The Yearning Feed
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About this ebook
The poems in Manuel Paul López's The Yearning Feed, winner of the 2013 Ernest Sandeen Prize in Poetry, are embedded in the San Diego/Imperial Valley regions, communities located along the U.S.-Mexico border. López, an Imperial Valley native, considers La Frontera, or the border, as magical, worthy of Macondo-like comparisons, where contradictions are firmly rooted and ironies play out on a daily basis. These poems synthesize López’s knowledge of modern and contemporary literature with a border-child vernacular sensibility to produce a work that illustrates the ongoing geographical and literary historical clash of cultures.
With humor and lyrical intensity, López addresses familial relationships, immigration, substance abuse, violence, and, most importantly, the affirmation of life. In the poem titled "Psalm," the speaker experiences a deep yearning to relearn his family's Spanish tongue, a language lost somewhere in the twelve-mile stretch between his family's home, his school, and the border. The poem “1984” borrows the prose-poetics of Joe Brainard, who was known for his collage and assemblage work of the 1960s and 1970s, to describe the poet’s bicultural upbringing in the mid-1980s. Many of the poems in The Yearning Feed use a variety of media, techniques, and cultural signifiers to create a hybrid visual language that melds “high” art with "low." The poems in The Yearning Feed establish López as a singular and revelatory voice in American poetry, one who challenges popular perceptions of the border region and uses the unique elements of the rich border experience to inform and guide his aesthetics.
Manuel Paul López
Manuel Paul López is a Canto Mundo fellow, and his work has been published in Bilingual Review/La Revista Bilingüe, ZYZZYVA, Hanging Loose, and Rattle, among others, and anthologized in Roque Dalton Redux. He is the author of Death of a Mexican and Other Poems, which was awarded the Dorothy Brunsman Prize.
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Book preview
The Yearning Feed - Manuel Paul López
The Ernest Sandeen Prize in Poetry
Editors
Joyelle McSweeney, Orlando Menes
2013 The Yearning Feed, Manuel Paul López
2011 Dream Life of a Philanthropist, Janet Kaplan
2009 Juan Luna’s Revolver, Louisa A. Igloria
Editor, John Matthias (1997–2007)
2007 The Curator of Silence, Jude Nutter
2005 Lives of the Sleepers, Ned Balbo
2003 Breeze, John Latta
2001 No Messages, Robert Hahn
1999 The Green Tuxedo, Janet Holmes
1997 True North, Stephanie Strickland
The Yearning Feed
MANUEL PAUL LÓPEZ
University of Notre Dame Press
Notre Dame, Indiana
Copyright © 2013 by Manuel Paul López
Published by the University of Notre Dame Press
Notre Dame, Indiana 46556
All Rights Reserved
E-ISBN 978-0-268-08575-9
This e-Book was converted from the original source file by a third-party vendor. Readers who notice any formatting, textual, or readability issues are encouraged to contact the publisher at ebooks@nd.edu
for Mandie Nicole
&
for my parents, Margaret and Manuel López
CONTENTS
Acknowledgments
The Interview
I
The Yearning Feed
The Desert Series
Madre
The Hay Bales
II
Homeland Security
The Nods: A Heavy Loop Sonnet
Cherub Cherubim
How to Live with Rudy
Poem
The Sweats
The Stoners
The Lecture
The Naming
Mona’s Manner
III
The Xoco Letters
IV
Psalm
The Fences
Phantom Limb
Variable Feet
The Yearning Feed
You Say I Look Like Gollum from Lord of the Rings
The Yearning Feed
The Boo Report
The Towels
V
1984
Notes on the Poems
ACKNOWLEDGMENTS
The author gratefully thanks the following publications in which some of these pieces first appeared:
Antique Children: The Stoners
The Bitter Oleander: The Yearning Feed
Blind Pen: The Boo Report
and "You Say I Look Like Gollum from Lord of the Rings and
Variable Feet"
Huizache: The Naming
Palabra: The Hay Bales
and How to Live with Rudy
Puerto del Sol: The Sweats
The Red Fez: The Interview
The Seattle Review: The Lecture
Swink: Psalm
Cherub Cherubim
was originally published in my poetry collection Death of a Mexican and Other Poems (Bear Star Press, 2006).
An earlier version of 1984
was published in the chapbook 1984 (Amsterdam Press, 2010).
A version of 1984
was drawn and animated by the Brothers Cram for KCET’s Artbound, based on an article by Amy Sanchez entitled A Year in the Life: Manuel Paul López’s 1984.
I offer a huge and heartfelt thank you to the judges of the Ernest Sandeen Prize for Poetry, Orlando Menes and Joyelle McSweeney.
I am indebted to the following individuals and organizations for providing space, financial support, and belief in my work:
Seema Sueko and the Mo`olelo Performing Arts Company
The San Diego Foundation’s Creative Catalyst Fellowship
Dorland Mountain Arts Colony
The Canto Mundo Family
A special thank you to Laura Sue for permission to use her beautiful artwork for the cover of this book.
A proper and appreciative thanks to the University of Notre Dame Press editorial staff.
Thank you to my wife, Mandie Nicole, for her patience and incredible spirit.
Thanks eternally to my family, Manuel and Margaret López, Janina, Javi, Robert, and Lindsey.
Thanks also to my extended family, too many to name here, but all of you are beautiful and cherished beyond words.
And my gratitude to the following individuals who read earlier versions of this work or supported me through their guidance and/or words of encouragement:
Millicent Borges Accardi, Matt Amar, Francisco Aragón, Brent Beltrán, Oscar Bermeo, Bill Caballero, Joan Carey, Eduardo Corral, Diana Marie Delgado, Julio Delgado, Misael Díaz, Terry and Pam Fellows, Laurie Ann Guerrero, Patrick Holder, David Jean, Sheryl Luna, Maceo Montoya, Juan J. Morales, Bill Memo
Nericcio, Margaret Noble, Luivette Resto, Alejandro Romero, Amy Sanchez, Paul Guerra Sanchez, Angel Sandoval, Rebecca Schumejda, Beth Spencer, Van Truong, Javier Zamora.
And finally, an immense hug and kiss for my grandmother, Martha López, who hasn’t stopped reciting verses after so many glorious years.
In loving memory of Guadalupe (Mama Lupe) Escalera. You are missed, Grandma.
Like a story
Let me tell you what I saw, listen to me
You must be, you are the beginning of the day
—Bernadette Mayer
THE INTERVIEW
Q: Can you share with us a unique story about your hometown in the Imperial Valley?
A: I heard a story once about a sheep—it’s actually a story about a flock of sheep, but I’ll get to that in a minute. This infamous sheep that’s now eternally ingrained in Imperial Valley folklore committed suicide one day when it decided to climb a ditch bank near an alfalfa field just outside of El Centro. Long story short, when it reached the top, this rebellious creature that will forever remain nameless, descended the other side without one bit of hesitation. A real chingón, man—stoically, it marched into the abyss as if Charles Bronson had costumed himself in sheep’s clothing is what I’m trying to tell you. But it didn’t take long before it quickly lost its footing and tumbled into the water, the current, like a crazed washing machine cycle churning and sucking simultaneously, as the borrego left behind a tiny dust storm of hoof and wool kicked up in its wake, limbs splashing feverishly as it raised its little lips toward an orange sky that sizzled above to shout one last declaration in sheep.
(If you’ve grown up in the Imperial Valley, you know to tread carefully around various waterways because of the vigorous undercurrents that can yank you underwater faster than you can cry O shit.
)
The group left behind stared blankly with eyes like dark, tender buttons; but it didn’t take long, you know, before they followed suit, climbing, fatefully reaching that same dire immensity as their beloved comrade.
In ranks, a large flock of wooly sheep drowned themselves by following that first sheep’s desire to see what was on the other side; or to sip from that mythical Colorado River water that has quenched the Imperial Valley desert for over a century; or to protest poor labor conditions that have assaulted their backs like electrified machetes; or simply, to