Dancing to Remember

by Terra Trevor 

I am gathered with friends and family under a bead blue sky. Powwow weekend. Santa Ynez Chumash Inter-Tribal. My shawl is folded over my arm. I listen to the wind, spilling through the tree leaves. Time merges with timelessness. Memories circle and carry me to a day forty years ago, when I stood on this good land, near the oak tree for the first time, with my young children gathered about. 


The same tree I am standing under today. I lean my back against this oak. This tree, giver of life. She has raised a community with song, dance and prayer. We return to this land, to this tree, in October every year. Laughter, flirting and romance in lives young and old take place all around her. She stands sentry. Her autumn softened leaves, swept up from a cool mountain breeze, fall gently on American Indian fathers holding sleeping babies. Mothers trading stories, their shiny cut beads reflecting light while braiding their children’s hair, with feathers in the colors of the earth, trailing. 


There were difficult times too for this oak tree, when she witnessed wild fires raging, drought years with dust rising against the clear sky. The times when her branches sheltered human arguments and angry outbursts, but mostly she is surrounded by love and caring. 


I stand high upon a flat rock, my eyes roaming, taking in the day, the years. Filling my lungs with sweet fragrances of the damp Mother Earth. Feeling my body grow light, like the feathers of the red tail hawk touching the soft clouds. 


For the record I am not California Indian. I am mixed-blood Cherokee, Lenape, Seneca, and for forty years I have lived near a creek in an area that makes up the traditional Chumash homeland. I’m walking gently, a guest on this good land and I hold the culture, traditions and history of the Chumash people in my heart. For my Chumash friends this is their landscape of time. 


I remember the words of my aunties, my grandmother, about how each person is a link to history and that when it comes to powwows all Native people gathered around the arena are participating as we form a circle around the drums, singers and dancers. And how every Native person gathered is connected, making a statement that American Indian people are still here. This is our celebration of life past, present and future. 


First published in the Spring 2019, vol. 2, issue 3 of News From Native California, a quarterly magazine devoted to California's Indian peoples. This essay also appears in We Who Walk the Seven Ways: A Memoir by Terra Trevor.

Copyright © Terra Trevor. All rights reserved.

Terra Trevor is the author of We Who Walk the Seven Ways (University of Nebraska Press). She is a contributor to fifteen books in Native studies, Native literature, nonfiction and memoir. Her essays have appeared in numerous anthologies and literary journals including, Tending the Fire: Native Voices and Portraits (University of New Mexico Press), Children of the Dragonfly: Native American Voices on Child Custody and Education (The University of Arizona Press), The People Who Stayed: Southeastern Indian Writing After Removal (University of Oklahoma Press), Unpapered: Writers Consider Native American Identity and Cultural Belonging (University of Nebraska Press), Voices Confronting Pediatric Brain Tumors (Johns Hopkins University Press), Take A Stand: Art Against Hate: A Raven Chronicles Anthology, and in numerous other books. Of mixed descent, including Cherokee, Lenape, Seneca and German, her stories are steeped in themes of place and belonging, and are shaped and infused by her identity as a mixed-blood, and her connection to the landscape. She is the founding editor of River, Blood, And Corn Literary Journal. Learn more at terratrevor.com

On I-66

by Kimberly L. Becker 

At Manassas the highway stained with blood 

from where you hit the deer or seepage from 
the Civil War (you didn’t hit the deer 
but might have or perhaps you hit the person 
whose bicycle—front wheel and severed frame 
was one of three incongruous symbols 
seen that day as you drove towards Roanoke, 
the others being a group of three white horses 

and a stone bridge to nowhere now--now here?) 

And in your highway reach of mind you held 
sadness swaddled like an infant, stillborn, 
and said goodbye to every inch of it, 
examined it the way they say elephants 
do their dead, exploring all the contours 
in a ritual of grief, saying God be 
with you or in Cherokee or German 
until we meet again, knowing that you wouldn’t 

“On I-66,” was first published in The Dividings, by Kimberly L. Becker © 2014 Wordtech Communications LLC, Cincinnati, Ohio. Reprinted with permission. 




Kimberly L. Becker is author of Words Facing East; The Dividings (WordTech Editions), and Flight (forthcoming, MadHat Press). Her poems appear widely in journals and anthologies, including Indigenous Message on Water; Women Write Resistance: Poets Resist Gender Violence; and Tending the Fire: Native Voices and Portraits (University of New Mexico Press). She has received grants from MD, NJ, and NC and held residencies at Hambidge, Weymouth, and Wildacres. Kimberly has read at venues such as The National Museum of the American Indian (Washington, DC), Split This Rock, and Wordfest. She has served as a mentor for PEN America's Prison Writing Program and AWP's Writer to Writer Program. www.kimberlylbecker.com

Hearsay

by Deborah Jang 

They say you sang like an angel 

on that island in the bay 
where foghorns drowned out 
nighttime murmurs : children’s 
names recited, prayers to deaf 
dumb gods, poems chiseled into 
barrack walls, lives left out 
in the rain. 

I heard them say I have your giggle 
and your preference for peaches. 
I never touched your flesh or face 
but this is what I gather: 
From Fat Yuen to Gold Mountain, 
from girl to wife now claimed, 
tides ferried you from village 
hearth to far foggy days. 

The island where the angels weep 
nabbed you just offshore. Offered 
a thin blanket, cold rice, 
interrogations, and a dreary 
three month chill. Finally you 
and Gong Chow found a spot 
to land on. You served up rice 
to sailors and to homesick fellows 
hungry for your song. 

My mother June, your feisty first, 
Roslyn and David followed. 
Restaurant shiny, children strong, 
then came the day to return, 
history called you home to China. 
June refused to go along and kept 
Roslyn too. The clouds and tides 
that brought you here, ushered 
you back through. 

Within two years word arrived 
Gong Chow died in China 
like he wanted. One month later 
on a whisper you too passed 
away. Especially on misty days 
I listen for your song:

I know your fathoms of despair, 
your gentle grasp on pleasure. 
The peace of spirit that you seek 
encompasses all in-betweens, 
measures life in graces. Though 
ocean tides rip heart from heart, 
the interwash of time and tide 
returns us deep to deep. 

© Deborah Jang. All Rights Reserved. 






Deborah Jang writes her way through the mysteries, perplexities, and joys of being human — on this planet, at this moment, in this skin. She is also a visual artist, engaging connection through forms and objects. She wanders between Denver, CO and Oceanside, CA; between mind and heart; between land and sea. She invites you to visit her website at deborahjang.com

Urban Fauna

by Kim Shuck 

You know how the deer on Market Street are 
With their stoplight eyes 
Picking their way down old runoff paths 
Past the disappearing relocated indigenous women 
The ravens are here to sing us visible 
Drumming on their collection of upended pots and Industrial buckets 
Don't you tell me how we've changed 
We were right there Near the department store 
Near the burial sites Singing to the ancestors 
This isn't an abstract gesture 
It's not a schoolroom exercise 
There are predators here 
And the maps of safe passage change every day 
And the wind comes up in the afternoon 
Don't you tell me how we've changed 
The roots of this hill have learned what to call us 
Just about 
Our clothes collected for the festival 
Our family members taken to who knows 
You might just sit down and listen for a change 
I'm not part of your curriculum 
We're a whole other thing 
Light reflecting off of the miles of glass 
How many feet deep was it? 
Can you hear the water like shattered windows 
Piled just like them 
Just there where the tall buildings lean like stealing 

© Kim Shuck. All rights reserved.




Kim Shuck is a complicated equation with an irrational answer. Shuck is the current and 7th poet laureate of San Francisco and will have a new book out from City Lights Press in the Fall. www.kimshuck.com

Alphabet of the Republic


by Chip Livingston

Always I’m asked what I love about Uruguay.

Because the food, I say, because the people. Because the rhythm of the place, the Culture. Carnaval. Candombe

Drums that demand I dance. It’s different:

Everything. Its Education – free through university and evidently effective. Everyone seems wise, well-read, and worldly. It’s egalitarian. And though I know one Richie Rich, the majority of people are equal. They treat each other as equals. It’s

Fun, I mean, fatal, just

Going to the grocery store, a walk in my

Hawaianas to practice my holas. The Healthcare – universal and fucking fantastic.

lemanja, the goddess of the ocean. Idea Vilariño, the first poet whose collected works I read entirely in Spanish.

Jacarandas
.  

Karaoke at Il Tempo. Kioskos to buy my tobacco y hojillas.

Loros
, the small green parrots that top the palmeras. La Paloma in Rocha, where I’ve beached seven summers.

Llaves antiguas
 – old skeleton keys to open my doors, and, oh man, the beautiful doors of Uruguay. There are photo books and collage posters of the puertas in Montevideo. I take

Mate
 at merienda, I

Nap at siesta,

Obey the rhythms of my borrowed land.

Public transportation. Public wifi. Public Welfare. Public exercise equipment. Institutions that actually serve the public.

Queso. 
I guess it makes sense that if Uruguay has the most natural beef in the world, its dairy would be as pure. Quince paste, which they call membrillo, and I have a story about that for another time.

Really it’s remarkable I haven’t mentioned the meat.

Rrrreally rrrremarkable but

Seriously, Uruguay outlawed antibiotics and hormones in its livestock in the 1970s, it’s banned Monsanto and GMOs, imported

Transgenic foods are marked with a yellow triangled T.  Tomatoes still taste like tomatoes in

Uruguay; bananas still have seeds. It’s a long trip south but

Vale la pena
. Now if I shortened “vale la pena” to just “vale,” it would suggest I’m from Spain. The abridged version in Uruguay is “dale,” used like “okay,” pero ta,

You know I love learning those distinctions between spellings and palabras.

Zorrilla.

Zorrilla’s on the twenty-peso note, which you can imagine as a dollar, Juan Zorrilla de San Martin, an epic Uruguayan poet, whose home, bought by scholars of the state, is now a national museum; a street and park are named for him. Juana de Ibarbourou appears on the thousand peso, another poet. The hundred peso features Eduardo Fabini, a musician and composer. Do you know what I’m getting at? The Uruguayan money has artists and thinkers on it. And I think about the killers I carry in my U.S. wallet.

Zumba
, my first onomatopoetic Spanish word, the drowsy bee’s buzz.

Yerba Mate
, obviously, if you know me. I’ve nearly always got a mate full of yerba, the Guaraní herb that motors the world’s most nocturnal country, Uruguay.

Xcept Uruguay isn’t really the country’s name. No tiene nombre oficial but is officially known as La República Oriental del Uruguay, the republic east of the Uruguay River, referencing itself by location, by the X on the upside-down map, and uses the indigenous name of the nearby river, this cattle country crossed and bordered by rivers and sea, its bays a sweet and salty mix,

Which are just some of why and what I love about this watery paisito, the first time I met her crossing the Río de la Plata from Buenos Aires, on a whim, a mention, just the first weekend of a 10-day escape from North American winter with another U.S. writer. We decided within 24 hours to stay the entire holiday in Uruguay.

Verdad. Era verano
. It was summer in our wintertime. Carnaval. And we toured the Atlantic beaches, convinced we’d been secreted into a kind of heaven, as if the venteveos saw and sung to us, the velas lit for Iemanja an extraordinary riverside welcome, warm beacons with carnations, coins, watermelons. Y acá volvimos, vivíamos, y yo vivo de nuevo.

Uruguay. Uruguay. Uruguay.
“Ur-u-guay? You’re a guy?”
“Ur-u-guay? You’re a gay?”You’re a single gay guy living in Uruguay? Que suerte, che! Uuuuu!

Ta! 
It’s tranquilo, and truth be told, todavía no sé what it is to be exact. Todo: los tomates, las tortas fritas, los teros, el tortugon, el tango, los tambores. The drum groups in the streets, the people on their feet, the two beats that keep the culture dancing. Los tambores. Los tangueros. The tango. The tambores. And los Tupamaros.

Spanish as a second language. I’d studied a semester with a Spaniard, had Cuban friends teach me to cuss, heard my share of Puerto Rican pillow talk, but learning to speak Uruguayan Spanish, No es poca cosa. No es Catalán, cierto, pero casi Canario, an idioma of opposites, where a former prison is now a luxury shopping mall and the current prison is called Freedom, where barbaric and fatal are adjectives for amazing, where to experience joy is to die or to be killed by something. Sino es así, no? O sí? Sí no? See?

RR. Errrrrrrrre. 
Mi perrita, mi porro, mi ferrocarrilMi fat yankee tongue trying to roll the double RR. Joderrrrrrrr!

Really, I don’t know if that will work on the page. The Rambla: among my first and constant appreciations, Montevideo’s Rambla is 13.7 miles of uninterrupted sidewalk along the river and up the Atlantic coast; it’s where Montevideanos ramble, rest, relax, and meet for mate, to read, to exercise, to take sun, run. Its rhythms still and accelerate me. Requesón.

Que tal? 
How’s it going? Quizás you’re wondering how much love for this little country I’m going to share. I’ll try to be quicker.

Pero el problema es
 you can’t rush a Uruguayan, and I am growing more Yourugua every day, and there are a lot of things I love in the republic that start with P: poets, there are so many poets, and the people actually read poetry. There are poems etched in marble in public plazas. The people read! And the people are kind, helpful, pretty and peaceful – until it comes to fútbol, then it’s back to the killing metaphors. But Pizza. Pasta. Pan de Azúcar, where I saw a live wild black puma in a sheep pasture. Ah, population statistics: there are seven sheep for every human in Uruguay and there are four cows for each person. Palermo. Piriapolis. Parque Rodó. Cabo Polonio. Punta del Diablo. Palos borachos.  

Olímpicos 
and other sandwiches de miga. Las ondas buenas, ojalá, y obvio eating
Ñoquis on the 29th  of every month.

Niños envueltos
, delicious sausage in cabbage with a tortuous name, wrapped children. Riquísimos son.

Mira! Mate, mimos, mercados, murgas
, the meat (see “Carne”), medialunas at merienda, the extra meal. They have four meals a day in Uruguay! And merienda suits me, soothes mi hambre at North American dinnertime. I have to mention Mujica, the former president, his example, history, and his changing the face of the republic to el mundo.

Lluvia
. I love the fucking rain in Uruguay and it’s a good thing because this country is elemental, water falling into water, sky and sea, sea and earth, sol and sky, where llamadas call me to my feet for their ensayas y desfiles.

Lemeyun,
 and I’m even allergic to onions, but this Armenian-inspired Uruguayan dish is like, paf!, a grilled pita bread topped with spiced citrus beef ceviche.

Kisses – abundant as bread – and everything starts and ends with a beso. How tender and wholesome and masculine and shattering of macho North American stereotypes of how two humans can so naturally touch each other. Granted this is one kiss on the cheek, but there are exponential expressions of their comfort with intimacy.

JAJAJA 
is how they text laughter. Y les gusta reir. And I laugh at how distant my language just got when I spoke of showing affection. I have a lot to learn yet. Jamón y quesoJuas

lemanja, I have mentioned, an important figure in my knowing the country and my gratitude. Part of my introduction,

How we arrived the first time the weekend of her birthday, February 2, and joined Montevideo on Playa Ramirez to light candles and leave her regalos on the sand and in the sea. Olas de hermosas holas. Horneros. Y hombres excepcionales.  Guapos. Guapas. Gauchos. And Gooooooooooooooooool! We’ve gotten to Fútbol! And I’ve become a fanatic. Ya fui a mi first clásico, between Peñarol y Nacional, and now only lack one task to becoming unofficially Uruguayan – learning to play truco – but of my fondness for the other game. Obviously it has a lot to do with futbolistasFainá. Y bueno ta, no falta mucho para el fin, and 

Everything yet to be said yet an expression of some sorts shared. Empanadas. I don’t know if Uruguay invented the tango or empanadas, but it has perfected them.

Desfiles
 of diversity and marches for more derechos humanos, and the country is already known to be the most humanitarian in the Americas. The first country in the world to legalize marijuana, the first country to allow a woman to file for divorce, one of the few Latin American countries where abortion is safe and legal. Gay marriage, claro, like it was never a question. Uruguay elected a transgender senator and a female vice president.

Chorizos, choripán, chivitos
! But Cheescuchame, the way Italian, Spanish, and African genes have mixed with los Charrua.

Carne
, the best meat in the world. Happy cows and 52 cuts of beef: pulpón, asado, entrecot, lomo, nalga, peceto, vacío, colita de cuadril, morcilla sweet or salty, chinchulín, chorizo. I dated a carnicero. I dated a cowboy. Carnival drums and murgas, parades and bailarinas, las comparsas, la cumparsita, a never-ending series of cenas and cumples.

But because the rhythm of the place I say, because the people: because the food, which centers on the Asado, the barbecue, and ends with aplausos for the asador.

First published in Carve magazine in 2018
Copyright © Chip Livingston. All rights reserved.



Chip Livingston is the author of a novel, a collection of essays and stories, and two poetry collections. His writing has appeared on the Academy of American Poets’ and the Poetry Academy’s websites; and in Ploughshares, Prairie Schooner, New American Writing, and other journals and anthologies. Chip teaches in the low-rez MFA program at the Institute of American Indian Arts in Santa Fe, NM. 
He lives in Montevideo, Uruguay.

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