Men With Crow Wings
Stepping out, the lyrical smell
envelops us, disconcerting but
oddly warm—bar and chain oil, creosote lifting
from the fallen poles my father hauled here
piled in the L of the chopping ground, this proving ground
where I tell my sons about the saw-blade’s kick back and slips,
but it’s not about kick back and slips, pop-talk
for stacking wood, which isn’t about stacking wood,
it’s a about the juniper mulch
of a packrat’s nest, it’s about
the woodpile passenger and the new year’s cork
placed among the acorns like a rodent
shrine to the bounty of stray dog
shit—Robert Burns, I tell them
wrote about this, and I recite what I can and man's dominion,
has broken nature's social union—they rest
their iron wedges and splitters
on the scarred stump
from her perch I see our Crow Mother, a witness
to two boys fortifying a mouse-thief’s home, scraping
composting corncobs into the shagbark bowl, I pray
she caws a companion song, tells the story
of tender relics that circle the hearts of boys,
black-crested with anointing oil, crowned
with softened thorns, two brothers
who received a vision of mice and men
Nopalea
although her hands dripped
with citrus, she found
only decay beneath the peel, she felt
like a dog sniffing the street
for grease, independence
is immaterial, Thoreau taught her that
beyond hunger there is the neapolitan
cut-away of geology where pine nuts sleep
and insects feed on dust, where the rusted
needle points forever down, to master
disappointment, she must touch it, run
the corners of her mouth over the earth, listening
to our chants of root and shovel, she must
hunt the garden of edible fear, her burial sheet
freshly inked with the names of our lost fruit
the medallions of crimson-suited sprouts
are poisonous, they are pained like abdomens
bloated with emptiness, we call her Broomstick
the witch who marches the quail into our camp,
her mouth, like a horn of plenty, bleeds
prickly pear all over the Mazatzals
High Caliber
springfield conversion
trapdoor models jostle
at their sides, they ride
mammon over common
choke-cherry, blue stem
they come barreling
down the plains
tricked out botoxed lips
pulling Goldschläger swigs
off silver sticks
the valleys echo
sweepstakes and
dividends, daytrading
they raise toasts, behind
blurred business ends
of surplus arms
in Louis Vuitton
aiming for meat
the railroad men
skin hides
feed carrion
gas Bentleys
window shopping
buffalo Balenciaga
we see them driving
stock off cliffs until we
learn to be
happy with more
Bio: Gila Mon
In first grade, my family moved to Kansas City, Missouri from Phoenix, Arizona. When I was in third grade, a neighbor gave me a few Jonah Hex comic books, and I learned what homesickness was. The cowboy and desert iconography tugged at me. I knew I belonged in those pages. As an Arizonan in Kansas City, and then Omaha, I knew I was an outsider. When we moved to Scottsdale, Arizona, I was in fifth grade. Living in the West’s Most Western Town was a dream, even for a half-Mexican son of a teacher and a preacher. I thought it was natural for kids to get a Mercedes as a first car; I got my uncle’s 1972 Plymouth Scamp that he bought after coming to America from Cuba. It was pumpkin orange with a black top–and definitely not a Mercedes. In 1998, my wife and I moved to Payson, Arizona, whose population was about 12,000 at the time. I’ve been a teacher in the area for 24 years, some of them in last-chance alternative schools. Right now, I am a middle school student intervention specialist. I can’t say I’m an outsider here after 28 years, but because of my job, I definitely camp in the fissures, waiting to meet kids who fall through the cracks, those who feel like outsiders or misfits. It’s hard for punk or LGBTQ kids in a rodeo town. So, for these little outsiders, I’m the one with a portrait of Sid Vicious in the classroom, the one who tutors, who listens, who supports, who protects. I’m the outsider in the inside.