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Cardboard House Press is a 501c3 nonprofit organization devoted to the creation of spaces and media for cultural, artistic, and literary development. We publish writing, art, and contemporary thought from Latin America and Spain, and host bilingual events, community projects and workshops. Our work serves as a platform to exchange ideas and highlight meanings that stimulate diverse human connections and social actions. All of our publications are bilingual— English and Spanish. To date we have published authors from Argentina, Colombia, Cuba, Chile, Ecuador, Guatemala, Mexico, Peru, Puerto Rico, Spain and Uruguay.



Boat People by Mayra Santos-Febres reviewed by Zack Anderson in Harvard Review:

Boat People by Mayra Santos-Febres reviewed by Honora Spicer in World Literature Today:

“Gnashing and disassembling flesh and language at once, “la fauce azul / alafau sea sul,” Pérez-Rosario’s translation sustains this simultaneity and breakdown: “like the yawl that tossed your excess weight / into the blue maw / intothe bluem aw.” This spacing, repetition, reordering of proximity gestures toward bodies opening out in multiple ways, becoming un-numberable, un-indexical, un-categorizable.”

“The Opacity of Language, the Empathy of Translation,” Aitor Bouso Gavín on Boat People in Hopscotch:

Boat People by Mayra Santos Febres reviewed by Zoe Contros Kearl in Kenyon Review. 

“Burning Like Roses: On Marosa Di Giorgio’s Carnation and Tenebrae Candle” by Zack Anderson in Action Books.

Clavel y Tenebrario / Carnation and Tenebrae Candle by Marosa Di Giorgio, Translated by Jeannine Marie Pitas” by Juan de Marsilio in Latin American Literature Today.  

Carnation and Tenebrae Candle by Marosa Di Giorgio reviewed by Honora Spicer in Asymptote

“The pastoral genre is always political insofar as it concerns the scope of the city as well as the ways that people tend to the edges of the polis. This act of tending is performed again and again in Carnation and Tenebrae Candle, and these habits of interaction between humans and the natural become ways of world-making, which is a prominent impulse of di Giorgio’s. In this collection, translation is another tending—the world-making of repeated care—and Pitas’s translation is best described by a line from the collection: “everything there, meticulous, tender and nearly trembling.”

Carnation and Tenebrae Candle by Marosa Di Giorgio reviewed by Greg Bem in North of Oxford:

Carnation and Tenebrae Candle by Marosa Di Giorgio reviewed by Rose Bialer in Kenyon Review.  

Pixel Flesh by Agustín Fernández reviewed by  Vincent Moreno in Angel City Review:

Pixel Flesh is a highly intertextual work that opens up all sorts of hallways and windows into other forms of art, into other texts and disciplines. The references are sometimes direct: Blade Runner, Wittgenstein, Warhol, and pop music, among others, appear in the book as a very eclectic and, in appearance, incongruous amalgam of quotes and allusions that are a trademark of Fernández Mallo’s style. Ultimately, however, it is the reader who holds the key to venture into new doors and corridors. This makes each new reading of the book a new experience, rendering it practically inexhaustible in connotations and suggestiveness.”

Pixel Flesh by Agustín Fernández Mallo reviewed by Greg Bem in Rain Taxi

Pixel Flesh by Agustín Fernández Mallo reviewed by Honora Spicer in World Literature Today:

“The translation becomes itself a rich commentary on the representation of fractal self-similarity. Ludington explores how to knowingly translate oddness in the original, exposing the valences of fractal deriving from the Latin for ‘broken’ or ‘fractured.’”

“Mallo’s interest in writing through cultural detritus informs this approach of using a set of trite tropes that generate a loop and ultimately demonstrate the deterioration of meaningful human connection in the face of technological static.”

Pixel Flesh by Agustín Fernández Mallo reviewed by AM Ringwalt in Kenyon Review

(ESSAY) “Love as a Question of Destination in Augustín Fernández Mallo’s Pixel Flesh” by Eleanor Tennyson in SPAM.

“Letters From Latin America: November 7, 2019.” Room in Rome by Jorge Eduardo Eielson reviewed by Leo Boix in Morning Star. 

“Eielson weaves personal history with geographic location, homosexual desire with longing, past and future, in a fashion that is as playful as it is profound.”

“Nota Benes, Autumn 2019,” World Literature Today.

Room in Rome by Jorge Eduardo Eielson reviewed by César Ferreira in Latin American Literature Today:

Room in Rome (1954), now appearing in a bilingual edition with David Shook’s magnificent translation in English, a prologue by Mario Vargas Llosa and an epilogue by Martha Canfield, is both a showcase of Eielson’s poetic excellence, and an individual and collective reflection on his exile in Europe.”  

“Slipknots: Jorge Eduardo Eielson’s ‘Room in Rome,’ Translated from Spanish by David Shook” by Olivia Lott in Reading in Translation:

“The question most pertinent for Eielson’s and Shook’s poems, however, is what vanishes for the exile? What knots fall apart when tensed? What attempts to tie something together, to re-articulate slip away, drop out of reach?”

“The Singing Knots of Jorge Eduardo Eielson: Room in Rome in Review” by Sergio Sarano in Asymptote

Cartonera Collective Series (Maricela Guerrero’s Kilimanjaro, Juan José Rodinás’s Koan Underwater, Legna Rodríguez Iglesias’s Spinning Mill) reviewed by Clara Atfeld in Kenyon Review:

“Iglesias focuses on redirecting logic, taking the reader through a logical sequence with seemingly illogical steps...The poetry focuses on gender, love, and race, through the lenses of absurdity and honesty.”

Cardboard Conscious: Translation in Community” by Kelsi Vanada in Reading in Translation:

“The poems honor process—the process of textile work, the process of women defining themselves and seeking equality in a society dominated by the patriarchy (...) And the book shows off its process, too: in the waxed thread that holds the pages together, the decorative knots embroidered in deep pink thread on the cover, and in Seligmann’s translation process and choices placed right next to the original.”

“Kilmanjaro is nothing if not a long list-rant against capitalism and the forces that make people cogs in a machine—and if that sounds negative, good. It’s supposed to be uncomfortable”

“An Interview with Robin Myers, Translator of Lyric Poetry Is Dead by Ezequiel Zaidenwerg” by Heather Lang in The Literary Review.

“~Notes on a Journey to the Ever-Dying Lands~” Lyric Poetry Is Dead by Ezequiel Zaidenwerg reviewed by Arturo Desimone in ANMLY:

“Fortunately, Lyric Poetry is Dead quickly reveals itself as a protest—only half-cynical, elsewhere tender—against the hegemonic and academic forces of antipoetry, making it in places a genuinely antagonistic collection.”

Lyric Poetry Is Dead by Ezequiel Zaidenwerg reviewed by Madeline Vardell in The Arkansas International:  

“Lyric poetry becomes both the vehicle for Zaidenwerg to reimagine many histories and allude to other literary greats, and the poetic subject and star of her own legends. Just so, Lyric Poetry Is Dead is waiting to rise up like Lazarus and delight you over and over again.”

Lyric Poetry Is Dead by Ezequiel Zaidenwerg reviewed by Paul Guillén in Latin American Literature Today:

“Zaidenwerg uses tropes of traditional poetry and breaks them like someone who is rummaging, like an investigative poet.”  

Lyric Poetry Is Dead: The Flourishing Obituary of Ezequiel Zaidenwerg” by Bill Mohr in Koan Kinship.

“A Report from the Cartonera Collective” by Fields, Noa/h in ANMLY

“I allowed the surreal, associative drift of Rodinás’s poems to wash over me like a dream (...) Rodinás’s koans resurface from underwater logic, ripple with doublings and eery (eary?) recurrences in musical sequence. A hearty recommendation for Koan Underwater: yet another hit from Cardboard House Press.”

“Rebel Poetry: Rodrigo Lira’s Testimony of Circumstances in Review” by Garett Phelps in  Asymptote

“Needless to say, all of Lira’s neologisms, wordplay, intertextuality, and assonance-based rhythms would cost even the best translator a pint of blood. Ours, however, are the best of the best and have pulled off an English that’s as shining, breathless, and combustible as its source. It’s often just as inventive, too.”

Testimony of Circumstance by Rodrigo Lira reviewed in The Arkansas International:

“Lira may have written in the 70s, in response to the oppressive climate of his own government, but hold his poetry up and it is an unnerving lens for the present day, America and elsewhere. We should all take up the pen, like Lira, write against the suffocation of the factory, but first, turn to Testimony of Circumstances, enter into conversations with Lira and beat back our solitary sub-lives, choose to hear, more than survive.”

Testimony of Circumstances by Rodrigo Lira reviewed by John Venegas in Angel City Review

“What Testimony of Circumstances represents then is a kind of pseudo-biography, a fascinating, disarming, and brilliant cross section of a life dedicated to literature. Everything is on display here – Lira’s politics, his contentious rivalries with those he wanted to regard as friends and/or peers, his utterly merciless inner voice – all of it. There is a richness of perspective present that caught me rather off guard.”

Testimony of Circumstances by Rodrigo Lira reviewed by Jasmine V. Bailey in Waxwing Literary Journal: American Writers & International Voices.

Album of Fences by Omar Pimienta reviewed by Kelsi Vanada in Kenyon Review

“That’s the strength of this hybrid photo-poem collection—it humanizes a complex place that is a hot-button issue for many. For Pimienta, it’s home.”


The Commonplace

Hugo García Manríquez

Translated from the Spanish by NAFTA (the North American Free Translation Agreement)

Bilingual edition

ISBN 978-1-945720-29-1
October 4, 2022

The Commonplace examines the layered forms of colonial and geopolitical violence that underlie contemporary landscapes of Mexico City ―literally, in the case of construction of the Palacio de Bellas Artes over chinampas, floating platforms used by the Mexica in agricultural cultivation ―and the institutions underpinning the nation’s literary institutions. In The Commonplace, García Manríquez delves into the mutually-constitutive relationship between national culture and the culture of nationalism in order to ask if other forms of poetic and artistic production are possible, given the conditions of ambient violence under which they must inevitably occur. García Manríquez further links the Mexican state ―and the cultural apparatus it supports― to ongoing ecological catastrophe, suggesting that more explicit forms of political force find their basis in the slower violence of environmental exploitation and the systematic erasure of indigenous knowledge across the Global South.


The most important book of Mexican poetry of the last five years, at least.

—Juan Manuel Portillo

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 Víctor

With intelligent belligerency, The Commonplace revolts against the dominant order of Mexican letters and its institutions. The mere mention of the military budget destabilizes all poetic endeavors. The poetry of Hugo García Manríquez is very probably the most unpredictable and the most indispensable currently coming out of Mexico.

—Inti García Santamaría


Born in Mexico in 1978, Hugo García Manríquez is a poet and translator. His most recent full-length collection is Anti-Humboldt, A Reading of the North American Free Trade Agreement (Litmus Press/Aldus Editorial, 2015). He has published two chapbooks in English, Two Poems (Hooke Press, 2013) and Painting is Finite (LRL, 2012), and four in Spanish, No oscuro todavía (CONACULTA, 2005), Los materiales (Educal, 2008), La comparación en música (Malasuerte, 2013), and Lo común (Meldadora, 2018). He has translated work by Sean Bonney, William Carlos Williams, Clayton Eshleman, Charles Bernstein, George Oppen, and Myung Mi Kim. He lives in Oakland, California.


bio (collective)

The North American Free Translation Agreement/No America Fraught Translation Argument (NAFTA), ratified in 2019, consists of three poets writing from the occupied territories of Canada, Mexico, and the United States. Selections of this manuscript have appeared in tripwire: a journal of poetics and have been solicited elsewhere. Their translations of Jesús Arellano Meléndrez have appeared in Denver Quarterly, and additional translations of Karen Villeda are forthcoming in Folder.

bios (individual)

Gerónimo Sarmiento Cruz is a Humanities Teaching Fellow at the University of Chicago and editor of Chicago Review. His translations, poetry, and criticism have appeared in tripwire, Denver Quarterly, Asymptote, La Tempestad, and elsewhere.

Whitney DeVos is a writer, translator, and scholar living in Mexico City. She is translator of Notes Toward a Pamphlet by Sergio Chejfec (Ugly Duckling, 2020) and The Semblable by Chantal Maillard (Ugly Duckling, 2020). Her short-form translations have appeared in ANGI, Copper Nickel, Latin American Literature Today, and Full Stop, among other places. A PhD candidate at UC Santa Cruz, she is in the process of completing a dissertation that examines documentary poetry in the hemispheric Americas.

Zane Koss is a poet, scholar, translator, and resident alien living in Brooklyn, NY. His critical and creative work can be found in tripwire, Asymptote, Jacket2, Chicago Review, the /temz/ Review, and elsewhere. He has published four chapbooks of poetry, The Odes (incomplete) and Invermere Grids (above/ground, 2020 and 2019), job site (Blasted Tree, 2018) and Warehouse Zone (PS Guelph, 2015). Zane is a doctoral candidate in the English Department at New York University, where he researches Canadian, Mexican and U.S. poetry in the 1960s and 1970s.