WEBVTT

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I'm going to jump up to the
next section of the book.

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There's some
drawings in the book,

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so it's organized into
these what he calls niches.

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And you're not going to
be able to see it closely,

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but this is a kind of
almost like a funeral plot,

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or something like that.

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And they're little
plots, and each one

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says the name of a country.

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And then on the page, there are
these kind of blocks of text

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that have a kind of
imprisoned feeling to me.

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So I'm going to
read a few of those.

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"From sheds 12 and 13, the
paragraphs read and say,

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the headlights filled the road.

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Everyone cried out for
mother and father's love.

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And as the doors to the ascent
opened, the ballad began again.

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For his disappeared
love he went from hole

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to hole, grave to
grave, searching

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for the eyes that don't find,
from gravestone to gravestone,

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from cry to cry.

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It went through niches, through
shadows, and it went like this.

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Araucan niche.

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They were found in barracks 13.

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They were long black
valleys like the others who

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disappeared, it was noted.

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Southern airplanes
plowed the sky,

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and as they bombed their
cities, they lit up for a second

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and dropped.

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So it says in barracks on
engraved tombs that worn.

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In the limestone they erased the
remains and all that was left

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was the final wound.

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Amen.

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They all broke into tears.

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Amen.

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It was tough to watch.

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Amen.

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USA niche, found in barracks 12.

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Northern countries
and dispatched

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to eat themselves up
thanks to their dreams

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of special shields, of murderers
of Blacks, of domination.

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They descended the sky
and they called Hiroshima

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the country that blazed.

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Central country's valleys
and Chilean gluttons.

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The graves are
nights, and everything

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is night in the American grave.

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They rest in peace
like the bison.

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It was a Navajo phrase,
as it was written, Amen.

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Argentinean niche,
shed 13, a ship

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beneath the country of Peru
and above the country of Chile.

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From torture to torture,
disappearance to extermination,

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a hole was left and it was like
the aforementioned countries.

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And the night had nowhere to
fall, and neither did the day.

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Country disappeared from the
horror behind the barracks.

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From there the wind blew
across the inexistent pampas.

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And as it settled, the massacred
faces became visible, Amen.

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Tombstone six, white
skin is all it says.

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Peruvian niche and
mountainous regions,

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like all those referred
to, the barracks and ship

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these countries lay the
Shining Path in extreme misery.

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In planes they rumbled a road
of light through the Urubamba,

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and the ruined
raise their candles.

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The groan emerged from chola.

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Oh the evil of my Peru, it says.

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They're all tombs.

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They cried more than the
others, and now it's a dream,

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and they lie.

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It groans.

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It's the A of vistas.

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Paraguayan niche
referred to barracks 13,

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another massacre between
countries, Chaco wars and La

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Plata wars, condominium
and suffering,

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now lies in its niche
surrounded by barbed wire.

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Isle and tomb, it says.

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I rest for the Guarani Marcos,
and the whole song was sung,

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it says.

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It says, I sing for
peace in Paraguay.

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I sing for the shot
down helicopters,

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for the Ypacaraí country
who kill with cane.

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All of this is ended, the
niche says, day, and it bled.

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Niche, desert of
the Mexican country.

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It lies beneath New Mexico.

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The Mexican desert first
covered the walls with sand,

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descended with thoughts, and
as it arrived at the plaza,

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rulfos and students
raise their arms.

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It was packs of
hounds and massacre.

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More managed to climb the steps.

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The climb is longing
and prayer, it says,

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but that's how
the image remains.

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Mexico 68 lies, the stony
ground is the niche, it says.

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Neither arms, nor
legs, beloved God.

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Niche volcanoes from
the Guatemalan earth,

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this is what we call the
Guatemalan tomb number 14,

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and it says, dear
cornfield of my country,

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dear volcanoes of my country,
dear blue of my country,

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there was no, it reads,
need for extermination,

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nothing fatal, no murder.

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It was dead, corn and lava.

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The date stayed in Mayan, and
the glow of those cornfields

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was never known.

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No one knows like
Peru, it cried.

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Dear cornfield, dear
craters, it rests.

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Tomb 20, country of Cuba and
islands, malecón and islands.

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Described, one sees,
mountains and mountain ranges.

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Are they there?

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Lakes and lacustrine,
are they there?

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Threads and spinners,
are they there?

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Indians and Siboneyes,
are they there?

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Blockade and blocked,
are they there?

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The muddy old bridge, Havana,
and reefs, are they there?

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They read and stopped.

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From the whole scene the
cry fell and the sound,

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the beloved island died.

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The sound, USA, Cuba, and
Marti's country, dead in peace,

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like the bison in the grass.

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28, oh, don't leave, he groans.

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Andean tomb of the countries.

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I'm going away.

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Everything dies, everything
dies sucking itself.

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There were as many
mountains as there now

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are clouds, gray clouds, blacker
and graying, rising in the sky,

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climbing and evaporating.

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Those are the mountains,
holes in all the countries,

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expanded downwards in
the torrent of their love

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was the rain.

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The mountain rains, says my
Andean darling, don't go.

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Don't go, she says."

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This is the last
page of the book.

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"Do you remember, Chilean,
when you were first

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abandoned as a boy?

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Yes, he says.

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Do you remember the second
time when you were about 20?

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Yes, he says.

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Do you know, Chilean and
pigeon, that we are dead?

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Yes, he says.

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Do you remember your first poem?

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Yes, he says.

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He says yes, yes, yes.

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[VOCALIZING]

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The night sings, sings, sings.

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She sings, sings
beneath the Earth,

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up here now, rise anew in
the dead little countries.

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Chileans, Karatekas, somozas,
and traitors, rise up

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and deliver again, your
flight and your song.

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It's only because of you,
brother, that it flies,

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sings, and takes shape.

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Yes, return it to this
one, the most cheerful,

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and the most poet
disappeared from evil.

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Pigeon in love.

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Yes, he says."

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