from unincorporated territory [guma’] by Craig Santos Perez (Omnidawn, 2014)
This is the third book in Craig Santos Perez’s ongoing from unincorporated territory poetry series detailing Guåhan’s history, culture, and politics from the perspective of a diasporic CHamoru writer. The following poem, “ginen tidelands [latte stone park] [hagåtña, guåhan],” is dedicated to Perez’s father. It depicts different aspects of CHamoru masculinity, from being drafted during the Vietnam War to enacting different cultural traditions such as carving limestone, braiding rope, and husking coconut.
This is the third book in Craig Santos Perez’s ongoing from unincorporated territory poetry series detailing Guåhan’s history, culture, and politics from the perspective of a diasporic CHamoru writer. The following poem, “ginen tidelands [latte stone park] [hagåtña, guåhan],” is dedicated to Perez’s father. It depicts different aspects of CHamoru masculinity, from being drafted during the Vietnam War to enacting different cultural traditions such as carving limestone, braiding rope, and husking coconut.
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[for my dad]
~ The fallen Latte is the sign. It is from within the row of Latte that
we feel our strength. It is the severed capstone that gives us Their message, “Ti monhayon I che’cho.” We will not rest until the Latte is whole. –Cecilia C. T. Perez from “Signs of Being: A Chamoru Spiritual Journey” (1997) ~ i haligi a pillar i tasa a capstone i tataotao a body ~ his hands– husk coconut– cooks and feeds [us]– stories–this raised house– ~ at quarry outline forms to sing forward–carve limestone to sing past– ~ citizen : drafted vietnam war– the rifle he kept– his uniform his fatigue ~ soak coconut fibers–dry under sun– “make rope” braided hair– “like this” ~ hålla haligi– pull sky– hålla tasa– “pull, son” with [our] entire breath ~ [our] bones : acho’ latte removed from– to museum of trespass– to here– “ginen tidelands [latte stone park] [hagåtña, guåhan]” (p. 14-16) is from from unincorporated territory [guma’] (c) 2014 by Craig Santos Perez. The poem appears with the permission of Omnidawn Publishing. All rights reserved. |