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      January 18, 2017The Spanish InquisitionMike Alexander

      You know the sketch. A sitting
      room circa nineteen twelve,
      an English Lady knitting,
      a deferential knock.
      The BBC would shelve
      such footage under Stock.
      A messenger arrives
      to speak his single line,
      a message from the lives
      of working men who’d kill
      for a decor so fine—
      There’s trouble at the mill.
      A page from D.H. Lawrence:
      Each player chastely eyes
      the other with abhorrence,
      knowing that under clothing,
      bared arms, quivering thighs,
      there lies a deeper loathing.
      Dame doesn’t understand
      the world in this respect.
      The working man, unmanned
      by her stiff deposition,
      blurts, I did NOT expect
      the Spanish Inquisition!
      The door bursts open. Three
      goons dressed in scarlet satin!
      Maniacal with glee,
      one roars (the script neglects
      to put it in Church Latin,
      but …) NOBODY expects …
      The humor here, our chief
      amusement, is surprise,
      absurdist disbelief—
      but then the leading goon
      begins to itemize
      his weaponry, & soon,
      surprise is followed by
      a litany of fears,
      the too-big-to-fail lie,
      the flubs & the excuses,
      the wars that run for years,
      the tar brushes, the nooses …
      We want the comfy chair,
      the pillows lined in silk,
      pajamas, & a pair
      of slippers, (we confess!)
      a nice warm cup of milk,
      a little tenderness.
      We don’t want prisoners
      in jumpsuits, bodies piled
      in mass graves, his & hers,
      the images that keep
      rerunning, unreconciled,
      to taunt us, as we sleep.
      Some nightmares, though, are true.
      When Spain abruptly cleared
      out Saracen & Jew,
      the rest, to stay, converted,
      but Torquemada feared
      the pure would be perverted.
      Over a span of weeks
      his team of experts used
      his patented techniques,
      long interactive sessions
      to question the accused
      (discovery, digressions …).
      The recusant, at first
      suspended by an arm
      behind his back, at worst
      would get a dislocated
      shoulder—no further harm
      would be anticipated,
      unless he still persisted
      that he was never damned,
      as if no Sin existed,
      why, then a wad of cloth
      would forcibly be jammed
      into the prisoner’s mouth
      & water would be poured
      into his face, until
      confession was secured …
      that he’d abstained from pork,
      writ sigils on his sill,
      & done the devil’s work.
      Still obstinate, the wretch
      was tethered to a rack;
      inquisitors would stretch
      the truth out of his lies,
      before they put him back
      into his cell. Surprise,
      surprise & fear, fear &
      surprise, & the Armada
      sails westward to defend
      the Faith, while penitents,
      burned for Torquemada,
      still plead their innocence.
      There’s trouble at the mill.
      Don Tomas genuflects,
      & we are chuckling still
      at the manic repetition,
      & nobody expects
      the Spanish Inquisition.

      from #54 - Winter 2016

      Mike Alexander

      “I like how a poem percolates inside. I like how words tie us to the world, our legacies of problem-solving, our litanies of failure, our (c)odes of desire. I can find this in free verse and in traditional forms alike, but I liken the intricacies of rhyme and meter to mandalas, sacred space, the playground.”