John C. Krieg – The Bells of the Mission Santa Ysabel

The Bells of the Mission Santa Ysabel

The bells of

The Mission Santa Ysabel

Ring no more

To most parishioners still living

They never have rang in their lifetimes

Being stolen in 1925

The whereabouts of the bells are unknown

Yet it’s expected

That this was an inside job

And that the bells are holed up

Not very far away

Forgotten about in some old shed or barn

The parishioners pray

That this is true

That God will work a mid-level miracle

And see to the safe return of the bells

In 1700 Peter the Great

Of Russia

Melted down all of his homelands’

Church bells

To make cannons for warfare

They fired church bell cannon balls

Which killed people

Did they suffer a holy death

That granted them immediate entrance

Into the kingdom of Heaven

Was this the fate of the bells

Of the Mission Santa Ysabel

The bells

Of the Mission Santa Ysabel

Have remained silent

As to their whereabouts

And to what they may be mixed-up in

The hostage syndrome

They identify with their captors

And don’t try to escape

Who would steal church bells

What kind of a low-life would do such a thing

You would think that they would feel guilty

Every time they heard a church bell ring

Wracked with inconsolable guilt

And with every ding-dong

That ever reached their ears

For the rest of their lives

Cringing on Sundays

At the noon day

At quitting time

The bells

Of the Mission Santa Ysabel

Ring no more

For us

But for their captors

They ring all the time

Clanging out “Thief, thief, thief!”

It must be tough to hold up

Under that kind of condemnation

God must have a hand in this

He keeps the thieves names on His black list

Nothing good could ever come of this

Those bells are surely missed

There’s only one way to escape eternal damnation

Bring back the bells

Of the Mission Santa Ysabel

Buy your way out of hell

God’s not buying what you have to sell

And one can never tell

When things will no longer go so well

Someday the bells

Of the Mission Santa Ysabel

Will chime in joyous rapture

Across the Santa Ysabel Valley

Summoning parishioners to appear

And perhaps shed some tears

Over the long-awaited return of the bells

God being in his Heaven

And all being right with the world

The bells

Of the Mission Santa Ysabel

Don’t ring currently

But even a blind man can see

That God will put an end to this travesty

He will solve the mystery

The bells of the Mission Santa Ysabel

Will once again clang loudly

Ding, dong

No longer gone

The bells of the Mission Santa Ysabel

Will clang loudly

Over the Santa Ysabel Valley

God being in His Heaven

And all being right with the world

Ding

Dong

Ding

Dong

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R.T. CASTLEBERRY – 2 POEMS

IMPRESSIONS OF THE SICK HOUSE

I watch in the world,
amused by massacre and gin,
homeland walls, holiday wars.
Viewed from the barred gate
darkened surveillance cars prowl,
aimless under winter afternoon skies.
Cold weather tramps straggle past
construction generators, pavement gaps,
work order water leaks.
I take into consideration
the symbolic and the sin.
I deny memories useless to me—
week-long binges, wives I’ve cheated with.
Unsettled by panic attack, I leave
a dark bedroom for couch and cable tv.
Lessons located in news video,
detention gangs scour migrant dives,
mercados, work warehouse.
I look away, watch the ceiling fan
swirl shadow circles on the blinds.
In jeans, a Steely Dan tour tee shirt,
almost ready for silence,
I allow days clear of music.

 

~

 

SLIVERS
After Creeley’s The Flower
 
I think I layer tensions
like bottles shattered
in ditches the thirsty
refugee hides.
 
Each faulting gesture
blocks breath,
catches in my chest,
cracks knees in a fall.
 
Tension is a wasting blade
It slices that one
and that one
and that one.
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POETRY: MARLENA CHERTOCK – CEMETARIO GENERAL

Cemetario General

Cemetario General is one of the largest cemeteries in Santiago, Chile. Patio 29 is a plot used to bury the disappeared, the homeless, the unidentified, and victims of the Augusto Pinochet military dictatorship.

 

What’s left of them is arranged in boxes,
fifty or so line a wall.
He turns off the leaf blower,
passes a woman kneeling, her head lowered.

Even in death there are mansions.
Glass criptas encasing tías.
He coaxes leaves away
from the marble structures.

In a narrower section
ice cream and chip vendors push their carts.
Crowded together are plots of dirt, maybe some hierba,
a Nescafé bottle filled with wilted hydrangea.

He asks families to give more.
Sometimes there’s no response. So he digs up the land
and transfers what endured to a mass plot, Patio 29.
He’s so close to the body then, touching its bones.

At home he holds his esposa’s hips
as she cooks dinner, the smell of her sweat and the humitas
mixing in the kitchen air,
holds her as she undresses and they lie down together.

Find her at marlenachertock.com or @mchertock.

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poetry: Joseph Somoza – Hasta La Vista

Hasta La Vista

Here I find myself again,
in the company of
trees and sunshine,
a quiet workday morning.
It’s like emerging from a tunnel
where my mind was cloyed
with mundane matters such as
providing food, doing dishes,
and having to
respond to others—

who are my family,
who have gone back now
to being themselves
in the far distance where I can
make out the details better,
hear their words more clearly
in the sparse air between
here and there, as if minds can’t
co-exist in close proximity
and must always be
sent on their way.

Order Joseph Somoza’s new volume of poems As Far as I know (Cinco Puntos Press, 2015).

 

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NONFICTION: BEATLICK JOE SPEER – TREK 55

This story originally appeared in Backpack Trekker: A 60’s Flashback (Beatlick Press, 2011).

TREK 55

In 1969 four-hundred students at Harvard University seize buildings as part of a campus-wide strike.

I enjoy long flights while looking out the window at rivers and empty ball parks. When the clouds blocked the view at 30,000 feet I read “Uncle Tom’s Children” by Richard Wright. It is right to say he left a rich mark on literature. He introduced a new element into American fiction. He created a tension from the possibility of random violence. H.L. Mencken taught him how to use words as weapons.

In the story “Big Boy Leaves Home” three Negro men go skinny dipping in a lake. There are no signs of trouble until a white man appears with a rifle. He kills two of the men but Big Boy manages to kill the white man. Later, while trying to secure a hiding place, he beats a snake to death with a stick. From a hide-out he watches a friend get burned with hot tar and gas. He strangles a barking dog that sniffs him out and threatens to dis-close his presence. Big Boy is pursued by the vigilante commit-tee but he escapes to the north.

Richard Wright escaped to Paris in 1946. In 1953 with the publication of his novel “The Outsider”, he culminated the work of the Harlem Renaissance and joined forces with French existentialism. Wright died in Paris in 1960 and his ashes are interred at Père Lachaise. He shares the cemetery with other exiles such as Oscar Wilde and Jim Morrison.

The stewardess asked if I wanted a drink. Her skin was the color of a cooked pinto bean so I assumed she was a Latina. I replied in Spanish that I wanted a beer. She popped the cap on a Corona and we bantered back and forth in Spanish. She complimented me on my accent and asked where I learned to speak Español. I explained that I read Antonio Machado. My father served in Spain during their civil war. He accompanied Machado into southern France and was at his bedside when the poet died in exile in 1939.

She asked if I was familiar with Federico García Lorca. I told her my mother was a student at Columbia University in 1929. My mom provided the lonely poet with a conversation partner. He gave her a hand-written poem called “La Aurora” which he signed “Federico.” She kept it until 1936 when she showed it to a neighbor who inadvertently spilled a blotch of ketchup on it. Lorca’s name was smeared blood red.

We landed and like Dean Moriarity, I crossed the street into Mexico “on soft feet.”

 

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