CURRENT MOON

Sunday, July 31, 2016

Yellow Electric Seed/ Yellow Resonant Warrior - Magnetic Bat Moon of Purpose, Day 6






N. Scott Momaday, Kiowa



Navarre Scott Momaday (born February 27, 1934) — known as N. Scott Momaday — is a Native American author of Kiowa descent. His work House Made of Dawn was awarded the Pulitzer Prize for Fiction in 1969. Momaday received the National Medal of Arts in 2007 for his work, which celebrated and preserved Native American oral and art tradition. He holds 20 honorary degrees from colleges and universities, and is a fellow of the American Academy of Arts and Sciences.  Momaday is considered the founding author in what critic Kenneth Lincoln has termed the Native American Renaissance. House Made of Dawn is considered a classic in Native American Literature.

N. Scott Momaday is the son of writer Mayme Natachee Scott and painter Alfred Morris. Momaday was born on 27 February 1934 at the Kiowa-Comanche Indian Hospital in Lawton, Oklahoma, South Central United States. He is enrolled in the Kiowa Tribe of Oklahoma and also has Cherokee ancestry from his mother.

Momaday has taught at Stanford University, University of Arizona, UC Berkeley, and UC Santa Barbara.  He has been a visiting professor at Columbia, Princeton, and in Moscow. At UC Berkeley, he designed the graduate program for Indian Studies.

He was a Visiting Professor at the University of New Mexico during the 2014-15 academic year to teach in the Creative Writing and American Literary Studies Programs in the Department of English. Specializing in poetry and the Native oral tradition, he teaches The Native American Oral Tradition.

Momaday is the founder of the Rainy Mountain Foundation and Buffalo Trust, a nonprofit organization working to preserve Native American cultures. Momaday, a known watercolor painter, designed and illustrated the book, In the Bear's House.*

*www.wikipedia.com



Eagle Feather Fan

The eagle is my power,
And my fan is an eagle.
It is strong and beautiful
In my hand. And it is real.
My fingers hold upon it
As if the beaded handle
Were the twist of bristlecone.
The bones of my hand are fine
And hollow; the fan bears them.
My hand veers in the thin air
Of the summits. All morning
It scuds on the cold currents;
All afternoon it circles
To the singing, to the drums.* 

N. Scott Momaday

*http://www.poemhunter.com/poem/eagle-feather-fan/



KAN



Kin 224: Yellow Electric Seed


I activate in order to target
Bonding awareness
I seal the input of flowering
With the electric tone of service
I am guided by the power of elegance.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2016-2017.





The Sacred Tzolk'in





Manipura Chakra  (Limi Plasma)





Saturday, July 30, 2016

Blue Lunar Night/ Blue Rhythmic Eagle- Magnetic Bat Moon of Purpose, Day 5





Leslie Marmon Silko, Laguna Pueblo




Leslie Marmon Silko (born Leslie Marmon; born March 5, 1948) is a Laguna Pueblo writer and one of the key figures in the First Wave of what literary critic Kenneth Lincoln has called the Native American Renaissance.

Silko was a debut recipient of the MacArthur Foundation Grant, now known as the "Genius Grant", in 1981 and the Native Writers' Circle of the Americas Lifetime Achievement Award in 1994. She currently resides in Tucson, Arizona.

Leslie Marmon Silko was born in Albuquerque, New Mexico to Leland Howard Marmon, a noted photographer, and Mary Virginia Leslie.

Silko has noted herself as being 1/4 Laguna Pueblo (a Keres speaking tribe), also identifying as Anglo American and Mexican American.

Silko grew up on the edge of pueblo society both literally – her family’s house was at the edge of the Laguna Pueblo reservation – and figuratively, as she was not permitted to participate in various tribal rituals or join any of the pueblo's religious societies.

While her parents worked, Silko and her two sisters were cared for by their grandmother, Lillie Stagner, and great-grandmother, Helen Romero, both story-tellers. Silko learned much of the traditional stories of the Laguna people from her grandmother, whom she called A'mooh, her aunt Susie, and her grandfather Hank during her early years. As a result, Silko has always identified most strongly with her Laguna ancestry, stating in an interview with Alan Velie, "I am of mixed-breed ancestry, but what I know is Laguna".

Silko's education included preschool through the fourth grade at Laguna BIA (Bureau of Indian Affairs) School and followed by Albuquerque Indian School (a private day school), the latter meant a day's drive by her father of 100 miles to avoid the boarding-school experience. Silko went on to receive a BA from the University of New Mexico in 1969; she briefly attended the University of New Mexico law school before pursuing her literary career full-time.

Silko garnered early literary acclaim for her short story "The Man to Send Rain Clouds," which was awarded a National Endowment for the Humanities Discovery Grant. The story continues to be included in anthologies.

During the years 1968 to 1974, Silko wrote and published many short stories and poems that were featured in her Laguna Woman.

Her other publications, include: Laguna Woman: Poems (1974), Ceremony (1977), Storyteller (1981), and, with the poet James A. Wright, With the Delicacy and Strength of Lace: Letters Between Leslie Marmon Silko and James Wright (1985). Almanac of the Dead, a novel, appeared in 1991, and a collection of essays, Yellow Woman and a Beauty of the Spirit: Essays on Native American Life Today, was published in 1996.

Throughout her career as a writer and teacher, she has remained grounded in the history-filled landscape of the Laguna Pueblo. Her experiences in the culture have fueled an interest to preserve cultural traditions and understand the impact of the past on contemporary life. A well-known novelist and poet, Silko's career has been characterized by making people aware of ingrained racism and white cultural imperialism, and a commitment to support women's issues. Her novels have many characters who attempt what some perceive a simple yet uneasy return to balance Native American traditions survivalism with the violence of modern America. The clash of civilizations is a continuing theme in the modern Southwest and of the difficult search for balance that the region’s inhabitants encounter.

Her literary contributions open up the Anglo-European prevailing definitions of the American literary tradition to accommodate the often underrepresented traditions, priorities, and ideas about identity that in a general way characterize many American Indian cultures and, in a more specific way form the bedrock of Silko's Laguna heritage and experience.

Leslie Marmon Silko's novel Ceremony was first published by Penguin in March 1977 to much critical acclaim.

The novel tells the story of Tayo, a wounded returning World War II veteran of mixed Laguna-white ancestry following a short stint at a Los Angeles VA hospital. He is returning to the poverty-stricken Laguna reservation, continues to suffer from "battle fatigue" (shell-shock), and is haunted by memories of his cousin Rocky who died in the conflict during the Bataan Death March of 1942. His initial escape from pain reveals his alcoholism but his Old Grandma and mixed-blood Navajo medicine-man Betonie help him through native ceremonies to develop a greater understanding of the world and his place as a Laguna man.

Ceremony has been called a Grail fiction, wherein the hero overcomes a series of challenges to reach a specified goal; but this point of view has been criticized as Euro-centric, since it involves a Native American contextualizing backdrop, and not one based on European-American myths. Silko's writing skill in the novel is deeply rooted in the use of story telling that pass on traditions and understanding from the old to the new. Fellow Pueblo poet Paula Gunn Allen criticized the book on this account, saying that Silko was divulging secret tribal knowledge reserved for the tribe, not outsiders.

Ceremony gained immediate and long-term acceptance when returning Vietnam war veterans took to the novel's theme of coping, healing and reconciliation between races and people that share the trauma of military actions. It was largely on the strength of this work that critic Alan Velie named Silko one of his Four Native American Literary Masters, along with N. Scott Momaday, Gerald Vizenor and James Welch.

Ceremony remains a literary work featured on college and university syllabi, and one of the few individual works by any Native American author to have received book-length critical inquiry.

A longtime commentator on Native American affairs, Silko has published many non-fictional articles on Native American affairs and literature.

Silko's two most famous essays are outspoken attacks on fellow writers. In "An Old-Fashioned Indian Attack in Two Parts", first published in Geary Hobson’s collection The Remembered Earth (1978), Silko accused Gary Snyder of profiting from Native American culture, particularly in his collection Turtle Island, the name and theme of which was taken from Pueblo mythology.

In 1986, Silko published a review entitled "Here’s an Odd Artifact for the Fairy-Tale Shelf", on Anishinaabe writer Louise Erdrich's novel The Beet Queen. Silko claimed Erdrich had abandoned writing about the Native American struggle for sovereignty in exchange for writing "self-referential," postmodern fiction.

In 2012, the textbook, Rethinking Columbus, which includes an essay by her, was banned by the Tucson Unified School District following a statewide ban on Ethnic and Cultural Studies.*


Love Poem

Rain smell comes with the wind
out of the southwest.
Smell of sand dunes
tall grass glistening
in the rain.
Warm raindrops that fall easy
(this woman)
The summer is born.
Smell of her breathing new life
small gray toads on
damp sand.
(this woman)
whispering to dark wide leaves
white moon blossoms dripping
tracks in the
sand.
Rain smell
I am full of hunger
deep and longing to touch
wet tall grass, green and strong beneath.
This woman loved a man
and she breathed to him
her damp earth song.
I was haunted by this story
I remember it in cottonwood leaves
their fragrance in
the shade.
I remember it in the wide blue sky
when the rain smell comes with the wind.* 

Leslie Marmon Silko






AKBAL



Kin 223: Blue Lunar Night


I polarize in order to dream
Stabilizing intuition
I seal the input of abundance
With the lunar tone of challenge
I am guided by the power of vision.


Disciplined exertion of creative imagination is a powerful tool for overcoming the lower forces and obstacles on the path.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2016-2017.







The Sacred Tzolk'in 




Visshudha Chakra (Alpha Plasma)





Friday, July 29, 2016

White Magnetic Wind/ White Overtone Wizard - Magnetic Bat Moon of Purpose, Day 4




Simon Ortiz, Acoma Pueblo.




Simon J. Ortiz (born May 27, 1941) is a Puebloan writer of the Acoma Pueblo tribe, and one of the key figures in the second wave of what has been called the Native American Renaissance. He is one of the most respected and widely read Native American poets.

Ortiz is a member of the Eagle Clan. He was raised in the Acoma village of McCartys (the Keresan name is "Deetzeyaamah"), and spoke only Keresan at home. His father, a railroad worker and woodcarver, was an elder in the clan who was charged with keeping the religious knowledge and customs of the pueblo.

Ortiz attended McCarty's Day School through the sixth grade, after which he was sent to St. Catherine's Indian School in Santa Fe, as most Native children were sent to Indian boarding schools at the time. Attempting to provide an English language education, such boarding schools sought to assimilate Native American children into "American" mainstream culture, and strictly forbade them to speak their own native languages. Thus, the young Ortiz began to struggle with an acute awareness of the cultural dissonance shaping him and began to write about his experiences and thoughts in his diaries and compose short stories. While frustrated with his situation, he became a voracious reader and developed a passionate love of language, reading whatever he could get his hands on — including dictionaries, which he felt let his mind travel within a "state of wonder."

Homesick for his family and community, Ortiz became disillusioned with St. Catherine's. He transferred to Albuquerque Indian School, which taught trade classes such as plumbing and mechanics. He took both metal and woodworking classes, but his father was opposed to the prospect of his son's future being in manual labor. However, the day after graduating from Grants High School (in Grants, New Mexico near Acoma) Ortiz began work as a laborer at Kerr-McGee, a uranium plant. Interested in becoming a chemist, he initially applied for a technical position. Instead, he was made a typist, soon demoted to being a crusher, and later promoted as a semi-skilled operator. His experience as a mining laborer would later inspire his work, "Fight Back: For the Sake of the People, for the Sake of the Land."

Ortiz eventually saved enough money to enroll in Fort Lewis College in Durango, Colorado, as a chemistry major with the help of a BIA educational grant. While enthralled with language and literature, the young Ortiz never considered pursuing writing seriously; at the time, it was not a career that seemed viable for Native people; it was "a profession only whites did."

After a three-year stint in the U.S. military, Ortiz enrolled at the University of New Mexico. There, he discovered few ethnic voices within the American literature canon and began to pursue writing as a way to express the generally unheard Native American voice that was only beginning to emerge in the midst of political activism.

Two years later, in 1968, he received a fellowship for writing at the University of Iowa in the International Writers Program.

In 1988, he was appointed as tribal interpreter for Acoma Pueblo, and in 1989 he became First Lieutenant Governor for the pueblo. In 1982, he became a consulting editor of the Pueblo of Acoma Press.

Since 1968, Ortiz has taught creative writing and Native American literature at various institutions, including San Diego State, the Institute of American Indian Arts in Santa Fe, Navajo Community College, the College of Marin, the University of New Mexico, Sinte Gleska University, and the University of Toronto. He currently teaches at Arizona State University.

Ortiz is a recipient of the New Mexico Humanities Council Humanitarian Award, the National Endowment for the Arts Discovery Award, the Lila Wallace Reader's Digest Writer's Award, a National Endowment for the Arts Fellowship, and was an Honored Poet recognized at the 1981 White House Salute to Poetry.

In 1981, From Sand Creek: Rising In This Heart Which Is Our America, received the Pushcart Prize in poetry. Ortiz received a Lifetime Achievement Award from the Returning the Gift Festival of Native Writers (the Wordcraft Circle of Native Writers and Storytellers) and the Native Writers' Circle of the Americas (1993).*

*www.wikipedia.com



Canyon de Chelly

Lie on your back on stone
the stone carved to fit
the shape of yourself.
Who made it like this,
knowing that I would be along
in a million years and look
at the sky being blue forever?
My son is near me. He sits
and turns on his butt
and crawls over to stones,
picks one up and holds it,
and then puts it in his mouth.
The taste of stone.
What is it but stone,
the earth in your mouth.
You, son, are tasting forever.

We walk to the edge of a cliff
and look down into the canyon.
On this side, we cannot see
the bottom cliffedge but looking
further out, we see fields,
sand furrows, cottonwoods.
In winter, they are softly gray,
The cliffs' shadows are distant,
hundreds of feet below;
we cannot see our own shadows,
The wind moves softly into us,
My son laughs with the wind;
he gasps and laughs.

We find gray root, old wood,
so old, with curious twists
in it, curving back into curves,
juniper, pinon, or something
with hard, red berries in spring.
You taste them, and they are sweet
and bitter, the berries a delicacy
for bluejays. The plant rooted
fragilely in a sandy place
by a canyon wall, the sun bathing
shiny, pointed leaves.
My son touches the root carefully,
aware of its ancient quality.
He lays his soft, small fingers on it
and looks at me for information.
I tell him: wood, an old root,
and around it, the earth, ourselves.*

Simon J. Ortiz

*http://www.hanksville.org/voyage/poems/cdc/cdc1.html



IK



Kin 222: White Magnetic Wind


I unify in order to communicate
Attracting breath
I seal the input of spirit
With the magnetic tone of purpose
I am guided by my own power doubled
I am a galactic activation portal
Enter me.


Our whole mind is waiting to be unwrapped: then we will see a new reality a new universe, a new heaven and a new earth.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2016-2017.







The Sacred Tzolk'in 




Svadhistana Chakra (Kali Plasma)





Thursday, July 28, 2016

Red Cosmic Dragon/ Red Self-Existing Skywalker - Magnetic Bat Moon of Purpose, Day 3






James Welch, Blackfeet and A'aninin Nations, 



James Welch (November 18, 1940 – August 4, 2003), who grew up within the Blackfeet and A'aninin cultures of his parents, was an award-winning Native American novelist and poet, considered a founding author of the Native American Renaissance. His novel Fools Crow (1986) received several national literary awards.
In 1997 Welch received a Lifetime Achievement Award from the Native Writers' Circle of the Americas.
James Welch was born in Browning, Montana on November 18, 1940. His father, a welder and rancher, was a member of the Blackfeet tribe and his mother, Rosella O'Bryan, a stenographer for the Bureau of Indian Affairs and was a member of the Gros Ventre tribe; both also had Irish ancestry but had grown up within Native American cultures. As a child, Welch attended schools on the Blackfeet and Fort Belknap reservations. In 1958, James Welch graduated from Washburn High School in Minneapolis. For college, Welch attended the University of Montana, where he studied under the poet Richard Hugo, and in 1965, he graduated with his B.A. in liberal arts.  Shortly after, Welch's first poem was published in the Montana poet issue of Visions International in 1967.  He began his writing career, publishing poetry and fiction. His novels established his place in the Native American Renaissance literary movement. Welch also taught at the university. He also received Honorary Doctorates from Rocky Mountain College (1993) and the University of Montana (1997). 

James Welch was also an internationally acclaimed writer and had a faithful following in Europe, and in 1995, Welch was given the Chevalier of the Ordre des Artes et des Lettres (Knight of the Order of the Arts and Letters) by the French Cultural Ministry and was fully knighted by the French Government for his contributions to French culture. His novels were also translated into nine foreign languages. 

Welch is commonly found in anthologies on Native American literature and is associated with the Native American literacy renaissance.  The main goal of his writing was to give the readers a better understanding about the life of a Native American both good and bad.  His rich imagery of landscape was never made up, but was based on the landscape of Montana. In his writing, the landscape was often times the main character. Welch had a unique style of writing from "'an outside observer with an insider's understanding' of Native American experience", this was because even though he was raised on the reservation as a young boy, he lived most of his life off of it. So he had a feeling of lack of close connection with the tribal community. 

In 1968, James Welch married Lois Monk, a comparative literature professor at the University of Montana,  and was head of the English Department there until her retirement. During his wife's sabbaticals they lived in France, Greece, Italy, and Mexico,  which often times helped him finish writing his novels due to the feeling of isolation.  Also, the two were regular financial donors to the Piegan Institute's language immersion program's efforts in continuing the restoration of the native Blackfeet language. 

Welch also briefly attended Northern Montana College (now known as Montana State University-Northern). He taught English and writing at the University of Washington and at Cornell University.

In her introduction to the 2007 reprint of Winter in the Blood, fellow writer Louise Erdrich said: "It is a central and inspiring text to a generation of western regional and Native American writers, including me." This novel was adapted as a film by the same name, released in 2012 and produced by Sherman Alexie.

In addition to his novels, Welch co-wrote with Paul Stekler the screenplay for Last Stand at Little Bighorn, the Emmy Award-winning documentary that was part of the American Experience, shown on PBS. Together they also wrote the history, Killing Custer: The Battle of Little Bighorn and the Fate of the Plains Indians (1994).

Welch served on the Board of Directors of the Newberry Library D'Arcy McNickle Center in Chicago.

In addition to his literary work, Welch served as the Vice Chairman of the Montana Board of Pardons and Parole for ten years. Also he was a firefighter for the U.S. Forest Service, was a laborer, and an Upward Bound counselor.*

*www.wikipedia.com 



Dreaming Winter

Don't ask me if these knives are real.
I could paint a king or show a map
the way home—to go like this:
Wobble me back to a tiger's dream
a dream of knives and bones too common
to be exposed. My secrets are ignored.

Here comes the man I love. His coat is wet
and his face is falling like the leaves,
tobacco stains on his Polish teeth.
I could tell jokes about him—one up
for the man who brags a lot, laughs
a little and hangs his name on the nearest knob.
Don't ask me. I know it's only hunger.

I saw that king—the one my sister knew
but was allergic to. Her face ran until
his eyes became the white of several winters.
Snow on his bed told him that the silky tears
were uniformly mad and all the money in the world
couldn't bring him to a tragic end. Shame
or fortune tricked me to his table, shattered
my one standing lie with new kinds of fame.

Have mercy on me, Lord. Really. If I should die
before I wake, take me to that place I just heard
banging in my ears. Don't ask me. Let me join
the other kings, the ones who trade their knives
for a sack of keys. Let me open any door,
stand winter still and drown in a common dream.*


James Welch

*http://mtpr.org/post/dreaming-winter#stream/0




IMIX



Kin 221: Red Cosmic Dragon


I endure in order to nurture
Transcending being
I seal the input of birth
With the cosmic tone of presence
I am guided by the power of life force.


By adopting a crystal for personal use, the crystalline frequencies can be absorbed by our psycho-sensory system while our brain waves and bio-psychic radiation are received and stored by the crystal.*


*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2016-2016.







The Sacred Tzolk'in 





Ajna Chakra (Gamma Plasma)




Wednesday, July 27, 2016

Yellow Crystal Sun/ Yellow Electric Human - Magnetic Bat Moon of Purpose, Day 2


Tanaya Winder, (Southern Ute, Duckwater Shoshone, and Pyramid Lake Paiute).





Tanaya Winder is a poet, writer, artist and educator who was raised on the Southern Ute reservation in Ignacio, CO. An enrolled member of the Duckwater Shoshone Tribe, her background includes Southern Ute, Pyramid Lake Paiute, Navajo, and Black heritages. Tanaya writes and teaches about different expressions of love (self love, intimate love, social love, community love, and universal love).

A winner of the 2010 A Room Of Her Own Foundation’s Orlando prize in poetry, her work has appeared or is forthcoming in Cutthroat magazine, Adobe Walls, Superstition Review, Drunkenboat and Kweli among others. Her poems from her manuscript “Love in a Time of Blood Quantum” were produced and performed by the Poetic Theater Productions Presents Company in NYC. Her debut poetry collection Words Like Love  was published in September 2015 by West End Press. 

Tanaya has taught writing courses at Stanford University, UC-Boulder, and the University of New Mexico. She has a BA in English from Stanford University and a MFA in creative writing from UNM. She is a co-founder and editor-in-chief of As/Us: A Space for Women of the World. She guest lectures and teaches creative writing workshops at high schools and universities internationally. She was a TEDxABQ speaker in 2013.

Tanaya is the Director of the University of Colorado at Boulder’s Upward Bound Program, which services 103 Native American youth from 8 states, 22 high schools, and 8 reservations across the country. She continues to teach as an adjunct professor at the University of New Mexico.

Finally, she created Dream Warriors Management, which currently consists of Indigenous Artists: Mic Jordan, Tall Paul, the Sampson Brothers, and Frank Waln. Tanaya manages these artists, each of whom travels to perform concerts, run workshops, teach empowerment and artistic skill sets, and speak at various engagements throughout the country. She created it to bring together different talented artists, speakers, and educators who embody the values of what it means to be a Dream Warrior.*

*www.tamayawinder.com 




consider the assemblage of a longing

rendered in stone so distinct it should be studied not quite

unlike Orpheus

and Eurydice who tried to return to the land of the living—

El Parque del Amor

and El Beso should be a part of this body of myths

like Rodin's Kiss,

the book in Paolo's hand, a near-miss of lips, the mouth

opens a cyclone, breaths

barely separated as the space between pages. But,

there are no gods,

no monsters, or heroes—just two unnamed bodies in history.

And maybe

in the land of the living it is certain one lover will always try to look back,

to call the other—

the way the sun continually begs the moon to rearrange

constellations

into monuments assembled in longing.*


* https://superstitionreview.asu.edu/issue7/poetry/tanayawinder





AHAU




Kin 220: Yellow Crystal Sun


I dedicate in order to enlighten
Universalizing life
I seal the matrix of universal fire
With the crystal tone of cooperation
I am guided by the power of free will.



What we call memory is merely a set of conditioned images stored in the unconscious and available for recall.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2016-2017.






The Sacred Tzolk'in






Muladhara Chakra (Seli Plasma)




Tuesday, July 26, 2016

Blue Spectral Storm/ Blue Lunar Monkey - Magnetic Bat Moon of Purpose, Day 1






Alexander Posey
Alexander Lawrence Posey, 1873-1908.



Alexander Posey, born August 3, 1873, was a Muskogee Creek poet, journalist, and humorist known for his poems and Fus Fixico letters, a series of satirical letters written from his fictional persona, Fus Fixico, that commented on local and national politics of the time. He served as the editor for the Eufaula Indian Journal before passing away on May 27, 1908.*

https://www.poets.org



On Viewing the Skull and Bones of a Wolf

How savage, fierce and grim!
     His bones are bleached and white. 
But what is death to him? 
     He grins as if to bite. 
He mocks the fate 
     That bade, '‘Begone.'' 
There’s fierceness stamped 
     In ev’ry bone. 

Let silence settle from the midnight sky— 
Such silence as you’ve broken with your cry; 
The bleak wind howl, unto the ut’most verge 
Of this mighty waste, thy fitting dirge. 


A.L. Posey




CAUAC


Kin 219: Blue Spectral Storm


I dissolve in order to catalyze
Releasing energy
I seal the matrix of self-generation
With the spectral tone of liberation
I am guided by my own power doubled.



Not only is our body coded with number, but so is our external world.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2016-2017.





The Sacred Tzolk'in





Sahasrara Chakra  (Dali Plasma)






Monday, July 25, 2016

White Planetary Mirror/ White Magnetic Dog - Day Out of Time





Natalie Diaz, Mojave.



Natalie Diaz is a Mojave American poet, language activist, and educator. She is enrolled in the Gila River Indian Community.

Natalie Diaz grew up in the Fort Mojave Indian Village in Needles, California, on the border of California, Arizona, and Nevada. She attended Old Dominion University where she played point guard on the women’s basketball team, reaching the NCAA Final Four as a freshman and the bracket of sixteen her other three years. After playing professional basketball in Europe and Asia, she returned to Old Dominion University, and completed an MFA in poetry and fiction, in 2006.

Her work appeared in Narrative, Poetry magazine, Drunken Boat, Prairie Schooner, Iowa Review, and Crab Orchard Review.

Diaz's debut book of poetry, When My Brother Was an Aztec, was a 2012 Lannan Literary Selection, a 2013 PEN/Open Book Award shortlist, and “portrays experiences rooted in Native American life with personal and mythic power.” One important focus of the book is a brother’s addiction to crystal meth. In 2012, she was interviewed about her poetry and language rehabilitation work on the PBS News Hour.

Diaz currently lives in Mohave Valley, Arizona where she directs a language revitalization program at Fort Mojave, her home reservation, and works with the last Elder speakers of the Mojave language.*

*www.wikipedia.com



Dome Riddle

Tonight I am riddled by this thick skull

this white bowling ball zipped in the sad sack carrying case of my face,
this over wound bone jack-in-the-box,
this Orlando’s zero, Oaxacan offering: cabeza locada, calavera azucarada,
   cenote of Mnemosyne,
this sticky, sweet guilt hive, piedra blanca del rio oscuro,
this electric tom tom drum ticking like an Acme bomb, hypnotized explosive
   device, pensive general, scalp-strapped warrior, soldier with a loaded God
   complex,
this Hotchkiss-obliterated headdress, Gatling-lit labyrinth,
this memory grenade, death epithet, death epitaph, mound of momento mori,
this twenty-two part talisman wearing a skirt of breasts, giant ball of masa,
this god patella in the long leg of my torso, zoo of Blake’s tygers and canines,
this red-skinned apple, lamp illuminated by teeth, gang of grin, spit wad of scheme,
this jawbone of an ass, smiling sliver of smite, David’s rock striking the Goliath
   of my body,
this Library of Babel,  homegrown Golgotha, melon festival,
this language mausoleum: chuksanych iraavtahanm, ‘avi kwa’anyay, ‘ava iiyaly
   kuupam,
   sumach nyamasav,
this amygdale cage, misery penitentiary, hidden glacier hungry for a taste of titanic
   flesh,
this pleasure altar, Frenchkiss sweatshop, abacus of one-night stands, hippocampus
   whorehouse, oubliette of regret,
this church of tongue, chapel of vengeance, cathedral of thought, silvery-blue dome
   of despair, attic confessional, plaza del toro y pensamientos,
this museum of Tribal dentistry,
this commodity cranium cupboard, petrified dream catcher, sun-ruined basketball I
   haul—rotten gray along the seams—perpetual missed shot,
this insomnia podium, little bowl in a big fish, brain amphitheater, girl in the moon,
this 3 a.m. war bell tolling, tolling, duende vision prison, jar of fading stars,
this single scoop vanilla head rush, thunder head, fast ball, lightning rod,
this mad scientist in a white lab helmet, atom bomb mushroom cloud, ghost of
   Smoking Mirror,
this hot air balloon, forgetful chandelier, casa de relámpago,
this coyote beacon, calcium corral of hot Perlino ponies, night blooming cereus,
   gourd gone rattle, bankrupt factory of tears,
this Halloween crown, hat rack, worry contraption, Rimbaud’s drunken boat afloat
   in the wine dark belly of my personal Monstruo,
this coliseum venatio: Borges’s other tiger licking the empty shell of Lorca’s white
   tortuga,
this underdressed godhead, forever-hatching egg, this mug again and again at my
   lips,

and all this because tonight I imagined you sleeping with her
the way we once slept—as intimate as a jaw, maxilla and mandible hot,
in the skin—in love, our heads almost touching.*

Natalie Diaz

*http://www.drunkenboat.com/db15/natalie-diaz


The Day Out of Time is the last day of the 13 Moon/28-day calendar, a day which is no day of the week or month at all, but a day to celebrate our galactic heritage and creative unification! It is up to us to co-create the world that we would like to see.




ETZNAB



Kin 218: White Planetary Mirror


I perfect in order to reflect
Producing order
I seal the matrix of endlessness
With the planetary tone of manifestation
I am guided by the power of death
I am a galactic activation portal
Enter me.



The Earth and myself are one mind.*



*Stat Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.








The Sacred Tzolk'in 





Sahasrara Chakra (Dali Plasma)