Parable of the Sower
David Joez Villaverde


"Every word is changed when spoken."         
—Stanley Moss.          

"The only lasting truth / Is Change. // God / Is Change."          
—Octavia E. Butler          

The history of language is the history of money.
I heard that in a movie where a gun goes off
to punctuate the silence. I think about that
sometimes. Not the words, the silence.
How it dilates and slows. Sharpening what
follows. Muzzle, barrel, trigger. The standoff
between index and firing pin. Equal parts funny

and heartbreaking, these dull litanies. I think about
that too, how I sculpt the emptiness with talk,
folding vowels into the mouth of certainty.
Rondure, ungulate, sard. Words so
elegant in their knowing. Their vacuity
like a long, gilded flower, broken at the stalk.
Strange how opposites dovetail, certitude with doubt,

falsity with truth. One always sheltering the other,
compensating. Etymology means the study of
truth the same way ciao elegizes a word
people died to forget. Trace an edge
long enough and out whispers the slurred
dusk. Coins rub smooth, and yet it wasn't love
he gave me. It was mercy. This lagniappe, another

chance at life. In Quechua, yapay means to add,
to augment. As in yapasaq, used in the book
of Matthew to denote the act of giving.
In that parable, the word winnows
across an indiscriminate earth, living
only in fertile silence. When I wanted, I took
what I wanted. Indiscriminately. I thought I had

nothing to offer. That addition was the act of taking
without apology. There was no movie. He leveled
his pistol at my face and smiled. It was a joke
that took years to open into a laugh, how
a wayward seed will languish under the choke
of thorns. Long before I learned to give, I reveled
in pain. Its drama. Each word a gesture of its making.

When he drew on me, nothing changed. I didn't clear
the cobwebs from my hands. I didn't learn
how to listen. Or how to forgive.
I only knew this silence
as an echo I didn't want to relive.
A stillness, a gift. This word I whet and turn,
lagniappe. Lagniappe. He who has ears, let him hear.
from the journal NEW ENGLAND REVIEW
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 While going about making the nonce form of this poem I kept thinking of that maxim (apocryphally) attributed to Mark Twain: “History does not repeat itself, but it often rhymes.” I wanted the form to contain the sinusoidal patterning and movement of time.
Color headshot of a reflective Aldo Amparan
Interview with Aldo Amparán

"When the pandemic happened, I was starting to write my second book, which deals with a very dark period in my life, having to do with sexual assault. A friend of mine has been talking a lot about 'shadow work'—that work that you do to try to get into the core of the things that make you uncomfortable. And I find that, retrospectively, my second book kind of served as a sort of shadow work for me."

via Zócalo
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Cover image of Octavio Quintanill's book, The Book of Wounded Sparrows
What Sparks Poetry:
Octavio Quintanilla on Drafts


"I write and rewrite the poem over and over because small but significant changes happen in the process, especially in terms of the poem earning my trust and having me believe in what it says. To get there, I rewrite the poem till every word is embodied with breath or heartbeat....As I rewrite, I teach myself my own poem. Internalize it."
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