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				<title>Do You Think</title>
				<author>Jayne Cortez</author>

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					<persName>Sophie McQuaide</persName>
					<resp>Editor</resp>
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					<persName>Olivia Martin</persName>
					<resp>Editor, encoder</resp>
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					<persName>Bri Perea</persName>
					<resp>Editor</resp>
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					<persName>Kaitlyn Segreti</persName>
					<resp>Editor</resp>
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					<persName>Maggie Smith</persName>
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					<persName>Maya Wadhwa</persName>
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				<funder>Bucknell University Humanities Center</funder>
				<funder>Bucknell University Office of Undergraduate Research</funder>
				<funder>The Mellon Foundation</funder>
				<funder>National Endowment for the Humanities</funder>
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					<licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial
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					<licence>Heresies journal: © Heresies Collective</licence>
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						<title>Heresies: Issue 1</title>
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							<publisher>HERESIES: A Feminist Publication on Art and
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<lg>
				<l>Do you think this is a sad day</l>
				<l>    a sad night</l>
				<l>full of tequila  full of el dorado</l>
				<l>    full of banana solitudes</l>
			</lg>
			<lg>
				<l>And my chorizo face a holiday for knives</l>
				<l>    and my arching lips  a savannah for cuchifritos</l>
				<l>and my spit curls a symbol for you</l>
				<l>    to overcharge  overbill  oversell me</l>
				<l>these saints  these candles</l>
				<l>    these dented cars  loud pipes</l>
				<l>no insurance and no place to park</l>
				<l>    because my last name is Cortez</l>
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			<lg>
				<l>Do you think this is a sad night</l>
				<l>    a sad day</l>
			</lg>
			<lg>
				<l>And on this elevator</l>
				<l>    between my rubber shoes</l>
				<l>in the creme de menthe of my youth</l>
				<l>    the silver tooth of my age</l>
				<l>the gullah speech of my one trembling tit</l>
				<l>full of tequila  full of el dorado</l>
				<l>    full of banana solitudes you tell me</l>
				<l>i use more lights  more gas</l>
				<l>    more telephones  more sequins  more feathers</l>
				<l>more iridescent head-stones</l>
				<l>    you think i accept this pentecostal church</l>
				<l>in exchange for the lands you stole</l>
			</lg>
			<lg>
				<l>And because my name is Cortez</l>
				<l>    do you think this is a revision</l>
				<l>of flesh studded with rivets</l>
				<l>    my wardrobe clean</l>
				<l>the pick in my hair</l>
				<l>    the pomegranate in my hand</l>
				<l>14th street  delancey street  103rd street</l>
				<l>    reservation where i lay my skull</l>
				<l>the barrio of need</l>
				<l>    the police state in ashes</l>
				<l>drums full of tequila  full of el dorado</l>
				<l>    full of banana solitudes say:</l>
				<l>Do you really think time speaks english</l>
				<l>    in the mens room</l>
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			<p>Jayne Cortez was born in Arizona and grew up in the Watts Community of Los Angeles.
				She is the author of three books of poetry—<title key="Pissstained Stairs and the Monkey Man's Wares" ref="https://www.worldcat.org/title/pissstained-stairs-and-the-monkey-mans-wares/oclc/119044"><emph><title>Pissstained Stairs and the Monkey Man's Wares</title></emph></title> (1969), <emph><title>Festivals and Funerals</title></emph> (1971), <title><emph><title>Scarifications</title></emph></title> (1973), from which this
				poem is reprinted, and a recording — <title key="Celebrations and Solitudes" ref="https://www.discogs.com/release/1052679-Jayne-Cortez-Celebrations-And-Solitudes"><emph><title>Celebrations and Solitudes</title></emph></title> (Strata East Records, 1975).</p>
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