Black Mesa Poems is rooted in the American Southwest, the setting of Jimmy Santiago Baca's highly acclaimed long narrative poem, Martin Meditations on the South Valley (New Directions, 1987). "Baca's evocation of this landscape," as City Paper noted, "its aridity and fertility, is nothing short of brilliant." The individual poems of Black Mesa are embedded both in the family and in the community life of the barrio, detailing births and deaths, neighbors and seasons, injustices and victories. Loosely interconnected, the poems trace a visionary biography of place.
I am not one to enjoy poetry, but I loved this collection of poems. Baca captures the essence of New Mexico as a place and a people in such an evocative way that it helps me feel there even from this distance.
One of my favorite poets! Baca is a phenomenon that you must experience. Pick a collection of his or his autobiography and read it! You will be transformed!
I lie in bed at night and hear the soft throb of water surging through the ditch, from extreme to extreme water bounds, clumsy country boy, stumbling over fallen logs and rubber tires to meet a lover who awaits in her parents' house, window open.
As I used to for love.
Now gray-black hair, vigorous cheeks, weathered brow, chapped lips, dismal thoughtful eyes, I float in brown melancholy on the lazy currents of memory, studying my reflection on the water this night, with distant devotion, a swimmer who has forgotten how to swim.
****
Sun buries its face in dark brown landscape of the West Mesa.
Woman I love buries my chin in her breast with pleasure,
teaches me, to have a good spring I need a good winter.
****
You make a thousand expressions of distaste and indifference, like a bored prince unimpressed with our performance, you scream and we stagger out of bed, grumbling at the unmerciful rule of our emperor. We become fortune-tellers guessing what you desire. We become dwarfs at your service, jugglers of toy bears and rattlers, musicians continually winding up the music box, and after all of it, you simply shut your eyes, burp, and go to sleep. We have never loved anyone more than you my child.
JSB does a great job capturing the feel of the Southwest--landscape, history, culture--with a central and appropriate focus on the Chicanx communities of northern New Mexico. His voice is deceptively calm, almost chatty, but opening up into moments of intense lyrical insight. And his tribute to his friend El Sapo is one of the best extended character sketches in recent decades. Other favorites; Drawing Light, A God Loosened, Sweet Revenge, What's Real and What's Not, Choices, Family Tree, Work We Hate and Dreams We Love.
A few lines from El Sapo to give you a sense of the flavor:
He loved testing man's hope man's faith in himself to be courageous. To him, loyalty was half of life. The other half was breaking boundaries, pushing extremes, chancing the great hovering darkness of the unknown.
.....
When I was around you darkness stilled in me, and I'd get lost in all the freedom. My words with you had to be honest, strike sparks off the two pieces of flint we were.
His long poem to his friend Sapo was gorgeous. Handful of other poems were as beautiful, but I found myself not too mesmerized by the over-descriptions in various other poems.
Poems from my home: New Mexico. Boy, did I savor many of these—that familiar landscape, the almost sacred green chile, the people, and way of life, the blending of cultures, and violence and pain. All of it.
I thought a few poems toward the end hit some false notes, but most were so, so wonderful.
In Jimmy Santiago Baca’s Black Mesa Poems we see an acceptance of La Malinche’s Indigenous roots through his connection and spiritual tie to the land. Anzaldúa rightly notes, “The worst kind of betrayal lies in making us believe that the Indian woman in us is the betrayer” (44). Through poetry Baca is creating what Anzaldúa refers to as a new mythos–chang[ing] the way we perceive reality, the way we see ourselves, and the ways we behave–la mestiza creates new consciousness” (102). In his poem, “As Children Know” Baca looks to Deer Woman, “Red Bird of my heart thrashes wildly after her” (37) the speakers in his poems often draw spirituality and strength from the land. In “Praise” the speaker sits under the cottonwood branches, the religious imagery inexplicably tied to nature, “under the ancient altar of wood.” In his poem, “In Mi Tio Baca El Poeta De Socorro” Baca states, “You kneel before La Virgen De Guadalupe…I close the door, and search the prairie” (75). Baca embraces his Indigenous roots and through acceptance, the myth of Malinche’s betrayal loses its grasp.