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Check Out the Story of the PoetryWorkshop
at San Diego Early/Middle College, September 2011!

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Photo by Marian Fowler-Hornsby


   Jim Moreno, Author of
   
Dancing in Dissent:  Poetry for Activism

This web site was constructed by Reva Wassana
reva.wassana@sbcglobal.net

Artwork by Chumash Painter John Moreno:  mspiritartist@sbcglobal.net

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      Jim Moreno  has been an artist in residence teaching poetry with Young Audiences of San Diego since 2005.  Jim was an original member and coordinator of San Diego's Langston Hughes Poetry Circle for eight years and a board member of the African American Writers & Artists for two years.  Moreno was also the director of the Encanto Boys and Girls Club Children's Poetry Choir for four years and the Language Arts teacher at the All Tribes American Indian Charter School on Rincon Reservation for two years.  Since August of 2005 he has served as the Poet-In-Residence for the Juvenile Court & Community Schools where he teaches poetry workshops for at-risk youth in lockups and community schools.  63 of his students have been published in the Inbetween Places newsletter, a publication for the homeless.  Each of those students were awarded $10.00 for their poetry.  6 of his students have won first place awards in a county-wide Poetry for Peace contest sponsored by the San Diego Peace Resource Center.  Each student was awarded $100.00.  Publishing and award monies have added up to over $1200.00 in the last two and a half years.
 
     Mr. Moreno has been a guest poetry teacher at St. Elmo's Village in Los Angeles, the Heman B. Stark Branch of the California Youth Authority, Los Coyotes Reservation, Chula Vista High School, Crawford High School, The Grauer School in Encinitas, The Vista Buddhist Temple, Southwestern College, the Magee Park Poets in Carlsbad, California, and the CalSAC Statewide Conference.  Jim Moreno has been published in City Works, The Langston Hughes Poetry Anthology, The Magee Park Poets Anthology, the poetry conspiracy, Tidepools, The San Diego Poetry Annual, and others. 
 
     Jim performs with The Three Deuces, a three art ensemble with jazz trumpeter Mitch Manker and dancer Michael Tompkins. He authored Dancing in Dissent: Poetry For Activism (Dolphin Calling Press, 2007).  As Jim Hornsby he serves on the advisory board of the Poetic Medicine Institute.  He recently featured with Institute president John Fox at the Encinitas Library.  He is the co-host with painter/poet Jihmye Collins of Fourth Thursday, an open mic poetry gathering at the Space Bar Internet Cafe in La Mesa, California.  He has read his original verse at poetry venues from Seattle to Orlando. 

     Moreno states firmly that he is proud to be an adopted member of the Barbareno Chumash tribe.  He was adopted by his brother John Moreno, a Chumash elder, painter, storyteller, and singer in a ceremony in the spring of 1995 in Lomita, California.  His mother, Rosie (Noni) Moreno is a Tohono O'dham, Pima, Mexican, Irish elder that inspires those around her to sing with life. 

    Jim's birth mother, Miriam Hess, was a talented story teller, traveler, and musician who played the piano and organ.  Moreno attributes his writing talent to the storytelling talents of his mother and his two sisters, Barbara and Sheila.  "I grew up listening to my mom and my sisters tell great stories during the day, at meals, and at night.  I left home at 18 to begin a life of collecting my own stories. That's what you will find in my poetry."

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Art by Berenice (bbstraubinger@gmail.com)

 

The Annapolis Hotel

I

Fifteen minutes new in Saigon, raw green, soaked in summer southeast Asian tropical sweat, soaked in ideal dreams, they called me to the Front Bunker Watch, twenty four hour flight from San Frisco, ten minute shower, five minute sandwich, now stand in front of the red-headed petty officer handing me a thirty caliber rifle, it was hot and humid June in the war zone, most of my sweat was not from the heat …

 “I don’t know how to fire that piece,” I warned, “They didn’t send me to Survival School—just flew me here from Memphis.”  He took the rifle back and said:  “Do this & do this & do this.”, then handed it back to me.  I was trying to remember the second “do this” when he told me my bunker was outside the wire, if any Vietnamese (but he didn't say the respectful word-he used a racial slur) if any racial slur stopped in front of the sandbagged bunker, in front of twenty yards of concertina wire, in front of the Annapolis Hotel I was to say “Get out of here!” in Vietnamese. 

 I asked what to do if they didn’t leave and he said to say “Get the f out of here!”, in Vietnamese. 

 “What do I do if they don’t leave after that?”  I asked with sweat pouring down my neck, into my eyes, down my arms, and down my resolve.

 “Shoot ‘em.”  he said and then he led me to the bunker.

 I thought, “This is not what I signed up for; my dream was to stop dominoes from falling, make the world safe for democracy, serve my country by being a good ambassador, not curse human beings I didn’t know, or didn’t know if they were combatants or civilians, or shoot them, THIS IS NOT WHAT I SIGNED UP FOR” I stressed walking into the hot tropical sun, into the hot colonial war, towards the bunker that sandbagged my dreams…

 II

  The street was bustling with bicycles, motorbikes, pedicabs, pedestrian hawkers of cheap souvenirs, arms circled by wrist watches imitating name brands and Asian nick nacks; beautiful, petite women with long middle of the back or tied back black shiny hair,  men, women, and children war-maimed, missing arms, missing legs, missing out—all looking thin and hungry—hurrying somewhere, going nowhere…

  I kept trying to remember how to fire the rifle, I, who had never seen a rifle range or a weapons class—he said do this & do this & do this…

  Some time later, my shirt soaked with sweat, I remembered the second “do this” and walked through the firing of the rifle in my mind; beautiful women, fragile, detached, distant, cautious, measured, walked by in white silk pants and split-tailed tunics, perfect doll faces walked by, some singly, some hand-in-hand with a doll-faced friend,

  The air burned danger, the air burned despair, minicabs burdened down with full loads of miniature yellow/copper human beings, a black toothed, black pajama clad grandma chewed betel nuts, lead an emaciated goat limping from the weight of the war —the weight of terror—the weight of deprivation…

  The smell of diesel, the smell of broken concrete, the smell of urine, the smell of sweat, the smell of dung, the smell of death—do this & do this & do this—revolved in my mind like a lights out ferris wheel stress-powered by electric fear driving my eyes from right to left, left to right, and back again, rooftop to street, street to rooftop, rooftop to sky and back again repeating the new, warning Vietnamese, the new cursing Vietnamese— and then it started…

 III

  He was an ancient grandpa, old and thin, yet thin is to weak a word to describe him, more like skin and bones and shallow, sunken eyes; he couldn’t have weighed more than 90 pounds; riding a rusty bike with rusty spokes and rusty chain, he stopped ten yards from me, sharp to my left, inches from the entrance to the hotel and the concertina wire, straw baskets stacked twelve high, balanced on the back of the rusty black bike; he dismounted, pushed at the kickstand with sandaled foot, walked to the rear of the bike—it happened too fast—began to dig through the bottom basket—it happened so fast—I did what I was ordered to do:

  “Papa San, didi!”, I shouted as loud as I could.  He turned, held one finger up and bowed—just a moment please—a reasonable request, and returned to digging in his basket; but this was war and I had my orders.

  “Papa San, didi mou!” I shouted louder than the first.  He winced at the profanity turned again, held one finger up bowing a little deeper— please sir one moment if you will—but this was war and I had my orders—do this & do this & do this, the words, the orders, now turning as a blur, a lights out ferris wheel in my rushing thoughts mind…

  I aimed the rifle at him, his back was to me when I bellowed,

Papa San, didi f-ing mou!”, he turned and I saw raw fear in his eyes, diplomacy burned in fear flames, terror in his eyes burned seeds of hate tainting the image of America, forever creating ugly the image of Americans, of America, my heart, my heart, my truth heart countermanded the war orders, my heart light flooded light on the ferris wheel:

Don’t do this, & don’t do this, and for God’s sake, don’t do this, don’t shoot your Grandpa…

  But he had already leapt through the air, like a man half his age, landing hard on his commerce bike sweeping the kickstand with a windmilling, sandaled heel, pedaling away in a frenzy of fear to the rapid beating of my heart.

IV

  Two weeks later I was on the Mekong River at my duty station, LST 905, Large Slow Target Madera County, a new friend called to me, wanted to know if I had seen the Stars & Stripes, the military newspaper? I said I hadn’t, “Check out the story on the back page.”, he seemed oddly amused, a wry in-country bitter irony smile with chagrin, a smile for the surreal, sardonic complexities of war.

  I found the rag and read that the front bunker watch at the Annapolis Hotel in Saigon, the young sailor who had my watch, the green seaman who was where I was two weeks before, all of his bunker, all of the concertina wire, along with half the hotel, along with two black pajamaed Vietcong, had been blown away by a satchel charge thrown from the back of a motorbike.

  I missed my death by two weeks…

  The air was wet with sweat and death as it always was in the war Nam, the air went still as I read the story a second time; what about this young man who died?  Was he in- country for mere minutes like myself?  Was he taught the insulting warning curse like me?  Was he trying to remember do this & do this & do this? 

  And the two Viet Cong who died that day?  They were my contemporaries, did the bicycle basket grandpa tell them about being threatened and insulted?  Were they his sons, grandsons, cousins, relatives?  And what did all three men die for, die so young for?

  There were no dominoes falling that day in front of the Annapolis Hotel, only blood and bloody body parts and body pieces falling to the ground, democracy was not safer because three youths died, democracy was not reachable for the three, nor touch, nor love, nor breath, democracy was dead for the three, no dominoes falling, only death falling that day in June of 1969, almost 42 years ago, death falling like shadow cloud monsoon rains; death falling like the executioners blade

composers of the falling dominoes myth snickered in the shadows

laughter from the living dead

laughter from impunity …

 

 

Jim Moreno, Spring 2010