Showing posts with label Alberto Blanco. Show all posts
Showing posts with label Alberto Blanco. Show all posts

Monday, February 26, 2007

Letter to Alberto Blanco

¡Querido Alberto! Feb 13, 1994

Mirable dictu—at long last I have found you! My letters and cards to you in Mexico City remain unanswered these past two years. By chance, I just saw your name in an ad for the Univ. of Texas in Poets & Writers. Congratulations on your new job! 

You, Pati, and your niña have finally left the world’s most polluted city, and resurfaced in El Paso, of all places!. 

In Sept. John Oliver Simon told me he’d lost track of you also, his registered letters to you returne d unopened. . . Funny, I was just in Texas in Sept. and in Feb., driving cross-country with a friend—Amarillo, where the Cadillac Ranch (13 caddies planted nose-end first in a straight line along Route 66, like an American Stonehenge). 

Not close enough to El Paso for a visit. I tried to get your phone number and address from information, again, no luck. Please thank Leslie Ullman for phoning me, and telling me it is indeed you, my Alberto!

I wrote to you in the fall of 1992, and again in the summer of ’93 from Holland, because there was a Latin American focus at the Poetry International festival, June, ’93 in Rotterdam. I had recommended you as a reader to the director, Martin Mooij. 

I also recom-mended Jórge, and Otto Raúl Gonzalez—though at this point, I have no idea if any of my addresses are current. The 12-day festival was wonderful—I met someone who knows you, Victor Manuel Mediola. Homero Aradjis was there—& many poets from Brazil.

God what a fall, the fall, as it were; my woes serious enough to desire Prosac (I’ll elaborate later), lacking prosaic skills, yes, I’m remiss in answering your letters, and you’re probably wondering if I fell off the face of the earth! Very nearly! How I miss you! I am so sorry I didn’t get a chance to write back to you—certainly you’ve been foremost on my mind, but I guess you can’t feel my thoughts! 

It’s taken a long time for me to find my way back to the world, coupled with the fact that California is slowly going broke, it’s been hard earning an income on CPITS work. I will probably need to get out of teaching in the schools, finish my Master’s degree, etc. 

What I need is a scholarship/ fellowship at a university in order to afford graduate school. I understand part-time teaching pay at the university level isn’t a whole lot better than in the schools, but it’s time for me to move on, find the next path of my life’s work.

Oh! we did an art and poetry anthology of Sonoma County children (tri-lingual—English, Russian, and Spanish) and since you were part of my project at Mark West School, you’re listed in the book. It was over three years in the making, and we had to raise enormous amounts of money to complete the exchange—but I’m very excited about the book. 

I was able to include others in the project (though you may recognize my book-making style). It’s one thing to create something on your own, but to pass on the seeds, and to network with others creates something larger than what I could have previously imagined—the vision far afield. 

Though I’d started my project long before I met up with John, in a sense, I owe him for the seeds of the vision from the Mexico City exchange—and how I met you! Funny, I was the one who went to Russia three times, but he was the red-diaper baby.

Now that that project’s done, I’m wondering what’s next on the list. The Soviet exchange program seriously depleted my energy, I’m still gathering in, but I’m interested in taking the seeds of the model afield. I spent over 6 months in the Soviet Union since Aug. ’89. 

In 1992 I was supposed to go a 4th time—perhaps permanently (someone wanted to marry me), but I got cold feet and chickened out at the last minute; I stayed in Amsterdam 3 months with a college friend. 

Last summer, I did a workshop in the Netherlands, training mental health workers to use poetry and art with their patients last spring. All total, I spent 6 months in Amsterdam as well—searching for myself away from the familiar busy-ness of home turf, searching for a new voice, a new vision, expanding my horizons.

Ideally, I’d like to be able to live part-time in the US and part-time abroad. I’m becoming increasingly detached from my country, my homeland. But I also know it is a part of me, and I cannot sever the connection—nor do I want to. I’ve had offers to live in Russia, Ukraine, and even in Holland, but, the relationships are not right, I’m still not ready to commit to anyone. 

I like to think of the heart, like cats, as having nine lives. I believe there is someone out there for me—blind faith? I’m surprised at how deep the scarring goes, but understand that time is the only answer. Sometimes I feel I’ll never fall in love again, not like that. Sometimes I get scared, thinking, at the age of 41, my life is slipping out from under me. What do I have to show for the sum total of my life but orphan poems swirling in a neap tide about my knees?

Careerwise, I seem to do well in national poetry contests, consistently coming in third place, or runner-up, or honorable mention, but that doesn’t bring in the prize money, nor the book I’d hoped for. 

And still I resist the well-founded notion that it’s all in who you know . . . a friend of mine who won the 1992 National Poetry Book contest—the judge already knew of her work, and told her to submit. Also I’m working with senior citizens, Elderhostel, teaching California history through literature, & creativity workshops, which I love.

Perhaps more interesting is the fact that I learned to babble in Russian, I thought to myself, what use is it to know fractured Spanish and Russian, when the rest of the European world speaks Italian, French and German. . . it seems I’m always in the wrong tongue. 

Last summer, it came of use, in all places, the Netherlands. At Poetry International—don’t ask me how, but I was simultaneously translating from Russian into Spanish—forgoing English completely. 

The Russian poets, Dmitri Prigov (I published him in Soviet Poetry Since Glasnost) and Ilya Kutek wanted to talk to the Mexican poets; no one else was around. I admit conversation was pretty limited. 

A Hungarian gypsy poet, Karoli Barri, and I managed to get by on some Russian. I always find myself apologizing for speaking in the tongue of the oppressor, but when it comes down to it, English is equally the tongue of the oppressor. 

James Joyce had the right idea to use the language of the enemy against the enemy. If the Cromwellian hadn’t been so successful in annihilating the Gaelic, would Irish literature be available to the English-speaking world? Imagine no Yeats, no Swift, no Synge, no Joyce. . These, my roots.

To digress, I have another story of family roots for you—not as wild as John’s, but close. Briefly, I was the product of a divorce, my father said if he couldn’t have custody of me, he’d have nothing to do with me. And very nearly kept his promise—except for when I was in my early teens and 20’s. On Dec. 12th, he died, the day after his birthday, and as in life, in death, his heart failed him. 

I was notified Dec. 22 by the Public Administration of San Francisco. I buried him, and meanwhile I found out he had money all this time, but my name wasn’t beneficiary on the accounts. Some sleuthing, I discovered that after retirement (he was a streetsweeper) he spent his mornings at the church, then, the local bar—a serious alcoholic. 

More family background: my mother was crazy (I won’t go into that here, suffice to say she is manic-depressive; the joys of lithium hadn’t been discovered when I was a child), my father blamed himself for her going crazy, and couldn’t bring himself to face us.

In spite of it all, I had a happy childhood, raised in the country by my Irish grandmother, who raised 8 kids before my half-brother and I. We didn’t name it poverty, but her meager pension didn’t go far in Marin County. I was a expert in not talking about my family, because my own family experiences had no parallel among my peers. 

To shorten the story, we went on welfare and I was ashamed. Thank God the Summer of Love, and the hippies came about, who could tell what was what? The ’50s values of America washed away. 

My father always told me if anything happened to him there was money for me. He told my mother and my uncles as well there was money for me. So, my father died, I’m sole heir and next of kin, responsible for his estate, and to cover his shame, he left $100,000 to a co-worker he didn’t even know all that well—outside of the estate (two cars: a Jaguar xjc with a chevy engine, and a Volvo sports car) my inheritance. 

At the wake and funeral, first, the co-worker was surprised to learn of my existence, then he told someone I hadn’t seen my father since I was a baby. (I talked with him 4 years ago, Christmas.)

Friday night I met some of his friends, including a woman (Mimi) he almost married—they all knew of me, some had met me when I was young, knew of my grandmother. Said he talked about us all the time. (There were photos of me by his bed and in his drawers.) Mimi told me that if she married him, he made her promise that I was to get money. . .all the stories corroborate. 

I don’t know the circumstances leading up to his giving the money to this man, but it may be hard to prove my father was incompetent, or unduly influenced. We don’t know if there was blackmail involved, or what. I can’t find a lawyer who’ll take the case on contingency—not enough profit in it. If I had money, I could hire a lawyer to get the money. . . 

Then, I found out I have another half-brother in his 20’s up in Washington! Another trail to follow. Chances are I’ll never see my inheritance. I can’t help but think what I would’ve done with the money. 

It’s been difficult in getting work (I’ve gotten some, all’s not lost), this, at a time when everyone in education is saying how marvelous my programs are, and that I’m such a gifted teacher, blah, blah, blah. . . but the bottom line is, that the state of California’s broke; I need a new career (& my Masters). Other than the unfairness of it all, I keep thinking there must be a moral buried somewhere in this story, and I’m just too daft to figure it out.

Today is better than yesterday, sunshine, after rain. It washed away the pun of the cat’s investigative paw prints off the hood of the Jaguar. A glimmer reaching into the place where the concept of soul dwells; today is the first day I’ve had the initiative to do those things that must be done, pay bills, answer letters. 

It’s so strange to me to have to be out in the open about all of this family stuff, but I can no longer keep it inside. There’s a creature called the sea cucumber, who when threatened, literally vomits his stomach out to fool the hunters. I’m used to keeping the shame of family secrets buried, but to do so now requires a psychic death, and I’m not willing to be a victim. So this is an intense time of growth and change for me. 

I am, excavating the basements of the self, uncovering old pieces of art amid the debris, the source materia is preferable to the illusion of artifice. I am alive, my father gave me life, I am restoring something of myself to myself. The Spanish saying, The best revenge is living well, we are among the living; dare I say, it’s our duty to make the most of it?

On some obtuse level I am reminded of when I went to Russia to see Malevich’s paintings, but none were available to the public, though Glasnost was in full swing. Malevich may have been reinstated but his paintings remained in the basements of the Russian State, and the Tretyakov museums. (Moscow’s Tretyakov is where the statue of Swords into Ploughshares is). 

Why, because it was easier to go with the system than to change it, though the means to do it was there. I couldn’t understand the Russian psyche, and the posters that stood in place for the real art didn’t fill the need, they didn’t satisfy the hunger for what was real. 

Paradoxically, there was a time when I fell in love with the paintings by Matisse and Gauguin (or so I thought) until I saw the real paintings at the Hermitage in Petersburg. They were raw, the pigments different—I was shocked until I realized it wasn’t a question of like/dislike; I was using the wrong vocabulary, but the rawness, the power, direct source/link, versus the glossed over second generation candy-colored posters. The original paintings had the ability to move me to tears. I seek truth, and write very little these days. 

Are you still painting? Music?

I did a series of poems to collages on the Gulf war by a friend, Marsha Connell—and received a small fellowship for them. One of the poems was runner-up in the Kalliopea/ Paper Mache poetry contest. I’ve also been editing a magazine based on Soviet Poetry Since Glasnost, a sort of international journal in tabloid format called Mother Earth, with regional inserts. 

I’ve completed Eastern Europe and Africa; we’re just now starting Latin America. Send me some translated work by mid-March? Also, if you’re in touch with other Latin American poets, please ask them to submit as well. 

Right now I’m collaborating with a modern composer, Kirk Whipple, who is writing 11 nocturnes—elemental portraits. I know so little about music, but it’s interesting writing to music. They’re due on Mother’s Day, at the premier concert. Kirk is married to pianist Marilyn Morales (una Cubaña) and they founded the Unconservatory. 

They have Yamaha pianos you can put a computer disk in! I’m blown away by the technology. He can program a piece, have left hand play, and ad-lib with the right, re-record, etc. Magic! We’re planning an international CPITS conference in Oct., perhaps you can come?

Other news: my neighbor, the potter Joel Bennett (with whom you stayed with) had an accident with a filet knife. He didn’t think anything of it, but later he discovered he’d severed the nerves in his hand. He’s had two major operations; they took pieces of nerves from his legs to repair the damage—but he still can’t grasp things. 

I don’t know how he’ll be able to continue making pots. It’s been a hard year all around. I hope you are all well and happy. How old is your daughter now? I’ve forgotten her name. . . are your parents still in Mexico City. How is Pati? Happy Valentine’s Day. Muchos besos! I miss you, write soon.

Feb 13, 1994

Monday, February 27, 1989

TELEVISION

TELEVISION

I have nothing more to work at 
than to make silvery images.
Flickering horizons. Imagined vertigo.
I have nothing more to do than sift icons.
I make sense of random patterns and snow.
They occupy the space in front of me 
in perfect obeisance. My body is a temple.
A life without complications, Alberto said.
They worry about all the stories inside me 
they wish were theirs. I play out 
visions over and over 
as if there were no future, no history.
Though I cannot offer them anything real, 
my seeds are broadcast beyond the living rooms 
of their minds and out into the universe 
where only the stars can decode the signals.

2/27/1989 
Mark West School

STRAWBERRY POT

STRAWBERRY POT

In this span of curved earth 
baptized by fire,
my many breasted hands 
hold the soil, empty as night.
But I dream of strawberries 
and the wisdom of cobwebs.
Each small spider, 
each half moon, 
is a repeated pattern 
where fishers crack me open 
to reveal an empty vessel—
the earth-stain, and the water stain.
Without the tempering of fire 
I dissolve and melt back into earth 
after the first rain.
As it is, the stones know me as kin.
The enduring plains and relentless sun 
brings me back to myself. 
The passing of days are but fleeting.
My hunger is for the cycles 
of the earth, again and again.

2/27/89

STEPLADDER

STEPLADDER

I am silvery horizons
distant lakes
a step between
horizon and sky.
From the bowels of the earth 
miners wrested me from soil 
where I journey 
to assumable heights.
I am below your feet 
and I raise you a little closer 
to the sky.

2/27/1989

STEPLADDER, ii 

From the bowels of the earth 
men have pulled you up 
from bauxite and bass rock 
to place me beneath your feet 
to raise you a little closer to the sky. 
I am silvery horizons, 
an arch, distant lakes, a mirage, 
a bridge to lift you up like a bird 
to dizzying new heights 
bringing you a little closer to God,
to yourself, one small step at a time.

3/89?

FAN l, FAN ll

FAN I

Three blades gather dust inside a silver cage
where, in summer, yellow yarn flutters 
like  suspended birds
& the bones that hold me up to air have no body.
The cord, a tunnel for riversóturbines
churning and grinding, spitting out air.

FAN II

Out of orbit, three blades, 
a trinity of air.
Water-smoothed stones
gather the dust of time and neglect
inside the silver cage.
In deep summer, yellow string flutters
like yellow tropical fish called tang
against the current.
The bones that hold me up 
are not corporal.
Turbines churn and grind
shoving the air forward into day
& nothing more.
My inspiration, vocal
I speak of the air
& rotate like the planets.

2/27/89

Monday, August 31, 1987

Mexico Journal: Aug. 31, Elsa Cross, Mexico City

August 31, 1987

Comida at Elsa Cross's home. Elsa, Alberto Blanco, and Sandra Cohen are working on John's latest book. Discussion leads to the maldito artists, the bad ones who write good books. Neruda, Pound Dalí, Melville. I've just written a very wicked book and I feel clean as snow.

We leave for home in a few hours, loaded up with John's boxes of books, from the International Mexican Poetry Festival, which was fairly conservative.

Last night John knocked on the door and we talked most of the night as we did on the first night that we had arrived here. We were jockeying for position on both sides. He thought we had reconciled and I thought we were off. So finally, a slow reconciliation. And we fall into an uneasy sleep under the moon, perhaps reconciliation will come in the morning.

This is the last page of this notebook. I hate to end it on reconciliation. I hate to use all the pages of my notebooks, and this is probably the first time it's happened. I began this journal last day of December and at completed it on the last day of August. There are many lapses in between, a record of the rocky months between us, and yet we persevere.

Sunday, August 30, 1987

Mexico Journal, August 30, Sunday, Alberto Blanco's house, Mexico City

August 30, Sunday

We have a long cena at Alberto Blanco's house Elsa Cross, Jorge Luján, his wife, Rebbe, Gloria Givertz, etc. Such talent all in one room. I'm not sure I'll ever see them again.

Last night John did the sea-cucumber whole gut-spilling again, said he was looking forward to a two-month separation. This morning he was contrite, he says he does want to be with me.

I dreamt I was on a chair chain ladder, I was able to climb up it. But not down. John was at the top. There was no way to grasp the smooth surface without letting go of the chain. No transition to firm ground, terra firma to such lofty heights. John reached over to help me but began slipping in his rival persona, his alter ego rescued him. And he was resentful.

Always the dilemma of yes but no. There are two of him, two sides fighting, one on firm ground, the other on more treacherous ground, with me in the middle, with the most danger of falling. I stand the most to lose.

Tonight John wanted to make love. I said I didn't want to because we were separating for two months as agreed upon in Oaxaca, and it was easier this way for me. Apparently, he thought because he had redeclared his love, though amended, the arrangement was off, but he forgot to tell me that.

So I spent the day severing myself from him, I'm always hurt by his sea-cumbering, the repetition only serves to make me isolate and wall off the pain in the same manner as I do for my chronic neck and back pain. The cellular approach. How do I feel inside? I honestly don't know. The thought of separation is painful, but I'm also really tired of this routine. I'm less willing to put up with it.

He moves to the couch for the second night in a row. I don't sleep well either way. I want things more concrete. If he says separation, then let's do it, not use it as a morbid bait. I almost don't even want to commit the details to paper because it seems so counterproductive to be in this space again. Oh God, not again.

My last night in Mexico ends the same way my first night here began, in separate beds, with the threat or the idea of the impending breakup looming over our heads.

Tuesday, August 4, 1987

Mexico Journal: Aug 4 María Engracía & Jorge Vallejo's party


Last night's party one of those perfect events where everything is so memorable, in focus and one is aware of the specialist at the time and place, it was perfect harmony. 

Lourdes sang my poem, Horseflesh, with an effortless beautiful voice. It was very moving, the song is included in Jorge Luján's Espectaculo, mine is the only one in English. Also included were poems set to music by e.e. cummings T.S. Eliot and John Simon. What a lineup.

I gave María Engracía the Chichén Itzá book of photos of the Museum of Anthropology. I should send her some other larger prints. Alberto Blanco liked his photo, even with the lampshade halo over his head. When we return from Guatemala, I will do more for him possibly for an upcoming book photo.

John and I decided not to go to Belize after a Belize Airlines plane from Argentina crashed into Mexico City, killing 40 people on the ground, its cargo was 18 horses. Polo ponies. 14 horses were killed outright, one died later. Another was found grazing on the embankment, but he was so badly injured, he was put to sleep. I am haunted by dreams of horses falling from the sky.

Meanwhile in Mecca, nearly 700 pilgrim pilgrims were killed. The Iranian pilgrims burned an American flag, and the Saudi police fired into the crowd. Getting the news is rough these days.

I gave Monica Monsour a copy of Carolyn Forché's Gathering the Tribes, and I gave Alberto Blanco a copy of Robert Hass's Praise and I gave Jorge some new e.e. cummings books. Something of my homeland. 

The wines I bought from Sonoma County, we drank last night. Jorge Vallejo, the archaeologist, Maria Engracía's husband, was very appreciative. I love great men, we chatted about anthropology for quite some time, and he was very good at explaining Spanish idioms to me. It was a sublime Spanish lesson. 

It is much easier for me to speak Spanish when the other person has a few words of English to help me out and to correct me, it also helps if I'm a little bit drunk. The words come easier. 

August 4, 1987