In the final days of the Age of Dwindling Resources, Alejandra Sánchez, as young and fearless as a latter-day Joan of Arc marching to war, led a ragtag procession of nearly two hundred women from their city of Santillana del Mar to the sandbanks of Playa El Sable where they gathered to witness the end of the world.
This series, Chasing Paradise, draws upon my work as a fine artist in painting, as I create stylized photographs of flowers and plants found in my rural environment.
There is an army of ghost trees ringing the coastlines of the world.
Once verdant, evidence of a healthy environment,
now leafless, bleached white in death,
phantoms of the forest that once was.
This will help you to remember
what a forest was. This one, North Temperate.
Might have been where we are standing.
Here, adjust the strap
around your forehead, rest this over
the bridge of your nose. Click the button.
See.
Each corner of a globe
With no corners
Born of the sea as
Liquid or solid
In dances with humans
And dances between humans
Fear and hope meet in their own dance
As the earth cries
We slept at gunpoint but woke up alive, so it was a good night.
For the first time since Bai disappeared, I didn’t dream of monsters. I dreamt I was in my tiny childhood bedroom and my mother was alive and calling me for a pungent dinner I could smell wafting from the kitchen, sweetness and spice.
Captain’s Log: The last stage of our short Kerosene Age is upon us. Stationed here, at the Rainbow Rides Fairgrounds, the end we’ve all been anticipating is now wetting the souls of our feet. Our best estimates place us only a day ahead of the imminent deluge.
Turtle Light and Ocean Sleep are works of multimedia and sculpture mediums, respectively, depicting the natural world with fantastical elements.
There isn’t a hard edge to be found in the hut. Round walls slope into concave ceiling. Amoeba-shaped windows display the world outside: ferns, wavering in steam, and droplets dangling from speckled red toadstools. So vibrant, these exterior views could almost be cinemagraphs, mounted on soft grey walls, inside the climate-controlled seal.
When the rain came, no one in Mossville, Georgia, could have ever imagined the Ohoopee River would spill over its banks and become the reason for so much tribulation. Everyone assumed a brand-new Army Corp of Engineers earthen dam would hold back the river for the next hundred years. But they were wrong.
Each insect turns a fraction on its axis, a cocooned child shifting in a half-sleep,
oblivious beyond cool mud to flames of wildfires as they streak across the hills
of Paradise.
when they’re born…
they g r o w
they m o v e
crawl and
c a
l v
e
Looking deep into my child’s eyes,
I see both my ancestors and
my descendants, I fall
into a meditation about Mother Earth…
Zero degrees outside while cozy warm inside
Mother opens apartment’s bedroom window
reels in creaky clothesline of dried laundry
In front of the door of her building, Maria’s male black cat Dash is waiting for Steve’s cuddles. Steve lifts Dash up and kisses him on the head. Dash allows it.
— This thing could kill me, he says, and Maria knows Steve means Dash, as usual.
Steve places Dash back on the ground. Dash disappears behind the brick wall surrounding Maria’s garden. Maria and Steve go inside. Apparently, Steve is allergic to Dash.
When her uncle came to visit from Florida, he brought a bagful of shells.
“Look at you! How big you’ve gotten! C’mere, c’mere! Give your Uncle Glenn a big hug! Aren’t you glad to see your Uncle Glenn?”
Her siblings (“half-stepsiblings,” as her mother joked about her confusion over the distinction between stepsiblings and half-siblings) were jealous that he gave her the big conch shell, but her Uncle Glenn had said that she was the youngest, so she would appreciate it the most.
Like the original mother Mary, Mariá Elena Moyano – known affectionately as la negra by the masses – was considered a mother not just to her own two sons, whom she adored, but also to the thousands of children of Villa El Salvador, the largest shantytown in Lima. She had run hundreds of communal kitchens and the extensive Glass of Milk program since her days as president of the Women’s Federation of Villa El Salvador. By February of 1992, by which time she was vice-mayor of the town of three hundred thousand people, the program delivered a glass of milk each day to sixty thousand children and elderly who would otherwise succumb to malnutrition.
In France, I met Irving Rivera, a Puerto Rican born in New York City, about twenty years older than me. He lived on the same floor as I did in the Maison Américaine at the Cité Universitaire in Paris. I saw him often, since there was a cafeteria in the basement of the dorm room, where both he and I often ate. We gravitated toward a group of Spanish-speaking friends, some Latin American but mostly Spaniards, who also lived at the huge American dormitory. I would also regularly see Irving on a table in the plaza behind the Maison Américaine, with a sign saying, “Independence for Puerto Rico Now!” He requested donations, ostensibly to help rid Puerto Rico of its American colonial masters.
I hold the tarot card in my hand and stroke the silky surface, studying the illustration. It’s a colorful drawing of a woman seated on a throne. She’s beautifully dressed in a red billowy gown with a crown of moons on her head. I rub my fingers over the image as if using a paintbrush, imagining I’m the artist creating it. Mom’s voice interrupts my dream drawing. She directs me with her sweet sing-song upbeat tone. Put the card here on the table, face up, and then take another from the stack and flip it over next to it. Mom smiles and looks me straight in the eyes. Her cobalt blue eyes glisten and sparkle. I’m mesmerized.
It’s six years since I was last home. It’s funny how quickly you can forget yourself. London is a long way from the village in Limerick where I spent one August as a teenager. We used to go a lot when I was a small boy, but I couldn’t remember it very well. But it wasn’t until I was fifteen that it became a part of me. Until then, I never wanted to visit family. It was summer after all, I should have been with friends, but my mother made me go.
No comfort
in this world
No warmth
rising from the cracks
in this cement ground
Ice breaks
on the surface of the lake
implying your ability to drown
They say that the characters in a movie are affected by the developments the screenwriter creates between each of them, and that these characters are influenced by the paths taken within the plot. I envied characters that said or did things on the screen that they would never do in real life. In some ways, my life, or existence, was like a movie script—adventures sprouting up unexpectedly over many episodes.
On the ride to work I try to remember; did I make my bed?
—Wonder if I love myself, wonder if I care about my children’s children
Wonder where every plastic bottle went—each one I have sucked from and sent
on its journey, perhaps to landfill, and What does that pile look like
Sister has never sought recognition for her sacred work, but those afflicted with childlessness find her. They send heartrending letters. They send aged Manchego and Jamón. They send exquisite rosaries of rare wood and bone.
The couple from Salamanca is typical. It’s May 1973. They make a personal pilgrimage to the clinic, as if Sister were herself a saint.