Contándote

con el corazón en la mano

y el cronómetro en el pecho

cuento cuánto tiempo ha pasado

y cuánto tiempo he pasado

contándote

 

contándote en el umbral del sueño

contándote en mis poemas

y en mis laberintos mentales

que ven los números

corriendo

 

detrás tuyo

buscan lo que algún día fuiste

en un puente colgante

entre las hojas de un camino

o lo que algún día serás

en una bestia que vuela

o en una ciudad estrellada

 

pero me estrello

con el reloj que palpita

y sobresale de mi camisa

y me encuentro con el corazón mío

que sangra

muere

pero espera.

 

 

Cupido condenado

Ambos flechados, aprendimos a vivir y a sufrir la condena, pero aprendimos a querernos sobre todas las cosas. Distantemente juntos no sobrevivimos, sino que vivimos: en un mundo que solo los dos entendimos, en un mundo que nos enloqueció a ambos, y un mundo en donde aprendí que amar no es la compañía física, ni las relaciones, ni la estabilidad.

Me enseñaste que el amor se puede imaginar, y que solo imaginando realmente se crea el amor. El color del amor no existe, pero si existe el color de los ojos, y de la sonrisa. El sentir el amor no existe, existen las manos que se rozan, o los humanos que se abrazan. Existen las miradas y las conversaciones; existen las risas, los secretos, las lágrimas, y los chismes. El amor es la compañía en la soledad o la soledad acompañada: el amor es la promesa de un compañero que te hará presencia en las ausencias. El amor es la amistad ante todo, es la necesidad de amar por amar y es el fruto que no se recoge con la boca, sino con el corazón. El amor es la locura; es la vida entrelazada, enredada, que sufre con nudos en los nudos. El amor es llorar; es gritar, es querer a pesar del grito y del llanto, y llorar de las ganas que se tienen de querer al otro. El amor no está cerca, está en la distancia: en montes con aguas turbias y estancadas que sueñan con ser ríos y océanos.

Me enseñaste a vivir enamorada y a buscar el amor en lugares recónditos. Te quiero porque no te supe querer, y te quiero por quererme a pesar de todo. Te quiero porque me enseñaste lo que es amar de verdad, y porque estuve contigo en un mundo que yo sola imaginé y guardé dentro de mi bolsa llena de flechas. Lo guardé para nunca olvidarte, y para quererte por siempre, pero más que todo lo guardé para nunca olvidar cómo se siente el verdadero amor. Sigo con mis flechas al hombro, y con mi flecha clavada en la espalda. He sacado los pedazos que pude pero aún quedan astillas y confieso una última vez… que me gustaría que se quedaran ahí.

Your Hollow Home

Small tasks

turned fragile,

car seat corroded

my

skin

we stop,

by the streetlight,

whose red beam

burns,

too bright–

burns against

my sodden eyes.

 

The Great Reminder

sleeps within us,

sings to us,

laps around our clothes, sorted

black.

Beyond the silence, it screams

beyond prayers, it curses

words and sorrows,

it curses life.

 

The cold pierces my bones

that rattle

as we walk,

behind you

and your decaying

bones.

 

Freshly cut flowers

sit on wet dirt,

but it is still

cold

it is still

too late

and my skin is tarnished

and my eyes burnt.

 

We stand and pray

while a man, in uniform

thuds a shovel,

against wet dirt.

 

They lower you,

and open the casket

one

last

time.

It is closed now

you’re gone now

and the man strikes the gears

that scream

as you settle into your hollow home.

 

The uniform

man throws dirt over you,

checks his watch,

sweats and thinks

one more body

last one for today.

He shovels,

covers you,

he sweats but doesn’t feel

he doesn’t know

its you inside,

he doesn’t know,

what we know.

 

I look down, at

lumps of dirt

and rocks

inside his shovel.

The rock will hit you

it

will hurt you,

I don’t want it to hurt you

someone tell him

someone,

please

take

it

out.

 

It hits

your hollow home

and I, cry

in silence.

Blue Man

Plaid shirt. Khaki shorts. Headband held back the cover-up for an undiscovered brain, and the simplicity of his step smoothed the edges of Brewer Hall. His eyes were profound, and the absence of a smile reminded me of pain from long ago, perhaps in a land where its citizens never get to see the sunset; but his presence defied the laws of thought; and he was light in an opaque room: he was as unreachable as innocence, and as lovely as sin.

Walk. Shake hands. His jawline was tense, his hands were cold, and his eyes were hollowed and dark brown, with subtle yellow specks guarded by coy eyelashes made of silk. It began to rain inside the room as crystal raindrops suppressed the sparks emanating from his eyes. He kept a secret that no one could transpire, and stood up with an air of mystery as if Lennox Hall were an unresolved scene of crime.

He woke up curious and felt less old but not quite new. He never saw it coming, but it was rainy when I made him laugh, and he flew up to unrequited felicity amongst his teenage angst, and I felt him less new but not quite old. When he laughed he shyly looked down, so that all I could see were his crooked bottom teeth and lips smoother than his step. When he laughed his silky eyelashes battered, his sight focused on the ground, and his cold hands grasped the bottom of his denim backpack straps. When he laughed he was no longer eighteen, and his Oxfords scattered the leaves on the ground, and there was a spring in his step as he simpered, revealing the severity of a crossed line. And amidst the rain and the cold, in this single and ephemeral burst of emotion I discovered his peculiarity, and he discovered just how flimsy the walls between us were.

Green pants. Brown shoes paired with quirky socks. His cardigan brushes my arm and conducts electricity, but so does his voice. He lingers even when he’s not there, and his magnetism transcends in thoughts that echo inside me; he’ll exist beyond existence itself while I vicariously see life through him.

Ice. Teeth. Crack. He asked and listened as the crystal squares sang inside his mouth. He picked out the tomatoes in his sandwich, like I carefully picked him out amongst dozens. He’s confident in his embarrassment but I couldn’t see past his tall, blue walls.

Shadows growing. Hearts falling. He lives in New York Times, in photos under trees, and notebooks during bus rides. He appreciates my absurd questions and is the first one to ever ask them back. We walk and when we do it feels like we are standing still, and when we talk it feels like we are silent; we are present in absence, and we’re strangers who’ve known each other for years.

He lives on coffee, vodka, and gossip. He reads Sylvia Plath and translates Latin texts, but has an affinity for Gossip Girl. He likes to smile and purse his lips; he speaks in silences, and feels through space. He is the renaissance of a storm within whoever listens; he is a tempest, a paradox: he is rain during drought.

He writes and his long legs make him fly when he walks. He regrets Halloween, and wishes he’d tried harder in school. But what makes him special is what he provokes in others, and maybe even on himself: he exists beyond literature, politics, gossip, and quirks. I’m not really sure where he exists, or if he even does exist. All I know is that he can’t be from here or there; he doesn’t fit in a mold, in a country, or in any single group. He transcends, and when I’m with him, I do too.

He walked away and down Richmond Hall, suitcase in one hand and my heart in the other.

 

 

 

 

 

 

 

 

 

 

 

 

Company

Come sit with me
the ghost of you
with arms of surrounding shadows

keep me company while I’m lonely.

Come dance with me
a solo dancer
whose feet I can’t keep up with

keep me company while I’m lonely.

Come kiss me
a haze a tint a smell of you
frozen lips on a fiery mouth

keep me company while I’m lonely.

If you happen to be busy
you can still sit
and dance
and kiss

(someplace else)

turns out I can be lonely on my own.

Burning Ice

Captura de pantalla 2015-02-15 a las 11.20.16

On a Brilliant Man

And then the sky broke.
It broke, in only two pieces,
cracked open and left the door ajar.
A man walked out, right foot first,
with round blazing fingers,
and a burning heart.

A horizontal smile,
bounced off an ocean line
only a single flower –rose,
and hugged the brilliant man.

On a Gleaming Lady

And then the sky went silent.
It slowed down, with a single note,
built a staircase, and cleaned its floors.
A woman gracefully descended, dipped in silver silk,
with no feet and ten icy eyes.

Her pallid gaze hypnotized,
serene and dark,
only an enamored man –a lunatic,
waited, and watched her from afar.

Descalza

Los días ya estaban contados
los vi al doblar la esquina,
la indiferencia solitaria,
camina y me asesina.

Hoy cumplo seis meses de estar muerta
o ¿serán ocho ya?
La verdad, con todo cariño,
es un alivio saber que soy capaz de olvidar.

La indiferencia no es tan solitaria.
A veces te miro, y tu ya me estabas mirando.
Veo en ti lo que algún día denominé:
la mirada más linda.

Puede que mis pies ya no usen tus zapatos,
pero ahora me he quedado con dos pies
sucios y descalzos.
Y puede que mi boca ya no suspire tus labios,
pero sucede que ahora están secos,
y aún mueren por ser besados.

Driving to Euphoria

1. Begin by deciding where you want to sit.

Swing the door open and thrust your body inside. The seats are made of leather and a gear stick prevents the person beside you, from truly being beside you. This time is appropriate for adjustment of the AC; position the vents in the desired angle, facing you if you’re prone to uncalled heat waves, or facing upward if body temperature appears stable. Radio stations rarely have enjoyable music, I recommend carrying an IPod or a device of the sort, with alternative options in case you are feeling particularly morose or particularly ecstatic. If you want control over the radio and the AC, riding shotgun is of utmost importance; nonetheless, you might have to engage in conversation with the designated driver and at times, one seeks solitude. If this is the case, don’t hesitate and go straight to the backseat, where you will appreciate a certain degree of isolation, especially if you carry earphones around.

2. Observe what happens outside. Usage of all senses is highly endorsed.

Assuming you ride shotgun, drift your sight towards the division of lanes. Watch the metallic nose in front of you swiftly consume each white line on the road –if you stare for too long and your head spins while undigested food floods your throat, stare into the horizon and open a window –just in case.

If you decide to look out through the side, make sure you take everything in, before the car’s acceleration rudely forgets temporary landscapes, and abruptly welcomes a new one. If it happens to be raining, –which is my favorite situation– make sure to drive under a bridge. While the driver approaches said location, contemplate the windshield wiper’s confident assassination of raindrops, and try not to be bothered by the un-wiped semicircle left in some windshields. Right before you drive under the bridge, close your eyes and focus on the sound of each raindrop bouncing off the car roof, it will cease without notice but your eyes should remain closed; relish the silence before its once again interrupted by mischievous raindrops, whose feet are waiting to tap dance on your roof.

3. Improvise. The essence lies on spontaneity, not continuity.

Under no circumstance, shall you feel shackled by the statements above; on the contrary, abiding by these rules would only deprive you of unearthing car rides in all their glory; however, if you are still short of ideas, keep these in mind. Allow yourself to roll the windows down and let the wind hold your arm upright, despite your determination to let it fall back down. Watch the city against a backdrop of dark skies, hold your breath when you drive through a tunnel and count the streetlights that race by. Wait for the moon rabbit to hop into the backseat and fall asleep until you are softly tapped on the shoulder. Revel in the changing night’s grandeur while you play your favorite song and if despite the gear stick, the person beside you is truly beside you, sing along.