a celebration of masa
no, not that masa
we ain’t making tamales
we’re celebrating esa masa
that wiggles & giggles
that masa shaking up & down
& all around in my masa hips
& the masa stacked sky-high
on my well-stacked ass
& that bountiful masa straining
in my way-too-thin strapped bra while
everywhere my masaness is bursting
all at the masa seams
& who cares if my masa ain’t
Victoria-approved—she can shove
her Secret where her masa don’t shine
you feel me cus i am here ¡presente!
coming in hot screaming proud/loud
an all-the-way-raw party of womanhood
in-your-face bold & pronounced from a place
of rage, power & joy i dance & bounce
a masa that never meant to elicit nasty catcalls
or warrant vicious slut slurs from dejected egos
but a masa strong in itself viviendo esa vida loca
secure in its boisterous swagger & sway
esa masa made for no one belonging to none
cus the vast landscape of my masa
has a population of one
proprietor: me
assured in my ancestral masa splendor
i own it this masa inheritance
& i know i gotta protect it & love it
& celebrate it, if only for me
it always starts with the fire on high
& simmers in a low flame
her hands wrinkled & sun kissed, her apron faded, clean & pressed
as she peels the yuca & plátanos for our Sunday backyard guisa’o
this, our ancestral stew, the one that first yells out loud as it sears
and scorches meats, chicken, and pork, cooked with the fire on high
an ancestral stew that will soon force things into a slow simmer
for hours over a low, patient heat for our Sunday backyard guisa’o
while we play dominos and we salsa, gossiping and drinking up all
the neighborhood chismes and beer and being too loud, way too loud
while she chucked the corn husks for pork tamales and forcing kernels
down her metal grinder while I help mash endless mounds of garlic
later, we’ll add bay leaves, fresh oregano, comino and other herbs
plus a generous squeeze of naranja agria for a perfect acid balance
while we play dominos and we salsa, gossiping and drinking up all
the neighborhood chismes and beer and being too loud, way too loud
while she makes a feast, a bounty of flavors, all seared and browned
all cooked with the fire on high and a low patient heat, this Sunday guisa’o
the one that makes our ancestors proud
Anyély Gómez-Dickerson is a Cuban-born immigrant with a poetry degree from FIU and bachelor’s from Temple University. Her poem "How to Kill a Mango Tree" was a finalist in Atlanta Review’s 2023 Poetry Competition. Her work appears in Latino Book Review, Acentos, South Florida Poetry Journal & West Trestle Review with her collection We Are the Cultivated Sins on exhibit at ARTE LATINO NOW 2024 where she’s honored to share space with amazing authors. After a career empowering students through writing, her work focuses on issues plaguing marginalized communities and immigrants while exploring her own black, European, and Taína ancestry.
Twitter @BooksByAngie / Instagram @anyely0514