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a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society

Brenda Cárdenas


Ode to Ice

In Do the Right Thing, Mookie slides

ice down Tina’s neck, breasts on the hottest

day of the year. The cube releases her

mind from the body’s prison, her tongue

from its humid cave. Then the melt

of his kiss coaxes her back into corporeal

chemistry—its cascade and rapture.

 

Ice swishing beneath blades composes

its own sharp symphony, percussive sluice

for ear and foot gracing the skater’s ballet—

slice, sweep, scratch, swoosh, the raspiest

winter whispers. Have you really listened

 

to the snap—to the earth cracking itself

in two—when you drop a cube fresh

from the freezer into a glass of fizz. You might

hear everything that will save you in that tiny

explosion. So how can we ever absolve

 

the theft of our awe when crystals paint

fractals on our windowpanes, the pilfering

of a word that now grates our tongue’s

skin as if it were an orange rind beneath

metal teeth. This callous ice that opens

 

the lake no matter how gingerly we step,

that swallows us, then seals itself

over our heads. This fanged ice snarling

and barking like the fire hydrants and dogs

of another era. This fiend ice that splinters

communities into shards, dystopian fracture

forever unforgivable.


Return

Upon returning from your fatherland—a country

that can toss your own first world’s hellscape

into the slop sink like a dirty rag—you shut

all the doors inside your mind to keep what you’ve left

alive—its terracotta lining the cracked callouses

in the soles of your feet, its afternoon rains

soaked into your scalp, a pinch of its raw cacao

on your tongue. You will try to pry the empire

you carry in your heavy steps from your feet,

from your skin like a gemstone from a king’s ring.

You will dream of leaning against a cornflower

blue wall in your yellow dress. No gray, white,

or beige houses like those lining every street in the land

of greed as if color were a sin greater than its bloody

stripes, dagger stars you have turned upside down.

You lock windows, so the memory of a woman in a passion

fruit skirt dancing alone at night on the cobblestone

street, guitar strums guiding her ritmo de puro gozo,

will never leave you. Forever, you will watch her feet tap

like roosters pecking, lift like chicks first learning to fly,

skip backwards like you did as a child who had nothing

to lose, your whole body so light, the wind, if it swept

around the corner in a sudden gust, could carry you

home or away.


Museo Casa de Emiliano Zapata

In Morelos, encased behind glass,

you’ll find his sweat-stained sombrero

and charro pants, silver threads still

exploding into bloody sunbursts.

So much spatter drenching his breast

of white linen that you will never stop

seeing him slumped over his horse

at the entrance to la hacienda where

he was lured by a lie that would let

the doves loose when the cocked triggers

snapped all at once. Did he fall first

to a beggar’s kneel? Did he crawl,

fingernails clawing dirt? Or even then,

did he refuse to draw a single breath

on his knees? The fields of Chinameca

still smoke each dawn, each dusk. You

can smell the rot of despair, the slut

of doom lingering in the land’s scars,

in the armpits of his squat jacket.

You cannot enter his tiny museum

of betrayal, of the Revolution that never

turned its full circle and forget

what you witnessed—how easy it is

for a forward march to be hurled back,

for lids to forever shield eyes that glinted

like obsidian, shut out their sparks.

Does his stare still tear through you?

If you could have broken the glass,

would you have stuck a finger through

bullet holes, traced their circumferences?

Would you have lifted the rough linen

to your face? Breathed in a century of loss?

Does he stand beside you when you rise

to your feet each morning, whisper Tierra

y Libertad in your ear? Justicia. Will you carry

him out of that cage, let him live in you?

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Current Wisconsin and former Milwaukee Poet Laureate Brenda Cárdenas has authored Trace (Red Hen Press), winner of the 2023 Society of Midland Authors Award for Poetry and silver winner of Foreword Review’s Indie Poetry Prize; Boomerang (Bilingual Press); and three chapbooks. Her poems have also appeared in many literary magazines and anthologies, including American Poetry Review, Poetry, and Prairie Schooner, the latter which granted her their 2025 Strausse Award. She co-edited the anthologies Resist Much/Obey Little: Inaugural Poems to the Resistance and Between the Heart and the Land: Latina Poets in the Midwest. Cárdenas has enjoyed collaborating with musicians, composers, visual artists, and choreographers. Most recently her poem “Para los Tin-Tun-Teros,” set to choral music by Daniel Afonso, was published by Hal Leonard Music and performed by the National Concert Choir at Carnegie Hall. She is Professor Emerita of English at University of Wisconsin-Milwaukee.


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