Marisol Baca – Personaje

Marisol Baca

Personaje

{After the painting by Remedios Varo}
 

Remedios, when I look
at your torn garment of canvas
when I read your painted ribbon
stretched across the cosmos
am I making a real friend?
Or am I making a fool
of myself?

I see you are like me
So often I am alone
You never found the place to belong
in-between the forest and the town
in-between the river and the road

There was a cloth apron
my mother hung around her neck and shoulder
I would like to use that apron
como un velo
behind a curtain so thick
no words can hurt me
nothing can penetrate
obscurity

How does a child learn
to believe that things will change for her?

Remedios, if I found a vehicle in the fog of the Central Valley
If I float down the San Joaquin river,
Will the river make me sick?
Will I find the mechanical abstraction that is your boat?
Is the fog hiding a town swept away beneath a wave?
This river recedes before a jealous forest.
This river opens like a throat and tongue.
This river ends
detrás de las cortinas.
You swallowed that town and all of its people
all of its quaint buildings and private parks
They reside inside you
—are parts of you.

Remedios, when the river ends,
will I catch you riding
on a path beside the ash trees and the river?
You will be riding the sixteen of wheels
lejos del bote de maravillas mecanicas.

 

Marisol Baca’s artist statement:

Over the past 15 days, I have been writing a poem a day. This concentrated workload allowed me to sit face-to-face with poems that I have been wanting to write for a long time— stories that I have wanted to investigate for a long time. It was a difficult thing to do, but the right time to do it. These poems are about exploring the work of a favorite artist of mine and finding out more about my family history. The first eight poems are interrelated and are about the surrealist painter, Remedios Varo. Her paintings evoke wonder and curiosity in me, and I love them. The second set of poems deal with stories about my great grandmother and her sisters. There are some stories in these poems that I have been thinking about for a long time, maybe even years, and have not been able to write until now. Last week I had a dream about my great grandmother standing at the entrance of a doorway telling me to go ahead and get it done. So I did.

“Personaje”
Personaje, 1961.
Oil and Silver / Cardboard Sheet.
© All Rights Reserved 2015, Remedios Varo.
For any use or reproduction of the work, please contact vegap.
Cat.315-Character-1961

“in eights // octaves”
El Flautista, 1955.
Oil and Nacre Embedded / Masonite.
© Copyright 2019.
For any use or reproduction of work, please contact vegap.
Cat. 127-El-Flutista-1955.

Jeffrey Schultz – XII. Poem No One Asked For

Jeffrey Schultz

XII. Poem No One Asked For

 

The poem leaves the room hungry
And commends to your care
These following facts:
The Pan-Arctic Ice-Ocean
Modelling and Assimilation System
(PIOMAS) data for 20 Sept. 2019
  Shows an average ice thickness
In the Central Arctic Basin (CAB)
Of 1.2 meters, thinnest in the record.
The ice itself is in terrible shape:
The peripheral seas have melted out
And the remaining ice in the core,
Shattered early in the season by heat,
Both atmospheric and in terms
Of spiked Sea Surface Temperatures (SSTs)
Was first broken to rubble and dispersed
By a series late-season cyclones
Fueled by incursions of tropical heat
Before winds off the East Siberian Sea
(ESS) and Canadian Archipelago Area (CAA) later
Forced it back together into a single mass,
So that as it floats there now in the warmly cold dark
It’s a jagged, compacted mess.
No significant multi-year ice (MYI) remains.
Observed melt is decades ahead of projections.
This morning early, 22 Sept. 2019,
In Cayucos, on California’s
Central Coast, the buoy’s bell
Rolls in the surge,
Rolls me half-awake
And sleep-dazed onto the beach
For the dog’s morning shit.
Her shit’s not in the worst shape,
Though it is somewhat loose on one end,
Likely an effect of having been fed fries
From the table yesterday at Duckie’s Chowder House (Duckie’s)
So as to distract her from growling at others’ passing dogs.
She’s a mix of widely-feared breeds
And it’s tough to get around people’s preconceptions.
When we had a Golden, people were like whatever.
The crisp onshore mostly dissipates
The scent as I use a plastic baggy to pick it up.
It has a decent heft and through the baggy
Feels precisely like warm sand-coated shit in a baggy.
The early light on the early water
Blues the beach, which is empty
And windswept. When Phil
Used to say that a poet
Could only use the word
Beautiful twice in a career
It was because beauty
Was at that point still something
A reasonable human being
Might place some faith in.
One is not meant to take the name in vain.
But all the saviors keep turning up
Victim. Everything feels
Like such a personal tragedy.
PIOMAS updates twice a month.
The dog shits twice a day.
Everyone wonders what’s coming.
The goddess of history (Κλειω) lies concussed
At the waterline. Amidst the great heap
Of concussed goddesses,
She’s a little hard to pick out,
But she’s in there, all of them
Overtaken in the surge.
Supposedly, some of them
Were quite pretty, though certainly
This seems like the wrong place to mention it.
Many things can still be expected of the future,
But salvation of either Κλειω
Or any of the others isn’t among them.
The CAA, the ESS, and the Kara lie bare.
The Laptev bite advances poleward,
Devouring everything solid in its path.
The poem doesn’t want
Anyone to feel anything. It is hungry
And has no interest in what anyone
Might have to say.
What’s left for this appetite
Is what comes after all that
And will not be referred to again.

 

Jeffrey Schultz’s artist statement:

Title of series: Fifteen Variations on Themes from Levis.
In a series of fifteen brief variations, Schultz will meditate on a number of themes–some of them poorly recalled from memory, some of them badly obscured or poorly understood–from Levis’s work.

Marisol Baca – Remedios Sketch 5

Marisol Baca

Remedios Sketch 5

 

Remedios, sixteenth in queue,
sixteen blue myths escaping her brush,
sixteen ways to get to town,
sixteen secrets to tell when she arrives

Remedios, if her coat were a watercolor
it would be soaked
its ragged edges would be many wings
her nimbus is flaking gold and robin’s egg blue

 

Marisol Baca’s artist statement:

Over the past 15 days, I have been writing a poem a day. This concentrated workload allowed me to sit face-to-face with poems that I have been wanting to write for a long time— stories that I have wanted to investigate for a long time. It was a difficult thing to do, but the right time to do it. These poems are about exploring the work of a favorite artist of mine and finding out more about my family history. The first eight poems are interrelated and are about the surrealist painter, Remedios Varo. Her paintings evoke wonder and curiosity in me, and I love them. The second set of poems deal with stories about my great grandmother and her sisters. There are some stories in these poems that I have been thinking about for a long time, maybe even years, and have not been able to write until now. Last week I had a dream about my great grandmother standing at the entrance of a doorway telling me to go ahead and get it done. So I did.

“Personaje”
Personaje, 1961.
Oil and Silver / Cardboard Sheet.
© All Rights Reserved 2015, Remedios Varo.
For any use or reproduction of the work, please contact vegap.
Cat.315-Character-1961

“in eights // octaves”
El Flautista, 1955.
Oil and Nacre Embedded / Masonite.
© Copyright 2019.
For any use or reproduction of work, please contact vegap.
Cat. 127-El-Flutista-1955.

Jeffrey Schultz – XI. No Regrets

Jeffrey Schultz

XI. No Regrets

 

Bare of birds
This morning
The freeway trees
Cease to sway
The gentle sway
Of freeway trees
Above idle traffic’s
Low rumble and chug.
Bare of birds,
The freeway trees’
Stock collapses;
They lose political power.
And their browns then
Grow browner,
Their greenish-browns
Browner too
Until they give in
Finally to fate,
The foreordained
Unfolding this morning
On the freeway.

 

Jeffrey Schultz’s artist statement:

Title of series: Fifteen Variations on Themes from Levis.
In a series of fifteen brief variations, Schultz will meditate on a number of themes–some of them poorly recalled from memory, some of them badly obscured or poorly understood–from Levis’s work.

Marisol Baca – Remedios Sketch 4

Marisol Baca

Remedios Sketch 4

 

She is in motion
her neck is as long as a swan’s
there are fleur des lis traveling away from her
she rides on a machine of wheels and on the engines of flight

She comes with a raiment of clouds and interstellar dust
there are webs fluttering between the galaxies in her fur stole

 

Marisol Baca’s artist statement:

Over the past 15 days, I have been writing a poem a day. This concentrated workload allowed me to sit face-to-face with poems that I have been wanting to write for a long time— stories that I have wanted to investigate for a long time. It was a difficult thing to do, but the right time to do it. These poems are about exploring the work of a favorite artist of mine and finding out more about my family history. The first eight poems are interrelated and are about the surrealist painter, Remedios Varo. Her paintings evoke wonder and curiosity in me, and I love them. The second set of poems deal with stories about my great grandmother and her sisters. There are some stories in these poems that I have been thinking about for a long time, maybe even years, and have not been able to write until now. Last week I had a dream about my great grandmother standing at the entrance of a doorway telling me to go ahead and get it done. So I did.

“Personaje”
Personaje, 1961.
Oil and Silver / Cardboard Sheet.
© All Rights Reserved 2015, Remedios Varo.
For any use or reproduction of the work, please contact vegap.
Cat.315-Character-1961

“in eights // octaves”
El Flautista, 1955.
Oil and Nacre Embedded / Masonite.
© Copyright 2019.
For any use or reproduction of work, please contact vegap.
Cat. 127-El-Flutista-1955.