a burned-out lightbulb––I studied echoes and reverb for a time. Those rooms go beyond echo and let linger a solid tone, man. I've never heard anything like it.

Then I left and got a Happy Meal, which I ordered by shouting English at the Mayan descendant working the register.

Te mando un abrazo,


Arnold Duncan Doesn’t Live Here

I, the teacher with the twisted imaginationsay
draw yourself finding a treasure chest
just like Arnold Duncan.

And they, the students, eyes burning with kidfire,
flash bright teeth and smiles across their brown faces.
They know who Arnold Duncan is,

that old gringo with the beard from the story
we’re reading, another English story for English class
from our English textbook. And they know the story, but you,

you do not know the story. So, for
those of you not in Mr. Logan’s 4th Grade
English class, get this straight:

One. It was a sunny morning.
Two. Arnold Duncan went fishing.
Three. Arnold Duncan caught a treasure chest.

Four. Inside the chest were gold coins.
Doubloons is the vocabulary word.
And so my kids, these kids, they draw.

On the first page, dawn blooms an immense
sun, rising from the ocean like an Atlantis of fire,
just offshore from an imaginary place called San Francisco.

Second page, an ungainly man appears,
with a bright pink face and short arms. He
goes fishing in a boat the size of a skateboard.

Third page, Duncan’s fishing hook weaves
through the fishes, whales, turtles, dolphins and mermaids
until it snags itself on a brown chest of doubloons.

Last page. Duncan sits on the shore like an old man
finding out what he wants to be when he grows up,
too late. Spanish gold dripping through his fingers,

and his granddaughter sitting on his lap. Her head
is lopsided, her face is pink, and I, the teacher,
say very good. I think your drawings are beautiful,

beautiful like mermaids. Now, show me
your last drawing, the one in which you find
the treasure instead of Arnold Duncan.

And these kids, one after another, they unfold
their little illustrated books to show me their imaginations,
where they fill their small Mexican hands with Spanish doubloons.

Except inside, in these drawings, I don’t see my students.
Drawn inside, I don’t see their outsides. I see their imaginations,
I see how they see themselves and they’ve drawn

themselves with blond hair and pink skin,
brown hair and peach skin, light hair
and light eyes, rose cheeks and blue eyes,

every combination except ink black hair
and deep olive dark skin. Who are these
kids in these drawings? I ask,

Frida, who did you draw?

It’s me, teacher, says Frida Itzel, smiling
at me with all of her nine years, her strong,
wide face smooth and open.

Something inside me seems to pull too tight.
My beautiful students have disguised themselves,
they’ve hidden themselves from themselves,

a gone-wrong game of hide and seek.
They’re too young to see the danger,
too young to recognize their misrecognition.

My nine-year-olds draw themselves
to match the kids on the TV that
make the laughtrack laugh back.

My moreno students draw themselves
to match the kids in the cartoons, whose
dubbed voices speak Spanish through white faces.

These grinning innocents reimagine
themselves with the help of Hollywood,
see themselves in cities that are ununderstandable

jumbles that don’t look like home. And when
my students find treasure chests, they’re not
filled with pesos, or even with doubloons,

but with green dollars, they draw North
American loot. And I realize that my students
lack the colored pencils to draw themselves correctly.

And I realize that my students spend
half of their school day in my English class,
and the other half learning everything else,

because that is how their parents imagine
a better future for them. And I realize that
this school hired me because I look like

what an English speaker should look like,
and they see English as the hook to catch all
opportunity. I realize that the people

who write movies write sitcoms write laws
are the same people who write textbooks
and Arnold Duncan is just another textbook story.

My class of twenty-two kids stares at me.
And I realize that this teacher has got the
assignment all wrong. I should’ve said

people like Arnold Duncan can go fishing
and find a fortune, but that’s never going
to happen to you, Frida. You have to

imagine yourself from the inside out,
not the outside in, and disbelieve the TV
when it says that it knows who you are.

Fortunes that last are not made of doubloons,
dollars, or even pesos. They are made of a mind
that allows you to imagine all of the mermaids

in the ocean and all of the possibilities under
the sun. Look for other colored pencils, draw,
never stop drawing, and smile when you look in the mirror.

Arnold Duncan can keep
his treasure, because you
Frida, querida, you are your own.

Tell Me You’ll Never See Her Again

Her breath—
the one she’ll remember, word-triggered by his
short, unexpected reply, fewer syllables than she
would’ve liked. No.

That breath—
too loud in the theatre.
Everyone’s necks twist
around like old wood,
eyebrows compacted,
everyone’s tongue
either a question mark
or an exclamation

A breath—
unable to fly,
pushed out of the nest
of her mouth, falling.
His hand, a five-word
consolation left unsaid,
kept to himself.

Unbreathing now,
all eyes. A moment
like a swinging axe.
Lungs waiting,
blood slowing.
She stands, moves
to the aisle, walks,
leaves. Dark in the
theatre, flickering
faces. Dark outside,
trees left naked.

She doesn’t
breathe again
until she can be
sure of where the
air will come from.
And where
it will go.

Three Times el Búho Speaks

The Student Movement, México, 1968


You cannot tell us to return home,
not tonight y no nunca.
We have 300,000 question marks
assembled in this plaza, arm-in-arm.
We have the railworkers,
we have the constitution,
we have climbed to ring
the bells of la catedral,
we have marched through
the worry of our mothers,
we have marched silently
through Cuauhtémoc, our half-a-million
lips holding this government to its word.

You cannot call us agitators,
for we know the agitators:
ignorance, hunger and misery.


La raza está acelerada, the government shares
the paranoia of its president.
Hermana, do you hear me? They tell us
we are the future and deny us the present,
we will not wait until we are seventy.

Hermana, who sent the helicopter?
Hermanita, who started the shooting?
Why did bayonets grin at screaming children?
What priest kept la iglesia shut as we were smearing against its doors,
and why is this ambulance not being allowed to pass,
to take your whitening body
to the government hospital?


Youth is the fertile soil of hope.
The hope that once grew of us
is the same esperanza that
now withers under bullets.

Know our mothers,
whose fleeing feet forget their shoes.
Know our sisters, whose revolution
is flowing easily out of them, faces down.
Know that our brothers are fed shadows
in some nameless place that they never believed in.

Celebrate for us, México,
the Olympics that start in a week.
Pueblo, open your eyes wide enough to enjoy
all the years which we will not see,

for our bodies are falling silently
from the dull military plane into the
waiting lulls of the dark Pacific.

Tres veces habló el BúhoEl Movimiento Estudiantil, México, 1968


No pueden decirnos que vayamos a casa,
no esta noche y no nunca.
Hemos reunido 300,000 preguntas en esta plaza,
y van tomadas del brazo.
Tenemos a los trabajadores ferroviarios,
tenemos la constitución y hemos subido
a la torre de la catedral a tañer sus campanas.
Hemos marchado a pesar de la preocupación
de nuestras madres, hemos marchado silenciosamente
por Cuauhtémoc, nuestro medio millón de labios forzando
al gobierno a cumplir su palabra.

No pueden llamarnos agitadores,
pues conocemos a los verdaderos:
la ignorancia, el hambre y la miseria.


La raza está acelerada,
el gobierno comparte
la paranoia de su presidente.
Hermana, ¿me escuchas?
Nos dicen que somos el futuro
y nos niegan el presente,
no esperaremos a cumplir setenta años.

Hermana, ¿Quién envió el helicóptero?
Hermanita, ¿Quién empezó el tiroteo?
¿Por qué las bayonetas les sonrieron a los niños que gritaban?
¿Qué sacerdote mantuvo la iglesia
cerrada mientras nuestra sangre
se embarraba en sus puertas,
y por qué no le permiten el paso
a esta ambulancia para llevar
tu pálido cuerpo al hospital público?


La juventud es el fértil suelo de la esperanza.
La esperanza que alguna vez albergamos
es la misma esperanza que ahora se marchita bajo las balas.

Conozcan a nuestras madres, cuyos
pies olvidan los zapatos al huir.
Conozcan a nuestras hermanas,
cuya revolucionaria sangre fluye
fácilmente de ellas, mientras,
boca bajo, yacen en el suelo.
Sepan que nuestros hermanos
se alimentan de sombras en un lugar
sin nombre en el que nunca creyeron.

Celebra por nosotros, tú, México,
las Olimpiadas que empiezan en una semana.
Pueblo, abre bien tus ojos para disfrutar
todos los años que no veremos,

pues nuestros cuerpos están cayendo
silenciosamente de un sombrío avión
militar a la adormecedora
espera del oscuro Pacífico.

Fair Warning (Yonder Dinosaurs Cometh)

The dinosaurs didn’t die
out. They went underground
and waited for you mammals
to build them palaces.
They sent the birds
to spy on your hubris.
It was a dinosaur who
leaked to human science
that it is possible to burn
their dead bodies as oil. 
The dinosaurs giveth
and the dinosaurs yanketh
it all back. They have colonized
the imaginations of the young
boys and increasingly the girls’.
The dinosaurs are masters
of irony. It was their idea
to make plastic toys
of themselves. Plastic is
of course made of oil.
Toys of course occupy the
children’s’ hands. The 
dinosaurs teach the children
to cheat on government tests.
They survive on lost socks,
banana peels and our ignorance.
They survive underground.
Don’t you understand, you
sweaty, hairy monkey?
It’s the dinosaurs who are
responsible for global warming!
They’re heating up this terrarium
for their impending return.
Environmentalism is a distraction.

Terrorism is a distraction.
Your monkey sex life 
is a distraction. That’s
why the birds look at you
they way they do! And still
you feed them birdseed, 
you ignorant bipeds.
Of course they’re pretty.
So are swords, you
devolved sack of warm blood!
Don’t believe the paleontologist
propaganda. Our museums are filled
with lies. Our museums 
are filled with pro-dinosaur
bullshit! Our pathetic poetry
ignores their teeth. The 
boogeyman is a dinosaur, stupid
human children! It’s a dino
that’s been sucking your goats,
you rancher, you meat farmer,
you chupacabra-fearing suckfool!
I cannot believe your amusement
at this! Of course there are no
dinosaurs in the bible, you 
fundamentalist fucks! Dinosaurs wrote
the bible! To distract us!
A great literary sleight-of-hand,
not putting themselves in
their own book! The spaceships
are our only hope! To the
stars, monkeys! To the stars,
monkeys! This jungle is theirs!

Precaución (cuando los dinosaurios vuelvan)
Logan Phillips Versión de Javier Raya

Los dinosarurios no se extinguieron.
Se fueron bajo tierra a esperar que ustedes,
mamíferos, les construyesen palacios.
Enviaron a las aves para espiar vuestro orgullo.
Fue un dinosaurio quien informó a los científicos
que es posible hacer arder sus cadáveres como combustible.
Los dinosaurios os dieron y los dinosaurios
lo tomarán todo de vosotros. Han colonizado
la imaginación de los niños y cada vez más
la de las niñas. Los dinosaurios son maestros
de la ironía. Fue idea suya hacer juguetes de
plástico de sí mismos. El plástico, por supuesto,
está hecho de petróleo. Los juguetes, por supuesto,
están en las manos de los niños. Los dinosaurios
enseñan a los niños a hacer trampa en los exámenes.
Sobreviven entre calcetines perdidos, las cáscaras
de plátano y nuestra ignorancia. Sobreviven bajo tierra.
¿¡No lo entienden, oh simios peludos y sudorosos!?
¡Los dinosaurios son responsables del calentamiento global!
Están calentando el terrario para su inminente retorno.
El ambientalismo es una distracción.
El terrorismo es una distracción.
Vuestra vida sexual de simios es una distracción.
Es por eso que los pájaros nos miran del modo en que lo hacen.
¡Y con todo les dáis de comer semillas, bípedos ignorantes!
Por supuesto que son hermosos, como las espadas,
oh involucionado saco de sangre caliente.
No creas en la propaganda de los paleontólogos.
Nuestros museos están llenos de mentiras.
¡Nuestros museos están llenos de mierda pro-dinosaurio!
Nuestra patética poesía ignora sus colmillos. 
El coco es un dinosaurio, estúpido niñito humano. 
Es un dinosaurio el que se ha chupado tus cabras,
ranchero, ganadero, ¡asqueroso alabador de chupacabras!
¡No puedo creer que se estén riendo de estas cosas!
¡Por supuesto que no hay dinosaurios en la biblia,
fundamentalistas de mierda!
¡Los dinosaurios escribieron la biblia!
¡Para distraernos!
¡Qué Gran acierto literario no incluirse a sí mismos en su propio libro!
¡Las naves espaciales son nuestra única esperanza!
¡A las estrellas, simios!
¡A las estrellas, simios! 
Esta jungla les pertenece a ellos.

Arizona Freeway Sunrise

The grasses are always dancing in the median,
headbangers, seed sowers, dry spines twisting.
Freeway flowers face early decapitation—
guillotine tirewind, lit by skyfire:
here the sun is literally a star,
made of beaten copper, sharp, imperfect.
As the star pulls itself up again, 
the sky goes streaked, the improbable
pattern of yellow-red, vivid. 
The radio stations are just murmurs in the static.
The cities hide behind the horizons.
The tires break grass necks.
The flowers throw themselves
like colorful, suicidal philanthropists
into the eastbound, into the westbound.
Saguaro shadows are twirling sundials
on the clock face of burning sand,
they tick, they spin, they speak
until they’re spoken to, torn down,
paved over, left in piles, sold.
The rush, the hush, 
the hiss of wind and the
immutable silence of light. 
The piston explosions,
the cellphone syllables.
Two realities in the same moment.
Two landscapes that never touch.
Arizona freeway sunrise.
A breeze blowing through barbwire.

Amanecer en carretera de Arizona

Los pastos siempre bailan en el camellón,
de atrás para adelante, esparcen la semilla, sus secas espigas se tuercen.
Las flores de carretera enfrentan temprana decapitación;
viento-guillotina de llantas, iluminadas por el fuego del cielo:

aquí el sol es literalmente una estrella
hecha de cobre forjado, puntiaguda, imperfecta.
Mientras la estrella se levanta de nuevo,
bandas cruzan el cielo, el improbable
patrón de amarillo-rojo, intenso.
Las estaciones de radio sólo son murmullos en la estática.
Las ciudades se esconden detrás de los horizontes.
Las llantas rompen cuellos del césped.
Las flores se arrojan
como coloridos y suicidas filántropos
hacia el este, hacia el oeste.
Las sombras de los saguaros son manecillas
que giran sobre el cuadrante de la arena hirviente,
hacen tictac, giran, hablan hasta que se les habla,
derribados, asfaltados, apilados, vendidos.
La prisa, la calma, el silbar del viento y el silencio
inalterable de la luz. Las explosiones de pistones,
las sílabas de celulares.
Dos realidades en un mismo instante.
Dos paisajes que jamas se tocan.
Amanecer en carretera de Arizona.
Una brisa silbando entre alambre de púas.

Trad. de J. Emilio Rodríguez