Home > Poetry > La Tumba de Buenaventura Roig
Published: Mon Oct 15 1990
Diego Isaias Hernández Méndez, Convertiendse en Characoteles / Sorcerers Changing into Their Animal Forms (detail), 2013, oil on canvas. Arte Maya Tz’utujil Collection.
La Tumba de Buenaventura Roig

for my great-grandfather, died 1941

Buenaventura Roig,
once peasants in the thousands
streamed down hillsides
to witness the great eclipse
of your funeral.
Now your bones have drifted
with the tide of steep grass,
sunken in the chaos of weeds
bent and suffering
like canecutters in the sun.
The drunken caretaker
cannot find the grave,
squinting at your name,
spitting as he stumbles
between the white Christs
with hands raised
sowing their field
of white crosses.

Buenaventura Roig,
in Utuado you built the stone bridge
crushed years later by a river
raving like a forgotten god;
here sweat streaked your face
with the soil of coffee,
the ground where your nephew slept
while rain ruined the family crop,
and his blood flowered like flamboyán
on the white suit of his suicide.

Buenaventura Roig,
in the town plaza where you were mayor,
where there once was a bench
with the family name,
you shouted subversion
against occupation armies and sugarcane-patrones
to the jíbaros who swayed
in their bristling dry thicket of straw hats,
who knew bundles and sacks
loaded on the fly-bitten beast
of a man’s back.

Buenaventura Roig,
not enough money for a white Christ,
lost now even to the oldest gravedigger,
the one with an English name
descended from the pirates of the coast,
who grabs for a shirt-pocket cigarette
as he remembers your funeral,
a caravan trailing in the distance
of the many years
that cracked the skin around his eyes.

Buenaventura Roig,
we are small among mountains,
and we listen for your voice
in the peasant chorus of five centuries,
waiting for the cloudburst of wild sacred song,
pouring over the crypt-wreckage of graveyard,
over the plaza and the church
where the statue of San Miguel
still chokes the devil with a chain.

See what's inside AGNI 31 and 32

Martín Espada has published numerous collections of poetry, including The Immigrant Iceboy’s Bolero (Waterfront Press), Trumpets from the Islands of Their Eviction (Bilingual Press), and _Rebellion Is the Circle of a Lover’s Hands _(Curbstone Press). His awards include a Massachusetts Artists Fellowship and the PEN/Revson Foundation Fellowship. He lives in Boston, where he works as a lawyer and teaches at Suffolk University Law School. (updated 1990)

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