Panama Diaries, Part I

The woman pretending to be my aunt tells me those are sex hotels on the side of the highway. They’re called “Tu y Yo” and “Paraiso Real.” I note the prices, marked on a sign outside: Seventeen American dollars for three hours/Thirty-five dollars for “Toda La Noche.” We keep driving.

I’m glad we have left Panama City behind. It’s like the city I grew up in and left, New York. But a New York long vanished, full of beautiful abandoned spaces, cracks in sidewalks, graffiti, shady characters and salt smell of ocean in the air.

We zip through mountains, one’s crags looks like a sleeping old woman, past roadside stands selling mangoes and cold coconuts towards the small town of Pedasi.

The whole country has been drenched in rain, lightning illuminating palm fronds against inky skies punctuated by glorious bright beach days. Rainy season in the tropics, you never know what you are going to get.

 

Guadalupe tells everyone she’s my aunt because she says it’s safer that way and maybe she’s right. She’s a retired Spanish journalist and television personality who’s interviewed some of the world’s leading political figures as well as hosted The Jackson Five on her television show “300 Milliones” back in the ‘70s.

“I used to be very famous, now I end up living like a gypsy in the country.” She tells me as she does over eighty on narrow highways lined with jungle and rolling pastures of cane sugar, corn and cows.

She has good reason to be paranoid. She’s been robbed twice on her campo, a big piece of land with tidy casitas guarded only by a rusted black metal gate. So I pass as her tall, grey-eyed nephew from the States and with my decent Spanish accented by the downtown New York bodegas of my youth, no one asks many questions.

 

After all, this is the land of Noriega, who died in a cell overlooking the Panama Canal. A land of drug lords and poverty, ghettos in Panama City still containing rubble from when Reagan bombed it in the ‘80s. A land where dead dogs line the highways, where pirates once burned down the old city and breezed along the coasts, a land stamped with the violence and greed of conquistadors before them and more recently the Panama Papers, dark money and lawlessness. Like so many others, I’ve come here to hide.

But it’s also full of heated beauty. Guayacan and Banyon trees silhouetted flaming against the sunset, nights full of stars and satellites, whales gathering off the coast in one of the deepest parts of the Pacific to give birth, pastel pink and blue cemeteries dotted with rich tropical flowers, warm people who insist on feeding me my favorite carimañolas, fried yuca patties stuffed with ground beef, iguanas crying in the night rich with fresh cut grass and promise.

I burn saint candles even though I’m Jewish, wish away my past and hope towards my future like a drunk leaning into the bottle. Most times, I am drunk sipping my tenth Balboa beer, my favorite, named for the conquistador who “discovered” Panama was the world’s only isthmus. A cradle of life full of sloths, crocodiles, snakes, butterflies, the country with the most species of animals on the planet.

In the jungle by the sea, I feel a peace I’ve never felt anywhere else.

 

Each crash of distant wave a lullaby helping me forget who I was in New York City. What I’ve lost and left behind. What, like so many adventurers before me, I hope to find in this part of the world they call Los Azueros.

A Prophecy

the old systems are being destroyed
right in front of our eyes-
refrain from shielding your sight…

we exist within the hidden nature
of a heedless epoch.
a severance of our accepted
deference toward divinity.

our examination of
behavioral traits
stretches decades.
was it all part of the plan?
we participated, subscribed, and invested wholly
in the disruption of the anticipated outcome.

perhaps, the convincing argument
articulates a recollection,
not an institutional
creationism that
may protect the possible
consideration of the
work.

the evidence is everywhere.
a collation of failed firewalls,
as reckless malware
creates a composite portfolio
of corruption.

is the mirror image an exercise of divisive involvement?

we are being asked to
define formality.
a curious reclamation
of a previous reality.

The Balance of Power

The woman is perfected.
Her dead
Body wears the smile of accomplishment,
The illusion of a Greek necessity
Flows in the scrolls of her toga,
Her bare
Feet seem to be saying:
We have come so far, it is over.
Each dead child coiled, a white serpent,
One at each little
Pitcher of milk, now empty.
She has folded
Them back into her body as petals
Of a rose close when the garden
Stiffens and odors bleed
From the sweet, deep throats of the night flower.
The moon has nothing to be sad about,
Staring from her hood of bone.
She is used to this sort of thing.
Her blacks crackle and drag.

 

a new photo narrative featuring Model: Jane Alice
as my LIBRA
for the new series: Personal Universe, an astrological study starring the model stable of Michelle Gemma (2017-2018)
Photograph by Michelle  Gemma
27 July 2018
Stonington Boro, CT  USA
Full Moon Lunar Eclipse

https://michellegemmaphotography.com/
https://michellegemmaphotography.wordpress.com/

featuring the Poem:
Edge      by      SYLVIA PLATH

 

 

 

 

“Return From The Sea”

The Captain has been on a long sea voyage to find his fortune, having left behind his beloved.
He has anxiously awaited his return home.
He knows that his beloved has paced away many nights at the Mansion up in the Widows Walk, craning a look through the telescope: hoping to see a ship , any ship, any movement.
Movement is life.
The sea has movement but it can betray the visible truth because there is so much movement in the sea.
The sea waves back at you, is hopeful.
The Captain has arrived at the Mansion.
He enters each room and looks around.
Then he walks upstairs to get a better look. The Widows Walk has the best view. Plus there is a telescope: he will find her…

“Return From The Sea”
a new photo narrative starring Writer: Royal Young
Text and Photographs by Michelle Gemma
25 June 2018
Spicer Mansion
15 Elm Street, Mystic, CT  USA

“you all forgot black grape”

Wilson was a Cambridge-educated intellectual, trade unionist, Situationist, Granada TV star and post-punk record-label co-founder.

Ryder was a street urchin singer and songwriter with an appetite for drugs so ferocious he once infamously sold his clothes to buy crack (he’s now several years clean).

Despite both hailing from Salford, the two should probably never have crossed paths, much less worked together and formed a deep and long-lasting bond which once saw Wilson describe Ryder’s slice-of-life, vernacular-heavy lyrics as being “on a par with WB Yeats”.

— Malcolm Jack

It’ll End In Tears

Kangaroo
Song To The Siren
Holocaust
FYT
Fond Affections
The Last Day
Another Day
Waves Become Wings
Barramondi
Dreams Made Flesh
Not Me
A Single Wish

 

It’ll End in Tears is the first album released by 4AD collective This Mortal Coil, an umbrella title for a loose grouping of guest musicians and vocalists brought together by label boss Ivo Watts-Russell. The twelve tracks of the album are illustrated here, in proper order.

featuring Model: Emma Rocherolle
all Photographs by Michelle Gemma
Spicer Mansion, Mystic, CT  USA

https://michellegemmaphotography.com
https://michellegemmaphotography.wordpress.com/