Buy From Me

“Buy from me!” sang the swarming young Black H’mong girls in Sapa, Vietnam.

They swirled around him like dancers at the faire, like gnats around a flame.

He was on fire and they wanted to save him.

The Black H’mong wear a deep dark blue almost black indigo cloth. After it’s been repeatedly washed and dried in the sun it takes on a glistening silver metallic sheen.

They crowded around him. He was a stranger in town. A stranger goes on a journey. Two kinds of stories.

Girls carried orange and green and blue and yellow woven bags around their necks. Inside the bags they had postcards of the Red Dzao people, narrow embroidered colorful wrist bands and thin hand made wallets. The wallets had a zippered pocket inside for secret money.

“My story is to sell in the street,” said Mo, all of 10. She wore a dirty green t-shirt. Her face was smudged with dirt. Her off white broken plastic Vietnamese sandals had seen their better day.

They cost 15,0000 Dong in the market. He gave her a blue 20. “Go buy some new sandals.”

She said, “Really?”

He said, “Yes, really.”

He waited in the food market surrounded by new languages, clattering dishes, the smell of frying food and a mishmash of costumed humans.

The Black, White and Flower H’mong. Red Dzao. Tay.

Mo came back with her new white plastic sandals in a pink plastic bag. She squeezed between two slurping H’mong women and sat down.

“Are you hungry?” he said.

“Yes,” she said.

“Ok, let’s get some chicken noodle soup.”

“Ok,” she said. Delicious.

Mo & My

Hanoi Poem

Humans need less suffering and more love.

Little Man's voice releases streams of anger, bitterness and frustration allowing him to relax, expend and expand the sound. 

He is startled to hear the sound of his own particular voice ricochet off substandard cold molten gray interior monologue of Hanoi cement or is Ha Noise the block wall?

His life is one long cold cement wall. Echoes dance through his brain like little sugarplum fairies.
He knows the echo because he made the WALLS.

He stacked red crumbling bricks, mixed the fine sand gemstones and quick dry cement. He slathered it over broken red bricks with coherent circular logic fulfilling an abstract desire creating a work of realist art

lasting forever which is how he remembered it the day he trow welled the paste. His voice manifestation expresses human primitive guttural sounds in a tight enclosed space near his

gigantic liquid plasma television.

It is permanently implanted on a blank wall blaring news propaganda and perpetual adolescent dancing drama shows about life next door where the family sits on cold red floral tiled floors hunched over with spinal deficiencies slurping from cracked rose bowls shoveling steaming rice and green stringy vegetables into lost

desperate mouths yelling over each other in tonal decibels competing with their gigantic plasma television featuring dancing bears and uniformed military pioneer patriots devouring acres of rubber plantations,

palm trees, teak forests, beach front property and farmland with a double bladed axe singing in a high Greek-like chorus their national anthem about land, sea, air, water and big profit with piano concertos.

Everyone’s being played.

Hello Chicken Soup

Goes the market women’s mantra song waiting for customers in Sapa, Vietnam.

Basic English is all you need to sell chicken soup. It arrives with long white noodles. Food women work from 5 a.m. to 8 p.m. seven days a week. 

Sellers, shoppers, locals, a few tourists with guides or in pairs feel comfortable with inexpensive market food. What is the profit margin, food cost, labor cost? 

Two foreigners live here. One is a Frenchman mid-20 with a brown ponytail. He speaks fluent H’mong. He stands on the cement staircase between the cloth market and sprawling food tables. He stares at people eating. He doesn’t smile.

He was married to a local H’mong girl, 19. She had a baby. Two years ago he left her. He pays support. Now he is chasing a Red Dzao girl. He works for the International Manipulate Relations Love Company with a Big Orgasm.

A fluent thin foreign man in his 20’s wearing large framed glasses carries a worn knapsack. He walks fast. He buys greens and tofu. He goes into a small shop for cooking oil. He hurries away over broken disjointed concrete blocks covering the central sewage system. He is in exile from far away. 

The Red Dzao women are persistent sellers, Buy from me. Repeat. Repeat. They never give up.

Mo, my 10-year old teacher gave a good lesson in how to handle these sellers. We were hanging out.

She said, When the women ask you to buy something, don’t say maybe, or later, or not now, or tomorrow, they will remember you and now and maybe and later and tomorrow they will tell you, you said tomorrow, later, maybe, now, Thanks for the lesson, Yes, I don’t know but I understand.

My and Mo, Sapa, Vietnam

Red Dzao

Mo

Finch's Cage

In Sapa, Vietnam I discovered a side street and thick cold java at a run-down Internet cafe. I sat outside.

Finch had a yellow chest, red beak and brown feathers. It was outside a plate glass door. It’d escaped from its small yet safe bamboo cage in the main room.

Someone, perhaps the young mother worried about her wailing infant or her brother worried about dying of boredom or her old mother worried about dying alone had left the cage open.

Finch sang, “Where’s my home? What is this beautiful world?”

Finch hugged the ground. It looked at green trees waving across the street. It saw a deep blue sky. It inhaled clear, clean mountain air. It heard birds singing in trees but didn’t understand them. Their songs were about nesting, exploring, flying, clouds, trees, sky, rain, warm sun, rivers, bark, worms, snails, and melodies of freedom.

I wondered if Finch would fly away. I hoped so however I knew it was afraid to go. Perhaps it lacked real flying experience, the kind where you lift off fast beating your wings to get up and get going to escape the weight of gravity or memories filled with attitudes, beliefs, values and fear pulling you down.

Free, you turn and glide, relax and soar.

Finch being conditioned to the caged world of bamboo with a perch, food and water looked and listened to the world.

Finch retreated from the possibility of free flight and pecked at loose seeds in a narrow crevice below the door. It smelled the dark stale room where the cage hung on a wire. It pecked under the frame. It wanted someone to rescue it.

It sang, “Help! Let me in. I want to come home. I’ve been outside and I’ve seen enough. It’s a big scary place. I promise I’ll never try to escape again. I was curious, that’s all. I’ve seen enough. Let me in.” 

Finch was amazing in it’s beauty. Yellow, red, brown and bright eyed in its aloneness. 

An old woman opened the door. She trapped Finch in a purple cloth and returned Finch to its cage. She closed the bamboo door and snapped the latch shut.

“Did you learn your lesson little bird?” she said.

Finch sat on its perch, enjoyed a long cool drink of water and sang, “Thank you. Now I am truly happy.” 

The old woman didn’t understand this language.

Muttering under her breath about inconvenience she shuffled down a long dark hallway to a kitchen where she killed a chicken for lunch.

Mandalay

River

A river sang
Please don't push me

You can't push me
You can't step in me twice
You can try
Everyone fails

I am from the source
Consider my source
When you drink me

Tibetan clouds obscure granite peaks
Climb high

Humans carry a short life on their back
Women wear love's labor
Feeling a child's warmth behind them
Harvest

Heartbeats mingle
Possibilities and potentials
Dreaming their long walk through jungles forests along a river

Be a river
Below the surface of appearances

Crescent yellow moon
Reflects hello dream

Dance on my surface
I am a mirror

Beauty before me
Beauty behind me
Beauty to my left
Beauty to my right
Beauty below me
Beauty above me

I am wide deep
I flow forever

No beginning no end

Are your needs being met

Mountain asked River
In the stream of life
Flow