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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.”



Olvido García Valdés

Translated from the Spanish by Catherine Hammond

Spain´s National Poetry Prize Winner
Longlisted for the 2017 National Translation Award

Poetry. Paperback
ISBN 978-0-9906601-8-7
Bilingual Edition

For international deliveries, we will send you a request for payment of additional shipping costs.

We’ve been waiting so long, so expectantly for the poetry of Olvido García Valdés to appear in English translations that convey her signal importance to contemporary poetry in Spain and to international literature. She is one of the great ones. García Valdés taps a mode as essential as the Virgilian pastoral. She pressurizes and opens vents in the syntax, inciting eruptions in logic, emphasizing somatic connections between flesh and world. Characteristically, she braids underdetermined phrasal strands, agencies, points of view, and conceptual and emphatically sensual registers. While absence and negation are key themes in her work, the poems can be sharply funny and they come, against the darkness of our times, to assert a convincing spiritual buoyancy.

With an ear keenly tuned to García Valdés‘ complex music, translator Catherine Hammond often leads with the verb in English, tuning to the Spanish and keeping the agency of the verb open, recreating the stripped down and exigent quality of the original, a quality intensified by the Spanish poet’s tendency to juxtapose fragments without subordinating one to the other. This is an important book. You’ll know that as soon as you begin to read the poems.

—Forrest Gander


“There were those who compared her to Santa Teresa, others who said she was too serious, even sullen, and there were people who swore her pride was chilling to those who met her. I looked for a photo of her. I found one where she appeared with a group of writers, but it was a blurry reproduction. (…) Finally I went to a bookstore in Barcelona to look for one of her books, but they told me her most recent books had sold out, and there was no photo in the only one they had. (…) That night I read ella, los pájaros (‘she, the birds’) in one sitting, a collection of Olvido’s poems that dazzled me in the way only true poetry can. Long after that, when I was in Blanes and far away from Toledo, I read caza nocturna (‘night hunting’), the most recent book by Olvido García Valdés (Ave del Paraíso, 1997) and my admiration for her grew even more, if that were possible.”—ROBERTO BOLAÑO

“To read Olvido García Valdés is to become aware that in the midst of so much absurd speed, something remains.”—EDUARDO MILÁN 

“Olvido García Valdés’ elliptical, allusive poetry finds much of its force in omission, and Catherine Hammond’s translations beautifully capture its taut silence and stark power.” —SUSAN HARRIS

“A deep sensual response to nature, its smallest creatures, Blind voles sniffing, and its plants, acacia pianist of the breeze, informs this challenging, painful, and uplifting vision of our condition in this world. Olvido García Valdés may be seen as a more tormented Spanish sister to our own Mary Oliver, sharing a precious, precise attentiveness to what exists. How fortunate that Catherine Hammond has brought the sensitivity of these poems to us in English at last.” —ALEXIS LEVITIN

“Olvido García Valdés is a poet marked by two exceptional traits: the particular truthfulness of everything she says, and the frankness with which she says it. As she herself observes of Patti Smith: her voice comes from deep within her and burns in her throat. In her writing we see the variations of this process: amazement, doubt, strength, abandonment, stubbornness, fragility, anger, affection, clarity, and loss. Though she often speaks of pain, she does so to penetrate the cracks of its mystery, never to slip into pathos. Unflinching like few others, she confronts what most would rather evade.” —JOSÉ MIGUEL ULLÁN

“The spatial otherness constitutes an aesthetic effect of the affective component of Olvido García Valdés’ work, transforming not only the way we think about poetic language in the new millennium, but also disrupting the very surface of the body; that is, the corporeal parameters within which we define ourselves in relationship to others.” —ENRIQUE ÁLVAREZ

Poet, essayist and translator, Olvido García Valdés was born on December 2, 1950 in Asturias, Spain. She holds degrees in Philosophy from the University of Valladolid, and Romance Philology from the University of Oviedo. She resides in Toledo, Spain.

Her poetry collections, except for her most recent Lo solo del animal (2012), have been published together in one volume, Esa polilla que delante de mí revolotea (Poesía reunida 1982-2008). She has translated into the Spanish Pier Paolo Pasolini’s poetry books, and in collaboration, a wide anthology of Anna Akhmatova and Marina Tsvetaeva. She is also author of the biographical essay, Teresa de Jesús, texts for art catalogs and numerous works of literary reflection. She was co-editor of the literary magazines, Los Infolios and El signo del gorrión. Her poetry has been translated into many languages. She has directed and coordinated several courses, seminars and cycles of contemporary poetry. She was part of the project, Estudios de Poética. Un lugar donde no se miente. Conversación con Olvido García Valdés, by Miguel Marinas, was published in 2014. Among other awards, in 2007 she was awarded the Premio Nacional de Poesía (National Poetry Prize) for her collection Y todos estábamos vivos (And we were all alive).

Catherine Hammond has a BA in Spanish from the University of Michigan, Ann Arbor, and an MFA in creative writing from Arizona State University. Poems translated from Olvido García Valdés’ collection And We Were All Alive  / Y todos estábamos vivos appear as a chapbook, House Surrounded by Scaffold, from Mid-American Review. Hammond translated Mexican poet, Carmen Boullosa, in a volume of selected poems which was a finalist in Drunken Boat’s book contest. She has also published work from Venezuelan poet, María Auxiliadora Álvarez, and fiction writer, Ricardo Menéndez Salmón, from Spain. These translations appear in American Poetry Review, Words without Borders, Hayden’s Ferry Review, Field, and many other national magazines. Hammond’s own poetry has been anthologized in Fever Dreams: Contemporary Arizona Poetry from University of Arizona Press, in MARGIN: Exploring Modern Magical Realism, and in Yellow Silk from Warner Books. She has three Pushcart nominations. Hammond lives in Sun Lakes, Arizona, with her husband Troy Morrow.