Bruce Dean Willis

is Professor of Spanish and Comparative Literature at The University of Tulsa. His research and publications focus on diverse aspects of poetry and performance, and expressions of Indigenous and African cultures, in Latin American literature, particularly Brazil, Chile, and Mexico.

TIME FOR CHOCOLATE is available for purchase through One Act Play Depot! A brief description:

An intoxicating evening of music, poetry, and chocolate... in pre-conquest Mexico!
Based on a fifteenth-century dialogue among nobles schooled in rhetoric and philosophy, the play pits father against son in a war of words over the power and beauty of artistic expression.

Wednesday, November 11, 2009

Continent of Corn

Chances are high that if you've grown up just about anywhere in the Western Hemisphere, you and your metabolism are very familiar with corn (maize). Whether it's corn on the cob (yellow or white? red or blue?), popcorn and corn chips or tortillas and tostadas, grits and cornbread or arepas and esquites, pozole and atole or cornflakes and canjica, corn unites the Americas! It's true that corn's presence is somewhat diminished in the Caribbean, and it's also true that Asians and Africans tend to eat corn in abundance. But it is still the case that Europeans remain largely unfamiliar with corn, except popcorn (and polenta!), and corn as livestock feed.

We know from paleobotany that corn has been undergoing hybridization during thousands of years of cultivation in the Americas. Indigenous Americans discovered the process of nixtamalization, in which corn is mixed with lime (or ash) to allow for the more nutritious digestion of the niacin in corn. The word comes from Náhuatl, and has even been documented, in its form of "nixtamaleros," as an insult implying indigenous ancestry (and thus corn tortillas), wielded by those northern Mexicans who prefer wheat tortillas!

Today the US produces approximately half of the world's corn, and Brazil and Mexico are also big producers. Experiments in hybridization continue, albeit controversially: to protect the ancestral stock, the Mexican government had resisted, until just a few months ago, the import of genetically modified corn. Corn rivals sugarcane not only in the production of glucose-based products such as corn syrup (ubiquitous and insidious in US products) but also in ethanol. Recent interest in ethanol production from corn in the US and Mexico spiked the price of corn and damaged Mexican production practices. But it is more efficient to produce ethanol as an alternative fuel from sugarcane than it is from corn. This gives leading ethanol producer Brazil an advantage based on the extent of arable land in its tropical climate. A joint US-Brazil economic plan to stimulate ethanol production from sugar cane in Caribbean countries prompted the Venezuelan government, which has too much to lose in potential petroleum sales, to complain about a disguised neocolonization of the islands.

In Spanish, maíz (or elote or choclo, etc.) and in Portuguese, milho, corn is justly celebrated by quintessential Latin American writers Gabriela Mistral and Miguel Angel Asturias, both Nobel laureates. The Chilean Mistral equates corn with its Mexican homeland, where she lived as an influential educator, in her poem "El maíz": "El santo maíz sube / en un ímpetu verde, / y dormido se llena / de tórtolas ardientes [...] Y México se acaba / donde la milpa muere." The Guatemalan Asturias, in Hombres de maíz, constructs a novel fluctuating between the Maya stories and mores he learned from his grandmother, and the surrealist techniques he learned in Paris while studying at the Sorbonne.

Asturias's title refers to the pre-conquest Quiché Maya compendium of knowledge known as Popul Vuh, which holds that the gods, after several failed attempts, finally created humans from corn. The hair-like tassels, the teeth-like kernels, and the milky insides of the kernels likened to breastmilk or semen, are a few of the most salient similes in the Mesoamerican worldview's linkage of corn to the substance of human life. A custom observed across several Maya groups is the burial of a newborn's placenta in the milpa (cornfield), a symbolic return to the origin of life in the Americas.

Wednesday, November 4, 2009

O Veleiro

If you're looking for a great place to stay in Rio -- cozy, beautiful design, lush grounds and panoramic vistas, with a first-class welcome from a terrific staff, and a fresh, full breakfast -- choose O Veleiro!


A cantilevered confection of wood, stone, brick
and air,
O Veleiro Bed & Breakfast
floats on a sea of mist and greenery
above the Marvellous City.

The windows of O Veleiro
are meeting places for marmosets,
balconies for bossa nova serenades,
look-outs over luscious landscapes,
portals of light
that invite and incite
the well-fed, well-rested, and casually fortunate guests
to participate with the cariocas
in the active creation of another beautiful day.

On most such days,
when the conjugation of light and latitude
aligns a certain breeze along the Tropic of Capricorn,
O Veleiro / The Sailboat lifts from its moorings,
hoists its hammocks as the most laidback of sails,
and disembarks from its hillside dock,
setting forth from the open arms of the massive Cristo Redentor
to navigate Botafogo like a float in Carnaval,
and beyond, over beaches,
through the Baia de Guanabara,
to pull alongside the cablecar park
atop Sugarloaf Mountain
as a gift of pleasant surprise
from Rio
on and out to the wistful world.

Thursday, October 29, 2009

La Calavera Nueva del Emperador


The word calavera (literally "skull") has many meanings in Mexico, from the famous drawings and papier-mâché skeletons, to sweetbread and sugar-candy skulls and bones. A calavera is also a poem of satirical verses, published in newspapers this time of year for Día de los Muertos, poking fun at well-known figures through an imagined demise. This one alludes to Hans Christian Anderson's "The Emperor's New Clothes" ("El traje nuevo del Emperador"), and to some traditional spooks, in reference to a certain South American politician.


Llámese Pérez o López,
Gómez o Sánchez o Chávez,
emperador egocéntrico
de más de un país el mal es.
Dictador, por otras señas,
que busca lucir ademanes,
procura un traje nuevo
jamás visto por rufianes.
La Calaca le da cuerda,
estambre roja y telares,
y obreros bolivarianos
sin derechos laborales,
mantenidos como zombis
sin medios que les señalen
oposición a su líder
ni crítica de sus planes.
Sale el sátrapa al alba
vestido color de sangre,
y ahí entre la muchedumbre,
que una niña lo delate,
apuntando con un dedo,
gritándole sus verdades:
“Tú nunca fuiste Bolívar.
Quítate de entre titanes.
Te veo como desnudo,
como lo que eres: farsante.”
Estas palabras sonoras,
mágicas y fulminantes,
mataron al opresor,
tumba’o de su pedestal.
Ahí lo recogió la Muerte,
se lo llevó al lugar que arde,
y entre tanta llamarada
y tantos déspotas cuates,
al difunto dictador
se le antojó andar sin traje.
Y así fue, cantando claro,
con la lengua sin pelaje,
que la voz de la inocencia,
la niña buena al rescate,
al vampiro petrolero
le quitó la vida de antes,
para darle chamba nueva
sin derechos laborales
en las fábricas de azufre
con los demonios de Dante.



Saturday, October 24, 2009

Exvotos

Cuerpo, ¿jaula del alma?
No: lienzo, tambor, barro, página.

Todo a la vista:
Los ojos iluminan lo que los oídos vociferan,
pero los párpados me apantallan los sueños
que las cejas solapan.
Sólo los delata
la brisa entre las pestañas.

Los labios les dan alas a las
palabras que pasan por la malla
de mis dientes.

La nariz y la lengua trabajan enyugadas
en producir sabor y saber.

Me late que el pecho
me soporta hombros, cuello y cabeza,
y el peso de toda esa infraestructura
hace brotar:
dos pezones.

El codo me extiende la generosidad,
el brazo me echa una mano,
las costillas me cuentan las cosquillas,
las rodillas me hacen cuclillas,
cada pierna me da pie.

El sexo me da dónde agarrar—
(y las pompas dónde asentar)
—las ideas.

El ombligo me sujeta cual tachuela
cuando estiro las extremidades
a la vitruviana,
las vísceras golpeando tatúes
sorprendentemente irregulares
desde adentro,
mientras las palmas sobre la panza
imponen varios ritmos
complicados pero precisos
desde afuera.

Los dedos son para abrir senderos
entre los cabellos,
sensores del cerebro,
y las uñas para trazarme los cauces
subcutáneos
de la sangre.

De tripas corazón y de lágrimas pulmón
pero qué hay de mí sin la piel
que me abriga los músculos y los huesos,
la piel que me delimita y me delinea
de lo no-yo;
me incorporo,
puedo solo
expresarme de las más diversas maneras,
así, articulado
y así, agradecido
como me encuentro y me palpo este día de hoy.

Cuerpo, ¿jaula del alma?
No: lienzo, tambor, barro, página.

Monday, October 19, 2009

Does the Fruit Stay Forever on the Branch?

A flower-song I composed in the voice of Tecayehuatzin, a fifteenth-century ruler of Huexotzinco in central Mexico. Tecayehuatzin convened a group of poet leaders for a symposium on the theory and practice of in xochitl in cuicatl (basically, poetry) - you can read an excerpt of a play I based on the symposium. The play is now available for purchase at One Act Play Depot. Here Tecayehuatzin addresses himself, in the style, to another poet, Cuauhtencoztli, whom I cast in the play as his son.

As the sapling grows,
as its shoots seek the face of the sun,
its growth is a flowing, like a fountain, like a spring,
with the waters of the earth, with the life of the earth.

And as the sun follows the rain,
so does the fruit spring from the flower,
from its vibrant emanations,
from its fragrant exhalations.

Like unto this growth, the youth who stretches and fills,
who seeks the face of the sun,
whose leaps and dives give grace uprooted to the yearnings of the sapling,
will in his own way, in her own way,
bear the fruit of his acts, bear the flower of her breath,
springing from the nourishment of the earth.

Does the fruit stay forever on the branch?
The fruit must be consumed when it is ripe.
Do the flowers stay forever on the tongue?
The flowers must be sung when they're in bloom.

In the rhythm of our songs, of our mouths and of our hands,
we build on the rhythms of the flower and of the fruit,
of the earth and of the sky,
of the jaguar and of the eagle.

Does the fruit stay forever on the branch?
The fruit must be consumed when it is ripe.
Do the flowers stay forever on the tongue?
The flowers must be sung when they're in bloom.

Thursday, October 15, 2009

Choque Corporal

Deixar de ver os corpos cariocas
tropicais
sadios e sarados e dourados
de tanto caminhar e tanta malhação e tanto sol,
e tanta boa fruta fresca e tanto bom fruto do mar,
subir um avião,
descer em Dallas
e começar a ver
gordura pastosa desabafada e desparramada pelos assentos da sala de espera do estéril aeroporto cinzento,
e ouvir 'bem-vindo,' aliás,
é um desengano
de tamanho XXXL.

Friday, October 9, 2009

They Came from Outer Spain

Slide from a presentation about the Hispanic Document Collection at the Gilcrease Museum of the Americas. It's a contextualization of the European arrival to the Americas as an alien invasion.


Tuesday, October 6, 2009

The Tremor

Having skipped breakfast
to make class on time,
I thought it was me.
I thought it was my body shaking my head,
that I was going to faint in hunger.
But then I heard:
"Is your chair moving too?"
And at my affirmation,
we both knew it was a temblor,
not knowing what a temblor is until that moment.
No shaking, no bouncing--just rocking,
as if the earth,
that most seemingly solid substance,
were suddenly the sea,
and my friend and I, seated in our desks,
riders of rowboats rolled gently on the waves.

It was over in a few seconds,
but our astonishment kept growing
like the ripples of a splash in a pond.
Cholula, Puebla, 1989

Tuesday, September 29, 2009

os búzios

catados         jogados        abertos        fechados

os olhos dos búzios verão o futuro

abertos         fechados      catados       jogados

os búzios dirão o caminho a seguir

jogados        catados       fechados      abertos

repare os olhos no mapa dos búzios

fechados      abertos        jogados        catados

conselhos dos búzios pra quem quer ouvir

Ifá               Ifá                Ifá   e           Exu

sem eles não vai ter conselho nenhum

Ifá               Ifá               Exu   e          Ifá

quem escute o conselho o futuro verá

verá            verá            ver há de ver

mensagens dos búzios verá quem puder

verá

verá

Friday, September 25, 2009

Los Dorados

Poem for two voices. Based on the legendary golden chief's dive into the lake, but now for two divers...


SHE                                                                HE
reflect                                                             
                                                                        reflect
the light                                                            the light
                                                                        reflect
reflect
the truth                                                           the truth
the glittering surface  
                                                                        the shimmering cutis
adorns the form
                                                                        bedecks the shape
the waters will wash                                           the waters will wash
the waters will wash                                           the waters will wash
what is below?
                                                                        what is beneath?
                                                              an essence
a presence
uncovered                                                       uncovered
unclothed                                                        unclothed
reborn today
                                                                       and reborn tomorrow
liberate me      
                                                                       liberate me
liberate us                                                        liberate us
pure                                                                 pure
good                                                                good
nude                                                                nude

Monday, September 21, 2009

Misol-Ha

From a poetry workshop, the prompt for this assignment was to use the line "Step through, step through / and see that it's you," from Dana Levin's "Hive" (in her collection In the Surgical Theatre) in a similarly natural context. I imagined a waterfall such as Misol-Ha in northern Chiapas...

The churning grows.
The current pulls inexorably,
advancing, outpacing
itself in its desire not
to plunge, but to transcend:
because in plummeting it stretches
into the air and becomes
a leap
of vapor
shrouding its escape with mist
and prisms.
Step through, step through,
and see that it's you:
Plunge hard,
Dip skinny,
Cascade, you are one,
Droplets, you are many.
You cannot help but smack against
the boulders below
and in that pummeling kiss
you are released
you do release
and the spray
--it's you--
you evaporate,
rise, bathing the sunshine,
tickling the foliage,
you rise to fall again
so many times
that you become a cycle,
a whirling,
the churning that you are.

Thursday, September 17, 2009

El huapanguero olmeca

No cesaron los sueños. Caritas inacabables, caritas y gestos de aquellas figurinas olmecas que abundan en el Museo de Antropología en Xalapa... En sus sueños las caritas ya no estaban congeladas, sino que se transformaban de una en otra, siempre deteniéndose, sin embargo, en los rictus más conocidos.

Para algunos músicos, semejantes sueños hubieran sido motivo de profunda preocupación, siendo como es la música el arte temporal por excelencia, y por ende la antítesis de aquellas estatuillas milenarias. Pero Rudecindo acogió las visiones con la misma alegría antigua, huasteca y jarocha, que relucía en la mayoría de las caritas sonrientes.

Entonces no hubo remedio. Rudecindo entró en la práctica de agarrar su jarana al despertarse, y se dejaba llevar por los recuerdos de los ojillos almendrados y las sonrisas de satisfacción, que de alguna manera le dictaban secuencias de notas y tonos, subiendo, bajando, alargándose en algún gesto particularmente jocoso. Se dio cuenta de que, lejos de ser un estorbo, sus sueños le ayudaban a alcanzar una fertilidad y un ingenio sin precedentes en su experiencia como compositor. Sólo le faltaba enlazar lo que oía en ritmos y acordes mejor acoplados.

Mayor aun fue su dicha al descubrir que con una pequeña pero cargada dosis de café matutino--café recién cosechado de Coatepec o de sus alrededores, y recién tostado y recién molido--había encontrado el catalizador perfecto, y netamente veracruzano, para estimular su proceso creativo. Con el café, parecía retener más nítidos los rostros felices de su inspiración. Pero aun así no lograba tejer los fragmentos melódicos que se le surgían.

Por fin, en una noche de lluvias en que el frío inesperado de un vendaval le otorgó a Rudecindo un sueño más profundo que el normal, las vio moverse, continuamente, de cuerpo entero. Ahora sí, en vez de pararse torpemente entre estatuilla y estatuilla, como los diapositivos de antaño, las figuras seguían moviéndose, todo corrido, girándose y saltando, bailando, inclusive, sobre la tarima tradicional del huapango, sin dejar de ser manifestaciones de barro de la cultura madre mesoamericana.

Entre truenos y aguacero, se escuchaba la melodía artesanal que fluía, fecunda y pulida, de la voz y la jarana del huapanguero. Y con las iluminaciones instantáneas de los relámpagos, se veía la figura de Rudecindo, de gestos y muecas arrestados, renovando la arqueológica alegría jarocha en las altas horas del amanecer.