Four jaguar heads stare at me,

Mexican, Costa Rican.

A third guards the mantel,

partially hidden in tropical plants,

attack ready, tail raised, jaws open,

teeth bared.

My feet rest on a coffee table

carved in Kashmir.  I look at the photo

of the young man whose family made it.

He took me home to meet his mom,

to the floating market.

Once peace reigned there.

Now I wonder if he is safe, alive.

The Hoop Dancer raises his arms,

the Acoma pot exudes ancient

black on white beauty, painted

by the tips of yucca stems.

The Thai Spirit House begs

to appease evil spirits.

I should put food and flowers there;

I never do.

Corn plant of life–for Navaho, Hopi,

me, painted, growing up my wall,

blue and red birds flitting through

the stalks, singing ancient songs.

Corn Maiden rug hanging on the wall;

an Isleta Pueblo girl won a contest

with its design.  Four Corn Maiden

Kachinas watch the room.

Corn everywhere–Sacred Corn.

Three Ethiopian crosses, St. George

and the Dragon, Frida Kahlo doll,

Argentinian Madonna, Tohono O’odham

baskets, a painted cow skull, Nigerian carved

wooden elephants, including a Chieftains chair,

the stained glass transom window from the house

where my dad lived from birth to ten.

In a room filled with windows, there

is little room for paintings, yet–

purple bison glide across the prairie,

an Iraqi woman flies through an azure

sky filled with dark blue birds,

a 15th century mystic, Kabir, tells

a tale in poetry, Navaho spirits,

pumas walking toward me–

my obsession.

Rugs scattered–Kerman,

an unknown Persian city, Afghani,

Egyptian, Indian, Zapotec, scraps of old

Turkish rugs sewn together.

In one cabinet, Grandmother’s china,

Mom’s Czech crystal–a wedding present

decades ago, Grandson’s painted art,

the silverware Dad gave Mom on their

first wedding anniversary,  Mom’s

everyday dishes–flowers blooming.

I use them every day.

These objects–a testament to who I am:

World wanderer, seeker, citizen.