For Oscar Grant


Your kerosene lung ignited is not

fable or fodder, is not sewage siphoned

from stern and starboard.

Those cuffs are not slapdash plums

plummeting cracked branches

whenever summer divorces

your garden. They are crows

auditing your liver at each fiscal

cycle. A round table

of tasers huddling around

your Broadway marquee smirk

 are not a gaggle of midwives

or gratuitous gifts from the mayor.

You are not a plaque

in a rusting library, an anthem

played during the encore,

because the gated townhouse

commune merchants fear

you will appear

at the fence with a pair

of hedge clippers

 

and an empty rucksack.

Your kerosene lungs emulate

novas. Those cuffs are surreptitiously

soldered to your wrists, the tasers

are poised because the cloaked

real estate moguls fear you will

not rattled the cage, that you will

remain calm and slyly converse

your way into the walls

of their clogged aortas, that

you will want back what

they have siphoned with ciphers

of mortgages, or much worse,  

that you will let them

keep the spoiled spoils,

because you no longer needed

them anyway, because you

have uncovered for yourself

a new nebula and they will

not be sent a personalized invitation 

to join you aboard the grand mother ship.
 

Dear Trayvon,


I know that we never met,
we are forever strangers to each other,
and yet I feel the urge to write to you.
For nearly a month after George Zimmerman
decided he had the right to take you from us
your name went virtually unmentioned.

For this I apologize. It is easier to talk big
about defending ourselves against imaginary
enemies, so much more satisfying to laugh
at the decadence of reality TV stars, so much
simpler to point our virtual fingers at radio
pundits, safely propped up on our fabricated
moral high ground, entrenched light years
away from the point of impact where beautiful
young boys are erased for being black.

There is so much less at stake in these
diversions then there is to admit that we
Sean Bell’ed you, Ramarley Graham’ed you
Amadou Diallo’ed you, Troy Davis’ed you,
Oscar Grant’ed you, Emmit Till’ed you,
only you hadn’t even been so bold as to get
sassy with a white woman, your transgression
was to buy a bag of Skittles for your little brother.

Maybe we could not have stopped
George Zimmerman from robbing you
of a future. Maybe we aren’t yet wise
enough, evolved enough to cast off
500 years of colonial conditioning,
but to let your assassin walk away
without questions or charges pressed is like
chaining your body to the back of a truck
and dragging you across the town of Jasper, Texas.
 
I wish I could have known you, to be there to tell you
to stay put, to remain with your  little brother while
I go to the store for you, the bag of Skittles are on me.
But this would not cause men like Zimmerman to annul
the bulls-eye they’ve drawn on the backs of black boys.

I wish I could tell you that it was all just an accident,
proof of the danger of pampering our fears,
but I would have to ignore the Orlando Barlows,
the Aaron Campbells, Jaime Gonzalez’s,
the Stephon Watts’s, the Antwain White’s,
the Arthur McDuffie’s, Travis McNeill’s.
I’d have to pretend we don’t live in a world where
pretty Puerto Rican boys are beheaded because
of their sexual preference. I’d have to adopt the imperial
art of selective amnesia to see this as anomaly, as “tragedy.”

If only I could offer you another option,
a place where sweet, melanin blessed children
can buy their brother a bag of Skittles
and make it back across the street with their
hearts still beating, their futures still beaming,
able to return to the loving arms of their families
without a defibrillator pressed to their chests,
a place where black children with almond smooth
skin and curious tenderness in their eyes
cannot be perceived as a threat to the public,
where a white man with prior convictions
can murder black babies and walk free,
while thousands of brown skinned men
rot in prisons around the country without
ever having harmed another human body.

I desperately want for all of this
to make sense to you, but I need this
to make sense to me too, because I am
deeply uneasy taking residence on an Earth
where young black princes are used
as target practice, and the pain
their parents are almost bio-illogically
required to endure is offered no air time,
no justice, no recompense for their grief.
 
But I cannot undo the did. I have only the space
to feel ashamed of those among us too blind
to see that young black teenagers such as you
possess more courage and dignity and grace
than the self-loathing men who murder them.
And so I ask you to forgive us knowing full well
this kind of absolution is entirely undeserved.
 
                              First published in THE ARTS UNITED, 2012

Next Big Thing


The Next Big Thing
The Next Big Thing is a blog-tagging project where writers interview themselves using a set of stock questions and then they tag five other writers to follow suit by interviewing themselves and tagging five more people…and on and on, as Erykah Badu would sing it. My thanks to Ching-In Chen, author of THE HEART’S TRAFFIC (Arktoi Books/Red Hen Press, 2009) for tagging me.  I love Ching-In’s courage to experiment in her work while simultaneously cutting to the marrow of truth in her subject matter. Her work is wonderfully imaginative, and I have to say she is just cool people.  When Ching-In smiles you know she means it. Okay, so on with the self-interview…

What is the working title of your book?
Stereo.Island.Mosaic.

What is the one-sentence synopsis of your book?
A collection of poems that synthesizes Caribbean Mythology and History with Cyberpunk, Musicology, Visual Art structures, and Hip-Hop poetics using the islands of Puerto Rico, New York, and the mind as the setting or canvas.  

What genre does your book fall under?
Poetry that hopes to one day grow up to be a song or a painting.

Where did the idea come from for the book?
The larger concept of the book slowly congealed for years as I was building a body of work. I’ve long been obsessed with music, mythology, world politics and history, visual art, technology, and my two islands- Puerto Rico (my island of ancestral origin), and New York (my island of birth). It’s been over a decade long process to develop how I could weave them all to create a (somewhat) unified vision.

How long did it take you to write the first draft of the manuscript?
More than a decade. The first drafts of some of the poems included in the collection were written as far back as 2002. But the actual work of shaping them into a manuscript really began in early 2011 when I entered the Creative Writing MFA program at Rutgers Newark.

Who or what inspired you to write this book?
I side with Jose Saramago about the sentiment of “inspiration.” It’s not inspiration that births something so much as it is sweat and blood and dirt under the fingernails and struggle. When artists are always asked about their inspiration it feels to me like the assertion is that some magical and mysterious things pops out thin air as if a genie blinked and caused it to appear. But I think it’s more like Lorca’s Duende, a constant battle with the demons that culminates in moments of brilliant harmony. But if by inspiration we’re just talking about the sparks that fire up the engine, well unfortunately, for me, it seems too often start with anger. I tend to get fired up about the things in the world I see that are unfair or cruel that causes me to want to either expose that cruelty or to create something beautiful or fun to counterbalance it. Which is all a long way to say that I was “inspired” by the beauty and mystery of my islands and the people that inhabit them, and my anger at seeing the inequalities, the violence, the hypocrisies, the exploitation on them caused me to put pen to paper. I used the anger to find truth and love.

Who will publish your book?
The book isn’t quite finished yet, so right now there isn’t a publishing house attached to it. If I find the politics or experimentation scares away the publishers, then I'll just have to do it my damn self! To quote Bernie Mac, "I ain't scared of you!"

What other works would you compare this book to within your genre?
Sleeping with the Dictionary-Harryette Mullen
The Black Automaton- Douglas Kearney
Poems and Antipoems- Nicanor Parra
Middle Passages- Kamau Brathwaite  

What actors would you choose to play the part of your characters in a movie rendition?
It’s a poetry book, so I don’t know a movie with a linear plot could be made. But it could work as a choreo-poem in the style of Ntozake Shange’s “For Colored Girls…,” in which case I would cast actors I know who have been in my plays or in shows I’ve produced or directed. My cast: R. Ernie Silva, Bobby DeJesus, Felix Solis, SkudR Jones, Dino Foxx, Raul Castillo, and Rodney Garza with music performed by Mwalim, Charles Fambro, and Gerrard Briones. If we really need a box office draw, I’m okay with Javier Bardem playing every role.

What else about your book might pique the reader’s interest?
Though it’s political and historical, it’s also experimental in a fun sort of way. The book also pulls from science and pop culture, and plays with common forms such as internet film reviews and business meeting documents. The themes and content are serious, but it’s very playful, even humorous at times. It's an attempt to distill the beauty and the conflict of the islands that have created me, a collage of historical references, mythological creations and recreations, and verses that seek to "flip the script" on imperialism and technocracy.

The next writers I tag in this project are:

Dr. Grisel Acosta : Back in 2000 I saw this brilliant poet perform at Café Largo in Harlem. I was so dazzled by the lyricism, originality, and musicality in her writing and in her performance that I eventually asked her to marry me. Word on the street is that she just finished her poetry/memoir collection CHICA! GO! It’s a gorgeous, courageous, and truly unique book that transcends category, a tale of this Punk Rock Afro-Latina College Professor's journey from the clubs of Chicago to the freak art scene of NY to the academic halls of San Antonio, Texas and back again. It’s a book that you can dance (or mosh) to. Oh, and she’s from Chi-Town, of course!

Anna Alves : Hailing from the Bay area, Anna is a fellow attendee at the Rutgers-Newark Creative Writing MFA program. She’s written this very cool short story called MIXIPINO, a vivid portrait of a Filipino DJ that is political, psychological, and a little psychedelic. She rocked Rutgers with this piece when she read it last year at the Harlem Book Fair.

J.Michael Martinez Michael is the author of HEREDITIES, an innovative collection of poems that boldly challenges the parameters of poetic form, serving as both an exploration of personal identity and a historiography Chicano culture and history. I can’t wait to see what he’s got brewing next. He teaches and is pursuing his PHD at University of Colorado in Boulder.

EllenHagan : This Kentucky born poet and educator's book, CROWNED, grapples with female identity and personal history with honesty and wit. It’s rich with poems on motherhood, coming of age, boozing, family history, education, and road tripping American style. The collection includes what I think will be considered one of the definitive facebook poems.

ArianaBrown : This young spoken word poet from San Antonio, Texas is an exciting stage performer with two self-published chapbooks ready for the reading: QUIET STORM and LEARNING TO SPEAK. Ariana writes about women’s issues and race issues with the maturity of a poet ten years her senior.  

Bragadocious Ostinerd Ostinato


Call me your greasy surrogate
cannibal, your Caliban,  
your sexed up Caribbean Taliban.

Rezone me.  Clone me. Skull and bone me.
Prop me up.  Jack me up. Crack me up.
Bag me.  Tag me with hypodermic platanos,       

switchblades, black beans, boleros, and salsa.
Unload clips at my feet ‘til I shake my hips.
Dress me up to play your bloods and your crips.                                               

Make me your island cabana boy toy, man maid,
tour guide, ghetto clown, bareback barback
in braids, your docile simian, semantically

frantically, pedantically panned. Brand me.
Strand me. Café y pan me. Drop my slang
from your canon. Dis’ my Fanon. Dispatch me

like drone assassins in Pakistan to work
in your sweat shops  while you work on your tan,
nap on my coast, make a toast, eat my roast

and boast that I’m the one sweating your border?
Report to your official superiors that I’m inferior,  
that I’m pulling triggers and scams          

selling kilos and grams while your President
lands on my plains in planes packed with cocaine.            
I leave that kind of artful dodging

to your publicly appointed placaters,
your anointed creation haters. I’m too busy scanning
the blueprints of the original womb raiders,

the masters of eugenic pyrotechnics,  techniques
perfected by your congress and senate,
pushing dope dished by lobbyists, weekend warriors, 

ethnocentric hobbyists robbing wavy gravy trains
splayed from Kansas City to Haiti. You dropped
your Walmarts, your Catholic churches, your Church’s

chicken on me, still I got my own flavor. I copped
a feel from your savior. I’m a ranter and raver.
I got digable syllables, a sancocho of styles.  

I hopped the Antilles like Cleopatra rode the Nile.           
I’m too pretty for your red carpet, too Albizu
for your allegations. You’ve captured my flag

but I captured your imagination.
It’s true you regulate what I grow,
relegate what I know,

and to pray or to play I got to pay you 
a fee, pero we both know that you 
wish you could dance like me.

Hunt's Point Kwanzaaba


Head phone mecca, gym shoe palace, annex

of the grand bazaar, your dollar stores

wed the Yangtze to the Orinoco, your

curb doubles as a pulpit, the smell

of incense and jerk chicken blesses every

night shift toiler and bionic mom, your

docks feed the flocks in every borough.