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Guido Orifice Dec 2016
Yo naci un dia que Dios estuvo enfermo.
-Cesar Vallejo

How to write like Vallejo
& breathe his poetry?
Write as if I am seeing
the true Peruvian sky
that inspired his solitude
& thousand times longing.

Tell me, how to weave words
like how he penned
the silk cobweb
missing its spider-child.

Sadly, the spider died
tragic lost, it was.

The cobweb fell
only to find the dusty ground
but only a poet,
true to his words,
could redeem its memories.

How to write like Vallejo
& let in my fingers flow
the solitary spirit
of the aesthetic?
Words after words
sigh after sigh
& let the womb
of the poet’s love
give birth to verse
after verse.

If only that womb
can bring the spider back.
If only that womb
can see poet’s tears
for that spider
that once he
drunk those words with
as he stares blank
with his eyes dead as an oak
to the wall
of his poetic friend.
A la piedra en tu rostro,
Vallejo,
a las arrugas
de las áridas sierras
yo recuerdo en mi canto,
tu frente
gigantesca
sobre tu cuerpo frágil,
el crepúsculo *****
en tus ojos
recién desencerrados,
días aquéllos,
bruscos,
desiguales,
cada hora tenía
ácidos diferentes
o ternuras
remotas,
las llaves
de la vida
temblaban
en la luz polvorienta
de la calle,
tú volvías
de un viaje
lento, bajo la tierra,
y en la altura
de las cicatrizadas cordilleras
yo golpeaba la puertas,
que se abrieran
los muros,
que se desenrollaran
los caminos,
recién llegado de Valparaíso
me embarcaba en Marsella,
la tierra
se cortaba
como un limón fragante
en frescos hemisferios amarillos,
te quedabas

allí, sujeto
a nada,
con tu vida
y tu muerte,
con tu arena
cayendo,
midiéndote
y vaciándote,
en el aire,
en el humo,
en las callejas rotas
del invierno.

Era en París, vivías
en los descalabrados
hoteles de los pobres.
España
se desangraba.
Acudíamos.
Y luego
te quedaste
otra vez en el humo
y así cuando
ya no fuiste, de pronto,
no fue la tierra
de las cicatrices,
no fue
la piedra andina
la que tuvo tus huesos,
sino el humo,
la escarcha
de París en invierno.

Dos veces desterrado,
hermano mío,
de la tierra y el aire,
de la vida y la muerte,
desterrado
del Perú, de tus ríos,
ausente
de tu arcilla.
No me faltaste en vida,
sino en muerte.
Te busco
gota a gota,
polvo a polvo,
en tu tierra,
amarillo
es tu rostro,
escarpado
es tu rostro,
estás lleno
de viejas pedrerías,
de vasijas
quebradas,
subo
las antiguas
escalinatas,
tal vez
estés perdido,
enredado
entre los hilos de oro,
cubierto
de turquesas,
silencioso,
o tal vez
en tu pueblo,
en tu raza,
grano
de maíz extendido,
semilla
de bandera.
Tal vez, tal vez ahora
transmigres
y regreses,
vienes
al fin
de viaje,
de manera
que un día
te verás en el centro
de tu patria,
insurrecto,
viviente,
cristal de tu cristal, fuego en tu fuego,
rayo de piedra púrpura.
I

In the depths of the Greyhound Terminal
sitting dumbly on a baggage truck looking at the sky
        waiting for the Los Angeles Express to depart
worrying about eternity over the Post Office roof in
        the night-time red downtown heaven
staring through my eyeglasses I realized shuddering
        these thoughts were not eternity, nor the poverty
        of our lives, irritable baggage clerks,
nor the millions of weeping relatives surrounding the
        buses waving goodbye,
nor other millions of the poor rushing around from
        city to city to see their loved ones,
nor an indian dead with fright talking to a huge cop
        by the Coke machine,
nor this trembling old lady with a cane taking the last
        trip of her life,
nor the red-capped cynical porter collecting his quar-
        ters and smiling over the smashed baggage,
nor me looking around at the horrible dream,
nor mustached ***** Operating Clerk named *****,
        dealing out with his marvelous long hand the
        fate of thousands of express packages,
nor fairy Sam in the basement limping from leaden
        trunk to trunk,
nor Joe at the counter with his nervous breakdown
        smiling cowardly at the customers,
nor the grayish-green whale's stomach interior loft
        where we keep the baggage in hideous racks,
hundreds of suitcases full of tragedy rocking back and
        forth waiting to be opened,
nor the baggage that's lost, nor damaged handles,
        nameplates vanished, busted wires & broken
        ropes, whole trunks exploding on the concrete
        floor,
nor seabags emptied into the night in the final
        warehouse.

                II

Yet ***** reminded me of Angel, unloading a bus,
dressed in blue overalls black face official Angel's work-
        man cap,
pushing with his belly a huge tin horse piled high with
        black baggage,
looking up as he passed the yellow light bulb of the loft
and holding high on his arm an iron shepherd's crook.

                III

It was the racks, I realized, sitting myself on top of
        them now as is my wont at lunchtime to rest
        my tired foot,
it was the racks, great wooden shelves and stanchions
        posts and beams assembled floor to roof jumbled
        with baggage,
--the Japanese white metal postwar trunk gaudily
        flowered & headed for Fort Bragg,
one Mexican green paper package in purple rope
        adorned with names for Nogales,
hundreds of radiators all at once for Eureka,
crates of Hawaiian underwear,
rolls of posters scattered over the Peninsula, nuts to
        Sacramento,
one human eye for Napa,
an aluminum box of human blood for Stockton
and a little red package of teeth for Calistoga-
it was the racks and these on the racks I saw naked
        in electric light the night before I quit,
the racks were created to hang our possessions, to keep
        us together, a temporary shift in space,
God's only way of building the rickety structure of
        Time,
to hold the bags to send on the roads, to carry our
        luggage from place to place
looking for a bus to ride us back home to Eternity
        where the heart was left and farewell tears
        began.

                IV

A swarm of baggage sitting by the counter as the trans-
        continental bus pulls in.
The clock registering 12:15 A.M., May 9, 1956, the
        second hand moving forward, red.
Getting ready to load my last bus.-Farewell, Walnut
        Creek Richmond Vallejo Portland Pacific
        Highway
Fleet-footed Quicksilver, God of transience.
One last package sits lone at midnight sticking up out
        of the Coast rack high as the dusty fluorescent
        light.
        
The wage they pay us is too low to live on. Tragedy
        reduced to numbers.
This for the poor shepherds. I am a communist.
Farewell ye Greyhound where I suffered so much,
        hurt my knee and scraped my hand and built
        my pectoral muscles big as a ******.

                             May 9, 1956
Allen Page Apr 2015
Was it I who wondered
Sipping on a concrete straw
Waiting through the renegade
Pondering the diamond before me
It was made of paper

Defer through me
Subvert the Zipf distribution
It fades as the cicadas in the leaves
The starry nights close in
like curtains covering the sun

The sky a theatrical production
The structure effacing complexity
One on hand conflation, projection, fuerza
One the other, subversion
What is a hand

Black dog wanders through the meadow
Sing me an odor of the breeze
Trolleys carve out ravines in their wake
The past has with it this mystique, this ambiguity
to understand is to circumambulate
jiminy-littly Feb 2019
Black Stone Lying On A White Stone

I will die in Paris, on a rainy day, on some day I can already remember.

I will die in Paris--and I don’t step aside-- perhaps on a Thursday, as today is Thursday, in autumn.  

It will be a Thursday, because today, Thursday, setting down these lines, I have put my upper arm bones on wrong, and never so much as today have I found myself with all the road ahead of me, alone.  

César Vallejo is dead.  

Everyone beat him although he never does anything to them; they beat him hard with a stick and hard also with a rope.  

These are the witnesses: the Thursdays, and the bones of my arms, the solitude, and the rain, and the roads.
By César Vallejo (1892 - 1938), translated and edited by Robert Bly, and published by Beacon Press in Neruda & Vallejo: Selected Poems. © 1971 by Robert Bly
Yo no sufro este dolor como César Vallejo. Yo no me duelo ahora como artista, como hombre ni como simple ser vivo siquiera. Yo no sufro este dolor como católico, como mahometano ni como ateo. Hoy sufro solamente. Si no me llamase César Vallejo, también sufriría este mismo dolor. Si no fuese artista, también lo sufriría. Si no fuese hombre ni ser vivo siquiera, también lo sufriría. Si no fuese católico, ateo ni mahometano, también lo sufriría. Hoy sufro desde más abajo. Hoy sufro solamente.
Me duelo ahora sin explicaciones. Mi dolor es tan hondo, que no tuvo ya causa ni carece de causa. ¿Qué sería su causa? ¿Dónde está aquello tan importante, que dejase de ser su causa? Nada es su causa; nada ha podido dejar de ser su causa. ¿A qué ha nacido este dolor, por sí mismo? Mi dolor es del viento del norte y del viento del sur, como esos huevos neutros que algunas aves raras ponen del viento. Si hubiera muerto mi novia, mi dolor sería igual. Si la vida fuese, en fin, de otro modo, mi dolor sería igual. Hoy sufro desde más arriba. Hoy sufro solamente.
Miro el dolor del hambriento y veo que su hambre anda tan lejos de mi sufrimiento, que de quedarme ayuno hasta morir, saldría siempre de mi tumba una brizna de yerba al menos. Lo mismo el enamorado. ¡Qué sangre la suya más engendrada, para la mía sin fuente ni consumo!
Yo creía hasta ahora que todas las cosas del universo eran, inevitablemente, padres o hijos. Pero he aquí que mi dolor de hoy no es padre ni es hijo. Le falta espalda para anochecer, tanto como le sobra pecho para amanecer y si lo pusiesen en la estancia oscura, no daría luz y si lo pusiesen en una estancia luminosa, no echaría sombra. Hoy sufro suceda lo que suceda. Hoy sufro solamente.
Con ciudades y autores frecuentadosVenecia / Guanajuato / Maupassant /
Leningrado / Sousándrade / Berlín /
Cortázar / Bioy Casares / Medellín /
Lisboa / Sartre / Oslo / Valle Inclán / 

Kafka / Managua / Faulkner / Paul Celan /
Ítalo Svevo / Quito / Bergamín /
Buenos Aires / La Habana / Graham Greene /
Copenhague / Quiroga / Thomas Mann /

Onetti / Siena / Shakespeare / Anatole 
France / Saramago / Atenas / Heinrich Böll /
Cádiz / Martí / Gonzalo de Berceo /

París / Vallejo / Alberti / Santa Cruz
de Tenerife / Roma / Marcel Proust /
Pessoa / Baudelaire / Montevideo
Escribir un poema se parece a un orgasmo:
mancha la tinta tanto como el *****,
empreña también más, en ocasiones.
Tardes hay, sin embargo,
en las que manoseo las palabras,
muerdo sus senos y sus piernas ágiles,
les levanto las faldas con mis dedos,
las miro desde abajo,
les hago lo de siempre
y, pese a todo, ved:
no pasa nada.

Lo expresaba muy bien César Vallejo:
«Lo digo, y no me corro».

Pero él disimulaba.
Anton Angelino Mar 2022
I wear my heirlooms
on nights like these
Let the cool night air overflow my bedroom
acute senses
tensions rising
doorbell ringing
sirens blasting
the air weighs on my shoulders like a thousand jets
the people are hustling
but I borne havoc and glass dreams amidst chaos everlasting

Murdered by my dreams once
and left in a garbage bag
on the side of a road
which I once ran
down
to
the stars
Poem #6 off "Rainbow Arches Supporting The Wonderland"
Me moriré en París con aguacero,
un día del cual tengo ya el recuerdo.
Me moriré en París -y no me corro-
tal vez un jueves, como es hoy, de otoño.

Jueves será, porque hoy, jueves, que proso
estos versos, los húmeros me he puesto
a la mala y, jamás como hoy, me he vuelto,
con todo mi camino, a verme solo.

César Vallejo ha muerto, le pegaban
todos sin que él les haga nada;
le daban duro con un palo y duro

también con una soga; son testigos
los días jueves y los huesos húmeros,
la soledad, la lluvia, los caminos...
Life is a wonderful journey to travel
This journey is better traveled with a friend
I was born on the East coast
I have lived most of my life on the West coast
In between life, you will make many stops
My other family is in New York and Puerto Rico
I also have family in Florida and Connecticut
I myself live in Los Angeles, California
My daughter was born in Vallejo, California
I will die in California
This has been a wonderful journey
I hope that my journey, that we call life, never ends
Este regreso no era obligatorio
sin embargo
la mano encuentra su cuchara
el paso su baldosa
el corazón su golpe de madera
el abrazo su brazo o su cintura
la pregunta su alguien
los ojos su horizonte
la mejilla su beso o su garúa
el orgullo su dulce fundamento
el pellejo su otoño
la memoria su rostro decisivo
los rencores su vaina
el reloj su lujuria tempranera
el dolor su no olvido o su neblina
el paladar sus uvas
el loor su desastre
la nostalgia su lecho

o sea
perdón vallejo
aquí estoy otra vez
viviendo de costumbre
celebrando de oído
I have lived in California for twenty plus years
My adventure started in Vallejo, California
This is thirty minutes from San Francisco
Northern California is a great place to live
My beautiful daughter Kristiana was born here
I then moved to Southern California
Southern California is a wonderful place also
I now live in Los Angeles for three plus years
You can go to Hollywood or Beverly Hills
You can go to Santa Monica or Venice Beach
Los Angeles is my city now
This is a beautiful and vibrant city
The people here are friendly
I love the warm weather all year round
I enjoy going to the beaches here
I can't imagine living anywhere else
Abraham Esang Oct 2017
The day will come - it will come - put on your robe,

put on your hide. Also, yea unto the individuals who go unclothed,

unshod, without fear, ******* the corners

of brilliant ledges

also, tranquilly, absentmindedly, toeing the edges of mists

floating in a puddle. Put on your remote ocean outfit,

your flippers, and stroll to the end

of the carport.

It will come. Be not reluctant to pursue substantial creatures.

When, I had a discussion with the eye

of a moose, approaching wetly

through the branches.

I was startled. I solidified. I stepped back. I envisioned it.

And after that then again there are those

really valiant: schools of silver minnows

dashing in and out

of the gills of blue whales - what number of undetectable life forms

do we maintain without knowing it? Our own,

for one. Put on your swarmed body,

like Vallejo

who pulled the ocean over his shoulders in the morning

furthermore, ventured immovably into ground. In this way,

at the point when the day came, he directed

power

flawlessly - unwittingly - and composed by the red light of his teeth

after a glass of dim wine. Put on your light shade.

Put on your confine. On the off chance that, in the state of a key,

the state of a lady,

a bank of swollen mists surging over the tree line,

a world centripetally slips

tear it open: how pom

what's more, gran-ate

meet in thick honeycombs, red seeds ejecting inside a mouth.

Also, however we lose eleven eyelashes per day

by flickering alone we can't enter

the Kingdom,

nor would we be able to move sideways, high on this thin goat way,

without the correct foot gear; a rock's kicked free,

also, the resound returning

from the gorge

sounds like a torrential slide, and is. Put on your cap.

Remove your garments. On the off chance that anybody even considers

about giggling

it will be

the finish of us - Rita, hand over the kazoo. Much thanks to you.

Presently hand over the other one. Great.

What's more, if there should be an occurrence of a crisis

acknowledge, rapidly,

there is no crisis and proceed onward. Like a hoodlum in the night

the day came. At that point night came,

what's more, purged out its cheats

into the enraged daylight.
«En el gran cielo de la poesía,
mejor dicho
en la tierra o mundo de la poesía que incluye cielos
astros
dioses
mortales
está cantando el ruiseñor de Keats
siempre
pasa Rimbaud empuñando sus 17 años como la llama de amor viva de San Juan
a la Teresa se le dobla el dolor y su caballo triza el polvo enamorado Francisco de Quevedo y Villegas
el dulce Garcilaso arde en los infiernos de John Donne
de César Vallejo caen caminos para que los pies de la poesía caminen
pies que pisan callados como un burrito andino
Baudelaire baja un albatros de su reino celeste
con el frac del albatros Mallarméva a la fiesta de la nada posible
suena el violín de Verlaine en la fiesta de la nada posible
recuerda que la sangre es posible en medio de la nada
que Girondo liublimará perrinunca lamora
y girarán los barquitos de tuñón contra el metal de espanto que abusó a Apollinaire
oh Lou que desamaste la eternidad de viaje
el palacio del exceso donde entró la sabiduría de Blake
el paco urondo que forraba en lamé la felicidad para evitarle fríos de la época
mientras Roque Dalton trepaba por el palo mayor de su alma y gritaba».

— The End —