poetry + community + translation
MUSIC NOTEBOOK | Mariela Dreyfus | Tr. by Gabriel Amor

In writing as tough as it is visionary, Mariela Dreyfus scores the “landscape / both real and dreamed” and summons a haunting lyric choreography, in conversation with everyone from César Vallejo and Carlos Oquendo de Amat to Mallarmé, Pina Bausch, and the Afro-Peruvian drum. This notebook contains notes from many undergrounds (Lima, New York, the self), developing processually into an expansive poetics of pain, thirst, flight, the mother’s womb, the girl’s rebellion, the lover’s body, the burning city. Translator Gabriel Amor honors the pulsing rhythms of the poet’s aural daydream without sacrificing the elegance of her knotty syntax, its “prenatal impulse” in search of “the memory of a harmony that / predates us.” Music Notebook is a major work by an essential poet of our Latin American New York.—Urayoán Noel
POETECHNICS | Yaxkin Melchy | Tr. by Ryan Greene

Yaxkin Melchy's Poetechnics is an invitational poetic provocation that both transforms and transcends the traditional categorization(s) of poetry and science. Drawn from the first two full-length books in his decade-in-the-making project, THE NEW WORLD, the sci-tech poems in Poetechnics celebrate Melchy's lyrically rich and formally inventive approach to disciplinary blurring. This wonderstruck collection, dancing from the depths of the ocean to the furthest reaches of outer space, traverses circuit diagrams, binary sequences, textbook figures, and more. Here, in these thrumming bilingual pages (and their accompanying digital "transfluxions"), we witness Melchy in action, kinetic and expansive, as he invites us to dream alongside him toward "a scientific imaginary rooted in the heart.”
--- ---AND SUDDENLY I WAS JUST DANCING | Y DE PRONTO SOLO BAILABA | Tilsa Otta | Tr. by Honora Spicer

Tilsa Otta is one of my favorite poets, and Honora Spicer’s translations capture what is luminous about Otta’s work. This collection is nocturnal punk graffiti. She manages to make a voice that’s a little IDGAF, a little mystical into a hypnotic pulse radiating out like a bat signal in the shape of her girlfriend’s puppy. And Suddenly I Was Just Dancing is the balm for your mercury in retrograde. Bring your satellite.―Carmen Giménez Smith
x+x+x+, which is to say, the “x” that in Spanish marks out the gender binary can wheel, in Honora Spicer’s translations as much as in Tilsa Otta’s poems, into the “+” of possibility, the unapologetic celebration of appetite, savoring the spit we share in articulating the more that is already here. These are poems that call us into the “wild lyceum” where our gorgeous animality tunes its collective attention to the elegance of its own music. Otta and Spicer lead us in a “dance / supposedly obscene / that assures / Humanity’s continuance,” which is to say x+x+x+―Farid Matuk
COMMONPLACE | LO COMÚN | Hugo García Manríquez | Tr. by NAFTA
Commonplace is a literary topos of the natural world, a compilation of the environmental crisis made with an eye so wide that it includes the Popul Vuh, the Palacio de Bellas Artes, and the budget of SEDENA. This makes it a nature poem that is in no way nostalgic, a political poem that is in no way nationalist, and one of the most moving poems I’ve read in a long time.―Juliana Spahr
These poems both catalog and interrupt contact between the military and the ecological in everyday contexts: how traces left by the glands of a white-tailed deer and petals from bright yellow creosote also touch Colts and Glocks and ion scanners. In doing so, they ask me to confront whether there remains anything private in my so-called private life. As García Manríquez writes, “When we read literature / we read the budget of the Mexican army.” And in that budget, we may spy the poetics of our own elegies. This compact, but frightening, book invites us to consider “The collapse of abstraction / as another form of freedom.”―Divya Victor
FUDEKARA | Liliana Ponce | Tr. by Michael Martin Shea

The work's evanescence, its ‘not being,' the composition of the void, of the space between the lines, is the art, the mastery of Liliana Ponce in Fudekara, to make present what is felt, the other reality within ‘reality,’ released by and through the brush. Her admirable reticence is a bolt of world-opening lightning.—Cecilia Vicuña
In Liliana Ponce's dekatesseral Fudekara, nimbly translated by Michael Martin Shea, all thought emits a cosmic gesture and the writing hand traces an inviting, inkwet path to the negative sublime.—Joyelle McSweeney
THE DREAM OF EVERY CELL | EL SUEÑO DE TODA CÉLULA | Maricela Guerrero | Tr. by Robin Myers

Maricela Guerrero leads us right back into the classrooms where many of us first encountered the scientific language that opened us to (and distanced us from) the plant kingdom. And she leads us out again, forcing us to confront the territories of devastation before she introduces us, suddenly small, into the cells, the sap in the trees, the shapes of the leaves. Everything pulses and everything shines there: language, connections among the elements, protest. What wise, warm writing by Maricela Guerrero, and what a marvelous English translation by Robin Myers, a poet herself. An essential voice in the eco-poetry being written within the Spanish language today.—Cristina Rivera Garza
Guerrero metabolizes the language of science with the languages of the environment to teach us lessons in attentiveness, care, and healing. Moreover, she protests ongoing extraction and calls us to protect the “lungs of the earth.” Reading this book felt like dreaming with cells, wolves, trees, and rivers in a place where “respiramos juntos” (“we breathe together”). This bilingual collection is a profound expression of Mexican eco-poetry.—Craig Santos Perez
BOAT PEOPLE | Mayra Santos-Febres | Tr. by Vanessa Pérez-Rosario



Awaiting Major Events invites us on a trip in space and time—to other rivers, other lands, where childhood and present are “tied like a knot.” Kasztelan writes with the five senses, delicately, the way you disentangle one plant from another, and so climb into fluctuation between the domestic and multiple “theres,” between the I and the “layers of other things,” between her own writing and references to the writing of others (Elizabeth Bishop, Ricardo Molinari, Irene Gruss). We arrive at the end of the book like we arrive home from a journey, “saturated with stimuli.” “What lingers after a trip?” The real possibility of getting back, or getting back to the glimmer of certain images: the filigree of a cameo, the broken branch of an olive tree, the language—with the skillful translation of Maureen Shaughnessy—of a forest that brings together the infinite and the consciousness of limit.—Silvina López Medin

