primaverizo yaces,
deleital y ternúrico,
y nadie es como tú, cervatillo matutinal,
silvestrecido y leve.
aparentas dormer
y una sonrise esplende tus pupilas;
quedo sin mí.
Tú veranideces,
cuando mis manos desdoblan su pobreza
y tocan tus cabellos dóciles, como el agua
y me tiendo a tu lado.
Desnudo te descubres; desnudo estoy allí;
suspenso, trémulo,
desamparado como la noche del misérrimo;
ayuno y mórbido:
qué puedo hacer, enceguecido y mudo,
atado de estupor,
maravillado?
mantienes tu mirada fresca y feroz,
sedienta de antemano;
resplandeciendo en la devoradora oscuridad:
tu sexo,
húmedo, cálidamente eléctrico, madero victorioso,
con el recuerdo herido todavía
de la primera masturbación y el receloso orgasmo,
y tus labios suntuosos
temblando un hálito que ya no necesita
el niño aquel que eras,
y tu cuello miro que pulsa las cuerdas
del corazón, no sé si el tuyo, el mío,
y ninguna palabra pronunciamos,
ninguna a mi favor;
no hay gracia para mí.
Deja que diga no tu pecho núbil,
duro lugar de la salud,
marejada que nadie detendrá,
retén su amor, su odio;
tu modo de ser tú casi me lame,
calor de perro, ojos de ganso, hermano de caballos;
me viene encima tu sazón,
la rotación novicia de tu ombligo,
tu almíbar de estar hecho
veloz, inmóvil, lento, prensil, inapresable;
tiendo una mano: existes;
tus muslos, golpe a golpe, se separan,
se encuentran, se encajan, se unifican,
se hace una brecha ardiente en el revuelo
de la sábana;
no hay piedad para mí.
Tus dientes caen, degüellan,
rindo el sentido.
Tómame,
deshónrate, sométeme, contrístame, obedéceme,
enloquece, avergüénzate, desúnete, arrodíllate,
violéntame, vuelve otra vez, apártate, regresa,
miserable, amor mío, lagarto, imbécil, maravilla,
precipítate, aúlla.
De pronto, tú, el relámpago,
abierto, florecido, restallante,
arriba, abajo, encima, dónde?
hiendes la oscuridad,
y adentro:
llueves.
Primera ceremonia
Abigael Bohórquez
The poetry of Abigael Bohórquez (1936 - 1995) leaps across traditional boundaries in Latin American literature: both colloquial and neo-baroque, regional and informed by classical traditions, intimately personal and actively political, traditionally-informed and experimental. Despite this richness, his work has been marginalized even within Mexico because it challenges historical hierarchies: particularly, a centralist tendency within Mexican literature which privileges literature from the capital and an aesthetic hegemony which makes little room for the work of an openly gay man.
Throughout my travels and time spent living in Northern Mexico over the last ten years or so, I have constantly heard about Bohórquez. He has a kind of cult status in Northern Mexico and in sexually subversive communities across Mexico. His poetry is well known for its refusal to accept the status quo, its rebellion both in content and form. As Carlos Eduardo Turón has written, Bohórquez's poetry can at times seem contradictory; however, the contradictions in his work stem from the multiplicity of the poet's emotions, perceptions and experiences. His aesthetic positions and artistic perceptions are based on the notion that complexity itself is a way of living in the world.
In the last ten years, there has been something of a renaissance in interest in the work of Bohórquez. A number of presses in Sonora have republished his works. In 2000 a consortium of Sonora publishing houses released an anthology of his work called Heredad (Inheritance); this anthology has since been re-released in two subsequent editions.
Throughout my travels and time spent living in Northern Mexico over the last ten years or so, I have constantly heard about Bohórquez. He has a kind of cult status in Northern Mexico and in sexually subversive communities across Mexico. His poetry is well known for its refusal to accept the status quo, its rebellion both in content and form. As Carlos Eduardo Turón has written, Bohórquez's poetry can at times seem contradictory; however, the contradictions in his work stem from the multiplicity of the poet's emotions, perceptions and experiences. His aesthetic positions and artistic perceptions are based on the notion that complexity itself is a way of living in the world.
In the last ten years, there has been something of a renaissance in interest in the work of Bohórquez. A number of presses in Sonora have republished his works. In 2000 a consortium of Sonora publishing houses released an anthology of his work called Heredad (Inheritance); this anthology has since been re-released in two subsequent editions.
Abigael Bohórquez (1936—1995) was a Mexican poet from the northern state of Sonora. His books include Digo lo que amo (I Say What I Love, 1976), Poesida (1996), and Navegación en Yoremito (Navigation in Yoremito, 2005).
John Pluecker is a writer, interpreter, educator and translator. His work has appeared in journals and magazines in the U.S. and Mexico, including the Rio Grade Review, Picnic, Third Text, Animal Shelter, HTMLGiant and Literal. He has published more than five books in translation from the Spanish, including essays by a leading Mexican feminist, short stories from Ciudad Juárez and a police detective novel. His third chapbook, Killing Current, is forthcoming from Mouthfeel Press in 2012.
