Summer 2023 | Poetry
Gerónimo Sarmiento Cruz
Five Poems
quelites (quelle eat s.)
(one sont less)
i like hides what i don’t like
which is our thing right now
the thing we’re coping with
more so that unlearning leaves
no verifiable content
but the fugal
the radiance of a newly arrived ab
sense from the prefix as in abaxial
there’s no point to this sprawl
you gotta die that death
and cherish its surroundings
too like a simile for simile
purposiveness is dead on
but this too should be pre
if unfixed in the manner of
peri over para and vice over
versa
look there’s no breath to catch
sort of regreshing rough
though i
offer humbly as a light gift
the kind of attention you can’t give
to a disintegrating idea is the kind
invoked here
like the moment says
love your grossness i do
away from your read most
knowing points like a mutilated index
in its pointing to lack upon
acquisition
insisting no no
around the systemic devaluation
of teaching
unlearn me all their moments
lessons loosened letting them
in turn rove stroll to find their
own
sustenance and i don't
how formlessness at times
is helpless
in its sufficing
quelites (quelle eat s.)
(kin ton ill)
freed play
that any given weeding
can gather
some absolute
we are our own people
and the most logical answer
is always the one you’re thinking of
still you’d think i’m factoring
in those sounds but i’m not
that’s the game of the name
in the unreal given to you
no such a thing as space ok
but what of
the death marathon
remind her of this ravine when at an end
and the organic part of giving up
its lungs
the feet which had all
but vanished in the undergrowth
lost for all she cared for
was all lost and fair
or her sense of
in the sense of sensing
of soil without touch
a taciturn immanence that followed her home drunk
stumbling but stubbornly hovering so
like a moan
the stuff of dregs
the persistence
what we understand of birds in the evenings
when light wanes and cars crash
remind her they’re still there holding head
but also pulling it
as far and near as we ever
its sole mediation
as if there were punishment for all the stupid shit we think
ghostly nothing but the tangible end that tends to be
dirty
quelites (quelle eat s.)
(bae raws)
to put it to bed
i can’t tell you which is my house
but i can show you where i live
habit like habit like breathing
like resin like tendrils
like the deliberate infliction of severe pain
the habit of surrender
find comfort in collapse fiend
knowing the overgrowth has bathed us
an immediacy as a takeover of all
the smell of it mostly green
with fetid traces of the atlantic
driven farther inland by the wind
but for the arrival that wasn’t and the world they carried in front of their face
they would have seen what they didn’t and what they didn’t seek
lush in the countless potentials of what they weren’t as well as what they could have been
the periphery nests the center regardless
and the smell of it is mostly
all the blooming of this geometry
subtleties lust on
eyes unschooled in this
our badness
in orther to listen to a silence
of two minds you turn from it
and meet it backwards
attendant to all those unintended
across the southern provinces of intention
pissy murmurs in that same fetid wind
sleep to point
oh a i unbridled mares
on a sandbank post
shipwreck post
two thousand eight
do not
quelites (quelle eat s.)
(vert dos là gas)
there’s a name because there’s a need
a relation with place that accrues
in time
taking shape as food
and dispersion
maybe you will read the passing of the hours here
of body into mound
into feast all adjacent
namely effervescent and ebullient
raw histories are like that sometimes
an endless conversation where you get one syllable
and it makes sense
go on and tarry with timber when it’s algae that keep the ship afloat
you claim you see silhouettes
are ongoing negotiations and you don’t
no longer celia
some withness scattered over
tardigrades gather as tardigrades do
foraging as kenning
kin
mimicking the edges
note how this silence circumvents their names
as it names for the occasion
wastefully so because there’s no wasting
and i couldn’t hear the fog
and you weren’t calling
your slovenly kind
but neither has any judgment
other than flavor
is of circumstance
the climate and its expression
subtitles these subtleties
that want no verbal articulation
of which
remains
illegible as the hours
quelites (quelle eat s.)
(papa law)
the t in listen is silent
cutting corners and discarding the rest
an era
sure
but of what fabric
still you tune your instrument right
knowing it’s just a mood
and a passing one at that
coquecigrue when with intention
you got stuck with it one
third of the planet
i fucking hate star wars and i find
myself less and less invested in language unless it
the prosperity of which lies in the absence of guidance
somber like but not as it relates to this
of cloth woven onto said fabric
like nothing because it’s nothing
but tremorously
it’s the sediment insisting
in the docile ways of exhaustion
between breaths between cases and examples
the life lingering in the interim
i’m still learning this new language
properly carnaged as one does
as we do dole out the remainders the results
it’s what you catch from the substrata
it’s the lack of dynamic verbs and the loudness of the drama
maize and beans purslane and sage
i still haven’t heard your name and it’s about
dusk all about dusk and yes the light is meant to blind us but also force us to shut up
upon the grasses there’s only nomads
then the floods the archipelagos
as if equal temperament
instinct entails a rehearsal of past
errors laden
lent themselves in turn to specialization
how you fly close to the tusk
whereas i toy with the art of scarring like a map
to still err sometimes
millions of tons of grass
raising rain
getting lost in the night
in the discrete instants that make the dark
some extramarital information some
blessing stripped down to the spine
we end
Gerónimo Sarmiento Cruz is a scholar, translator, and poet. He was born in Mexico City and lives in Lexington, KY, on the occupied lands of the Shawnee, Cherokee, Chickasaw, and Osage people. His work can be found at Chicago Review, Post45, and Fence.
Gerónimo recommends Wendy Xu's The Past and Ruben Östlund's Triangle of Sadness.