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Your daily dose of Chicano poetry

"I write poems on walls that crumble and fall
I talk to shadows that sleep and go away crying.”

Luis Omar Salinas (1937–2008)

I Am Joaquin

June 24, 2008

by Rodolfo Corky Gonzales

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Yo soy Joaquín,
perdido en un mundo de confusión:
I am Joaquín, lost in a world of confusion,
caught up in the whirl of a gringo society,
confused by the rules, scorned by attitudes,
suppressed by manipulation, and destroyed by modern society.
My fathers have lost the economic battle
and won the struggle of cultural survival.
And now! I must choose between the paradox of
victory of the spirit, despite physical hunger,
or to exist in the grasp of American social neurosis,
sterilization of the soul and a full stomach.
Yes, I have come a long way to nowhere,
unwillingly dragged by that monstrous, technical,
industrial giant called Progress and Anglo success….
I look at myself.
I watch my brothers.
I shed tears of sorrow. I sow seeds of hate.
I withdraw to the safety within the circle of life —
MY OWN PEOPLE
I am Cuauhtémoc, proud and noble,
leader of men, king of an empire civilized
beyond the dreams of the gachupín Cortés,
who also is the blood, the image of myself.
I am the Maya prince.
I am Nezahualcóyotl, great leader of the Chichimecas.
I am the sword and flame of Cortes the despot
And I am the eagle and serpent of the Aztec civilization.
I owned the land as far as the eye
could see under the Crown of Spain,
and I toiled on my Earth and gave my Indian sweat and blood
for the Spanish master who ruled with tyranny over man and
beast and all that he could trample
But…THE GROUND WAS MINE.
I was both tyrant and slave.
As the Christian church took its place in God’s name,
to take and use my virgin strength and trusting faith,
the priests, both good and bad, took–
but gave a lasting truth that Spaniard Indian Mestizo
were all God’s children.
And from these words grew men who prayed and fought
for their own worth as human beings, for that
GOLDEN MOMENT of FREEDOM.
I was part in blood and spirit of that courageous village priest
Hidalgo who in the year eighteen hundred and ten
rang the bell of independence and gave out that lasting cry–
El Grito de Dolores
“Que mueran los gachupines y que viva la Virgen de Guadalupe….”
I sentenced him who was me I excommunicated him, my blood.
I drove him from the pulpit to lead a bloody revolution for him and me….
I killed him.
His head, which is mine and of all those
who have come this way,
I placed on that fortress wall
to wait for independence. Morelos! Matamoros! Guerrero!
all companeros in the act, STOOD AGAINST THAT WALL OF INFAMY
to feel the hot gouge of lead which my hands made.
I died with them … I lived with them …. I lived to see our country free.
Free from Spanish rule in eighteen-hundred-twenty-one.
Mexico was free??
The crown was gone but all its parasites remained,
and ruled, and taught, with gun and flame and mystic power.
I worked, I sweated, I bled, I prayed,
and waited silently for life to begin again.
I fought and died for Don Benito Juarez, guardian of the Constitution.
I was he on dusty roads on barren land as he protected his archives
as Moses did his sacraments.
He held his Mexico in his hand on
the most desolate and remote ground which was his country.
And this giant little Zapotec gave not one palm’s breadth
of his country’s land to kings or monarchs or presidents of foriegn powers.
I am Joaquin.
I rode with Pancho Villa,
crude and warm, a tornado at full strength,
nourished and inspired by the passion and the fire of all his earthy people.
I am Emiliano Zapata.
“This land, this earth is OURS.”
The villages, the mountains, the streams
belong to Zapatistas.
Our life or yours is the only trade for soft brown earth and maize.
All of which is our reward,
a creed that formed a constitution
for all who dare live free!
“This land is ours . . .
Father, I give it back to you.
Mexico must be free. . . .”
I ride with revolutionists
against myself.
I am the Rurales,
coarse and brutal,
I am the mountian Indian,
superior over all.
The thundering hoof beats are my horses. The chattering machine guns
are death to all of me:
Yaqui
Tarahumara
Chamala
Zapotec
Mestizo
Español.
I have been the bloody revolution,
The victor,
The vanquished.
I have killed
And been killed.
I am the despots Díaz
And Huerta
And the apostle of democracy,
Francisco Madero.
I am
The black-shawled
Faithfulwomen
Who die with me
Or live
Depending on the time and place.
I am faithful, humble Juan Diego,
The Virgin of Guadalupe,
Tonantzín, Aztec goddess, too.
I rode the mountains of San Joaquín.
I rode east and north
As far as the Rocky Mountains,
And
All men feared the guns of
Joaquín Murrieta.
I killed those men who dared
To steal my mine,
Who raped and killed my love
My wife.
Then I killed to stay alive.
I was Elfego Baca,
living my nine lives fully.
I was the Espinoza brothers
of the Valle de San Luis.
All were added to the number of heads that in the name of civilization
were placed on the wall of independence, heads of brave men
who died for cause or principle, good or bad.
Hidalgo! Zapata!
Murrieta! Espinozas!
Are but a few.
They dared to face
The force of tyranny
Of men who rule by deception and hypocrisy.
I stand here looking back,
And now I see the present,
And still I am a campesino,
I am the fat political coyote–
I,
Of the same name,
Joaquín,
In a country that has wiped out
All my history,
Stifled all my pride,
In a country that has placed a
Different weight of indignity upon my age-old burdened back.
Inferiority is the new load . . . .
The Indian has endured and still
Emerged the winner,
The Mestizo must yet overcome,
And the gachupín will just ignore.
I look at myself
And see part of me
Who rejects my father and my mother
And dissolves into the melting pot
To disappear in shame.
I sometimes
Sell my brother out
And reclaim him
For my own when society gives me
Token leadership
In society’s own name.
I am Joaquín,
Who bleeds in many ways.
The altars of Moctezuma
I stained a bloody red.
My back of Indian slavery
Was stripped crimson
From the whips of masters
Who would lose their blood so pure
When revolution made them pay,
Standing against the walls of retribution.
Blood has flowed from me on every battlefield between
campesino, hacendado,
slave and master and revolution.
I jumped from the tower of Chapultepec
into the sea of fame–
my country’s flag
my burial shroud–
with Los Niños,
whose pride and courage
could not surrender
with indignity
their country’s flag
to strangers . . . in their land.
Now I bleed in some smelly cell from club or gun or tyranny.
I bleed as the vicious gloves of hunger
Cut my face and eyes,
As I fight my way from stinking barrios
To the glamour of the ring
And lights of fame
Or mutilated sorrow.
My blood runs pure on the ice-caked
Hills of the Alaskan isles,
On the corpse-strewn beach of Normandy,
The foreign land of Korea
And now Vietnam.
Here I stand
Before the court of justice,
Guilty
For all the glory of my Raza
To be sentenced to despair.
Here I stand,
Poor in money,
Arrogant with pride,
Bold with machismo,
Rich in courage
And
Wealthy in spirit and faith.
My knees are caked with mud.
My hands calloused from the hoe. I have made the Anglo rich,
Yet
Equality is but a word–
The Treaty of Hidalgo has been broken
And is but another threacherous promise.
My land is lost
And stolen,
My culture has been raped.
I lengthen the line at the welfare door
And fill the jails with crime.
These then are the rewards
This society has
For sons of chiefs
And kings
And bloody revolutionists,
Who gave a foreign people
All their skills and ingenuity
To pave the way with brains and blood
For those hordes of gold-starved strangers,
Who
Changed our language
And plagiarized our deeds
As feats of valor
Of their own.
They frowned upon our way of life
and took what they could use.
Our art, our literature, our music, they ignored–
so they left the real things of value
and grabbed at their own destruction
by their greed and avarice.
They overlooked that cleansing fountain of
nature and brotherhood
which is Joaquín.
The art of our great señores,
Diego Rivera,
Siqueiros,
Orozco, is but another act of revolution for
the salvation of mankind.
Mariachi music, the heart and soul
of the people of the earth,
the life of the child,
and the happiness of love.
The corridos tell the tales
of life and death,
of tradition,
legends old and new, of joy
of passion and sorrow
of the people–who I am.
I am in the eyes of woman,
sheltered beneath
her shawl of black,
deep and sorrowful eyes
that bear the pain of sons long buried or dying,
dead on the battlefield or on the barbed wire of social strife.
Her rosary she prays and fingers endlessly
like the family working down a row of beets
to turn around and work and work.
There is no end.
Her eyes a mirror of all the warmth
and all the love for me,
and I am her
and she is me.
We face life together in sorrow,
anger, joy, faith and wishful
thoughts.
I shed the tears of anguish
as I see my children disappear
behind the shroud of mediocrity,
never to look back to remember me.
I am Joaquín.
I must fight
and win this struggle
for my sons, and they
must know from me
who I am.
Part of the blood that runs deep in me
could not be vanquished by the Moors.
I defeated them after five hundred years,
and I have endured.
Part of the blood that is mine
has labored endlessly four hundred
years under the heel of lustful
Europeans.
I am still here!

I have endured in the rugged mountains
Of our country
I have survived the toils and slavery of the fields.
I have existed
In the barrios of the city
In the suburbs of bigotry
In the mines of social snobbery
In the prisons of dejection
In the muck of exploitation
And
In the fierce heat of racial hatred.
And now the trumpet sounds,
The music of the people stirs the
Revolution.
Like a sleeping giant it slowly
Rears its head
To the sound of
Tramping feet
Clamoring voices
Mariachi strains
Fiery tequila explosions
The smell of chile verde and
Soft brown eyes of expectation for a
Better life.
And in all the fertile farmlands,
the barren plains,
the mountain villages,
smoke-smeared cities,
we start to MOVE.
La raza!
Méjicano!
Español!
Latino!
Chicano!
Or whatever I call myself,
I look the same
I feel the same
I cry
And
Sing the same.
I am the masses of my people and
I refuse to be absorbed.
I am Joaquín.
The odds are great
But my spirit is strong,
My faith unbreakable,
My blood is pure.
I am Aztec prince and Christian Christ.
I SHALL ENDURE!
I WILL ENDURE!

Rodolfo “Corky” Gonzales (June 18, 1928 – April 12, 2005) was a Chicano boxer, poet, and political activist.
I Am Joaquin (Yo Soy Joaquin) is a famous epic poem associated with the Chicano movement of the 1960s in the United States. In I am Joaquin, Joaquin (the narrative voice of the poem) speaks of the struggles that the Chicano people have faced in trying to achieve economic justice and equal rights in the U.S. He promises that his culture will survive if all Chicano people stand proud and demand acceptance. ~Wikipedia.org

foto 8

June 22, 2008

the chiaroscuro approach to your fate
positions a remnant of your profile
mirando para siempre hacia el desierto
still locked en la arrogancia
of a will who believes
it’s at peace with itself

in the blackness apenas se ven las nubes
bunched together para reventarse
en una lluvia violenta

me dices
con una taza de te de manzanilla
que soñaste a shower of cluster bombs
worming through the huge stillness
of a moonless night

who was dropping the bombs

no importa
the world is full of hombres despotas
que odian el desierto

who did the bombs kill

no se it could’ve been you or me

were you afraid of the bombs

no i was very angry at them

the bombs or the men
who dropped them

actually i was still angry at you

why

because you’re so incomplete
and you can’t see it

who’s perfect
but you know the real problem
is your obsession to recreate me
in your own image

you never make any sense

are you still angry at me

i’ll always be angry at you
there’s no going back
on the decisions i’ve made

a speck of light flutters
off your iris

i can almost smell the sand
that will never be wet

destiny is at work
me dices
and my destiny’s not with you

i have trouble seeing myself
without you
but i suppose i’ll get used to it

you’re so casual

and you’re so angry

i’m angry at the lost years
i could’ve written novels

but you were always too busy drinking

it helps my thinking
but you’re fucked up
and can’t understand

you’re the best i’ve ever known
at rationalizing

you’re so small-minded
why didn’t i see it from the beginning
there was an instant
when i actually thought
we could’ve conquered
the whole literary world

you’re drunk

and you’ve always been fucking scared
of success
pero lo que pasó pasó
and now i’m at another level
you say
turning towards the desert

i take long deep breaths
and my mind intertwines with the darkness

whatever happens siempre te amaré

mejor ama este desierto
que es el espejo de mi alma
y ahora vete a casa a dormir querido

si deveras me amas como dices vete
vete para siempre

y me besas

envuelves mi cara con tus manos
then push your tongue
down my throat

as i leave my hot and dry room
that’s turning me into an insomniac
siento el sabor de tu boca
y deseo la profundidad de la noche

before I close the door
i notice for the first time
that the sand is undersexposed
and then i feel
the first drops of an icy rain

22 enero 91

Cecilio García-Camarillo

This poem is taken from García-Camarillo’s FOTOS published by Mano Izquierda Books.

“History is probative”

June 20, 2008
tags:

These are recent excerpts of Professor Rodolfo F. Acuña addressing Arizona’s proposed Senate Bill 1108 that would make it legal for the government to confiscate books (Occupied America included), and shut down Chicano studies and groups on Arizona campuses.
Occupied America earned Professor Acuña the Gustavus Myers Award for Outstanding Book on Race Relations in North America.

Frankly, people like (Rep. Russell) Pearce relish in the portrayal of Mexican Americans as gang members rather than university graduates because they can step on us… history will unfortunately judge Arizonians who do not speak out.”

…it’s something that’s been happening in California for some time. It’s a combination of people telling lies about groups like MEChA, the Chicano student group, and also your xenophobia.

https://i0.wp.com/images.barnesandnoble.com/images/18510000/18510767.JPG

stupid america

June 20, 2008
tags:

stupid america, see that
chicano
with a big knife
on his steady hand
he doesn’t want to knife you
he wants to sit on a bench
and carve christfigures
but you won’t let him.
stupid america, hear that
chicano
shouting curses on the street
he is a poet
without paper and pencil
and since he cannot write
he will explode.
stupid america, remember
that chicano
flunking math and english
he is the picasso
of your western states
but he will die
with one thousand
masterpieces
hanging only from his mind.

 

Abelardo “Lalo” Delgado

From Chicano, 25 Pieces of a Chicano Mind (1969)
Delgado was born in Mexico in 1930, and moved to El Paso with his mother in 1943. His life was spent working as an artist, activist and teacher, including
working with Cesar Chavez in the farmworker movement in the ’60s. He helped develop many Chicano Studies programs in universities throughout the Western United States, including the University of Colorado, and taught Chicano Studies for 17 years at Metropolitan State College of Denver. Lalo Delgado died July 23, 2004. Delgado was appointed Denver’s first Poet Laureate posthumously in 2004.

When I Write, by Gloria Anzaldua

June 19, 2008

“When I write it feels like I’m carving bone. It feels like I’m creating my own face, my own heart– a Nahuatl concept. My soul makes itself through the creative act. It is constantly remaking and giving birth to itself through the creative act. It is constantly remaking and giving birth to itself through my body. It is this learning to live with la Coatlicue that transforms living in the Borderlands from a nightmare into a numinous experience. It is always a path/state to something else.”

Gloria Anzaldua, a self-described “chicana dyke-feminist, tejana patlache poet, writer, and cultural theorist,” was born to sharecropper/field-worker parents on September 26th, 1942 in South Texas Rio Grande Valley. During her lifetime, Anzaldua won numerous awards for her work, such as the Lambda Lesbian Small Book Press Award for Haciendo Cara, an NEA Fiction Award, the Before Columbus Foundation American Book Award for This Bridge Called My Back, and the Sappho Award of Distinction. In addition, her text Borderlands/La Frontera was selected by the Literary Journal as one of the 38 Best Books of 1987.
This bio excerpt was taken from Voices from the Gaps.