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WINNER OF THE 2021 PULITZER PRIZE IN POETRY
FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz's highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz's brilliant second collection demands that every body carried in its pages--bodies of language, land, rivers, suffering brothers, enemies, and lovers--be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: Let me call my anxiety, desire, then. / Let me call it, a garden. In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible. Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope--in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.
With Tripas, Brandon Som follows up his award-winning debut with a book of poems built out of a multicultural, multigenerational childhood home, in which he celebrates his Chicana grandmother, who worked nights on the assembly line at Motorola, and his Chinese American father and grandparents, who ran the family corner store. Enacting a cómo se dice poetics, a dialogic poem-making that inventively listens to heritage languages and transcribes family memory, Som participates in a practice of mem(oir), placing each poem's ear toward a confluence of history, labor, and languages, while also enacting a kind of telephone between cultures. Invested in the circuitry and circuitous routes of migration and labor, Som's lyricism weaves together the narratives of his transnational communities, bringing to light what is overshadowed in the reckless transit of global capitalism and imagining a world otherwise-one attuned to the echo in the hecho, the oracle in the órale.
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What do you do with the survival instinct when it has fulfilled its purpose? Poet Gianella Ghiglino unravels this question over dozens of soul-stirring pages, charting her relationship with her Peruvian roots, her immigrant family, and survivor's guilt. Equal parts meditation and eulogy, Resting Place of Survival gives grace to the everyday, the ancestral, and the mythic through native and adapted tongues.
Veinte poemas de amor y una canci n desesperad es una de las m s c lebres obras del poeta chileno Pablo Neruda (1904-1973). Publicado en 1924, el poemario lanz a su autor a la fama con apenas 19 a os de edad, y es una de las obras literarias de mayor renombre del siglo XX en la lengua castellana. El libro pertenece a la poca de juventud del poeta, ya que fue escrito y publicado cuando no contaba a n con veinte a os. Su origen se suele explicar como una evoluci n consciente de su po tica que trata de salirse de los moldes del modernismo que dominaban sus primeras composiciones y su primer libro, Crepusculario. La obra est compuesta por veinte poemas de tem tica amorosa, m s un poema final titulado La canci n desesperada. A excepci n de este ltimo, los poemas no tienen t tulo. Aunque el poemario est basado en experiencias amorosas reales del joven Neruda, es un libro de amor que no se dirige a una sola amante. El poeta ha mezclado en sus versos las caracter sticas f sicas de varias mujeres reales de su primera juventud para crear una imagen de la amada irreal que no corresponde a ninguna de ellas en concreto, sino que representa una idea puramente po tica de su objeto amoroso.
David Martinez is like an algebra problem invented by America--he's polynomial, and fractioned, full of identity variables and unsolved narrative coefficients. . . . Hustle is full of dashing nerve, linguistic flair, and unfakeable heart.--Tony Hoagland
The dark peoples with things:
for keys, coins, pencils
and pens our pockets grieve.
No street lights or signs,
no liquor stores or bars,
only a lighter for a flashlight,
and the same-faced trees,
similar-armed stones
and crooked bushes
staring back at me.
There is no path in the woods for a boy from the city.
I would have set fire to get off this wilderness
but Palomar is no El Camino in an empty lot,
the plastic dripping from the dash
and the paint bubbling like a toad's throat.
If mountains were old pieces of furniture,
I would have lit the fabric and danced.
If mountains were abandoned crack houses,
I would have opened their meanings with flame,
if that would have let the wind and trees lead my eyes
or shown me the moon's tiptoe on the moss--
as you effect my hand,
as we walk into the side of a Sunday night.
David Tomas Martinez has published in San Diego Writer's Ink, Charlotte Journal, Poetry International, and has been featured in Border Voices. A PhD candidate at the University of Houston, Martinez is also an editor for Gulf Coast.
The speaker in this extraordinary collection finds herself multiply dislocated: from her childhood in California, from her family's roots in Mexico, from a dying parent, from her prior self. The world is always in motion--both toward and away from us--and it is also full of risk: from sharks unexpectedly lurking beneath estuarial rivers to the dangers of New York City, where, as Limón reminds us, even rats find themselves trapped by the garbage cans they've crawled into.
In such a world, how should one proceed? Throughout Sharks in the Rivers, Limón suggests that we must cleave to the world as it keep[s] opening before us, for, if we pay attention, we can be one with its complex, ephemeral, and beautiful strangeness. Loss is perpetual, and each person's mouth is the same / mouth as everyone's, all trying to say the same thing. For Limón, it's the saying--individual and collective -- that transforms each of us into a wound overcome by wonder, that allows the wind itself to be our own wild whisper.
Poetry collection by Lupe Mendez, poet, teacher and activist. Why I Am Like Tequila is a collection of poetry spanning a decade of writing and performance. This collection exists in 4 parts - each a layered perspective, a look through a Mexican/ Mexican-American voice living in the Texas Gulf Coast. Set within spaces such as Galveston Island, Houston, the Rio Grande Valley and Jalisco, Mexico, these poems peel away at all parts, like the maguey, drawing to craft spirits, quenching a thirst between land and sea.
How many bad lovers have gotten poems? How many crushes? No disrespect to romantic love--but what about our friends? Those homies who are there all along--cheering for us and reminding us that love is abundant.
In this groundbreaking collection of poems, José Olivarez explores every kind of love--self, brotherly, romantic, familial, cultural. Grappling with the contradictions of the American Dream with unflinching humanity, he lays bare the ways in which love is complicated by forces larger than our hearts. Whether readers enter this collection in English or via the Spanish translation by poet David Ruano González, these extraordinary poems are sure to become beloved for their illuminations of life--and love. Cuántas malas parejas han inspirado poemas? Cuántos crush es? Sin faltarle el respeto al amor romántico--pero qué hay de los amigos? Esos compas que están ahí todo el tiempo--animándonos y recordándonos que elamor es abundante. En esta innovadora colección de poemas, José Olivarez explora cada tipo de amor--el propio, fraternal, romántico, familiar, cultural. Lidiando con las contradicciones del sueño americano, con una humanidad inquebrantable, deja al descubierto las maneras en que el amor se va complicando por fuerzas más grandes que nuestros corazones. Ya sea que los lectores entren a esta colección en inglés o a partir de la traducción al español del poeta David Ruano González, estos extraordinarios poemas serán amados seguramente por sus iluminaciones sobre el amor y la vida.
2024 National Book Award Longlist in Poetry
In The Book of Wounded Sparrows, his second full-length collection of poetry, Octavio Quintanilla sifts through the wreckage left in the pursuit of the American Dream. This is a book within a book, a memory within a memory, a future within a past, and most urgently--a journey to reclaim the self for what it was and to proclaim what it could be. Nested within one another, the English and Spanish, the poetry and art, create layers of obscuration and revelation, unburying the fractured landscapes left in the wake of geographic, emotional, and familial dislocation.In this collection, Quintanilla finds the language and the form to write about the loss that often happens when one migrates from one country to another: the loss of family, the loss of culture, and the loss of language. Of course, this book is more than that--more than a narrative of loss--it is a book of poetic reclamation, of poetic imagination, of finding new and interesting ways to tell a story, a love of language at its center, so as to reclaim a history of trauma and mythologize the self.
Juan Felipe Herrera's kaleidoscopic poetry collection takes the reader into unexpected territories, from the stark brutality of massacres and wars to the delicate duality of life's beauty, where borders of nations and eras blur as Herrera guides us through the historical and geographical journey of humanity. Crossing into Poland from Ukraine becomes a metaphor for traversing the boundaries of culture, heritage, and shared history. Even William Shatner's visionary experiences in the cosmos find a place within Herrera's poetic narrative, connecting the boundless human spirit with the enigma of the cosmos.
Throughout the book, Herrera fearlessly explores multidimensional landscapes. His words leap beyond the confines of conventional poetry, thrusting the reader into realms where imagination intertwines with reality. With each stanza, Herrera invites us to envision new dimensions, dream beyond the horizon of possibility, and embrace the transformative power of poetry.
This critical edition of text that changed the course of Chicanx, queer, and feminist theory breathes new life into the themes still present in today's political and social climate.
At the same time this book offers insight into the construction of Anzaldúa's philosophies.
Borderlands was first published in 1987 after an organic composition process, mixing prose and poetry and integrating personal memories with a philosophical search for a consciousness-raising and coalition-building method for the oppressed. Conceptually innovative, visionary, and rebellious at the time, Borderlands has continued to be studied as a distinctive creative work and a spiritual guidebook to heal and empower Chicanxs, queer communities of color, and other marginalized groups. Rooted in Gloria Anzaldúa's experience as a Chicana, a lesbian, an activist, and a writer, the essays and poems in Borderlands/La Frontera, her first book and signature work, remap our understanding of borders as psychic, social, and cultural terrains that we inhabit and that inhabit all of us.
Drawing heavily on archival research and a comprehensive literature review, this critical edition elucidates Anzaldúa's complex composition process and its centrality in the development of her philosophy and contextualizes the book within her theories and writings before and after its 1987 publication. It opens with two introductory studies; offers a corrected text, explanatory footnotes, translations, and four archival appendices; and closes with an updated bibliography of Anzaldúa's works, an extensive scholarly bibliography on Borderlands, and her biography. It also featuress features an afterword by noted Anzaldúa scholar AnaLouise Keating.
Imagine Borderlands as a timeless pyramid of ideas that has been added to, deconstructed, reconstructed, transcribed, translated, and trans-interpreted by every generation of Chicanx and non-Chicanx feminist scholars in the thirty-five years since its publication. This critical edition offers both a painstakingly articulated scholarly scaffolding around Anzaldúa's original text and a bridge into the life and memory of the author who designed the blueprint of that pyramid. -- Alicia Gaspar de Alba, Professor of Chicana/o Studies, English, and Gender Studies, UCLA
Vivancos-Pérez takes readers by the hand in this straightforward, well-crafted edition, offering a detailed introduction describing the eminent author's iterative process of writing Borderlands. The archival documents--including unpublished poetry and essays with Anzaldúa's own annotations--add flavor, temperament, and in-depth insight into the complex philosopher's early writings. Scholars, students, family, soul-mates, and friends of Anzaldúa (myself included) will be thrilled with this long-awaited, noteworthy critical edition. -- Emma Pérez, author of The Decolonial Imaginary: Writing Chicanas into History
Ricardo F. Vivancos-Pérez's meticulous archival work and Norma Elia Cantú's life experience and expertise converge to offer a stunning resource for Anzaldúa scholars; for writers, artivists, and activists inspired by her work; and for everyone. Hereafter, no study of Borderlands will be complete without this beautiful, essential reference. -- Paola Bacchetta, Professor of Gender & Women's Studies, UC Berkeley
Readers will delight in the new pathways to Anzaldúan thought thanks to the work of the editors. Whether coming to Anzaldúan thought for the first time or returning again to a much-treasured Borderlands, the editors' loving care will enable us all to hear her call--no hay más que cambiar ... there's nothing else to do but change. -- Nancy Tuana, author of Beyond Philosophy: Nietzsche, Foucault, Anzaldúa
Weaving science-fiction, Mexican folklore, and magical realism, this 50-poem collection explores the wonders and pitfalls of humanity in a future yet to come. Experience a faraway world where sapient flora sing melodic tunes; behold orbit-plunging taco trucks as they make planetfall; observe as El Cucuy becomes a stowaway on a space shuttle; witness a neurologically-enhanced lobster become President of the United States; bear the agonizing wave of shrink-ray-gun violence plaguing public schools. All these sights and more await in Mexicans on the Moon: Speculative Poetry from a Possible Future!
Iniguez takes us on a galactic journey to a poignant future in Mexicans on the Moon through entertaining and thought-provoking poetry by adding powerful twists to current social and ecological situations. I completely enjoyed the haunting tales told in Iniguez's remarkable poems, here is a poet who knows how to engage the reader!
-Linda D. Addison, award-winning author, HWA Lifetime Achievement Award recipient and SFPA Grand Master.
The smooth blending of Cultural Poetics and Scientific Genius that is Pedro Iniguez gleams brightly through his new book of poems, MEXICANS ON THE MOON, dropping on us like a beautiful bomb. This book is a wonderful reminder of what we, Brown People, are also capable of in shaping our would-be futures and in some cases without past colonial intervention. This style, which is essentially the poetic form of Chicano Futurism, and like very few before him, combines short glimpses of verse with real science, a touch of alternate history, and a spicy taste of science fiction that makes some of us wish, What if, ese?
The refined words within remind me of the ones I could find in the pages of OMNI and other magazines like it back in the last century when I was reading them. These words also remind me of the great possibilities for speculative poets with Spanish sounding names that are sometimes excluded from the overabundant flow of an English-speaking mainstream. But this isn't about politics. This is about Great Poetics! And MEXICANS ON THE MOON is a Great Book of Poems! I am extremely proud of Pedro Iniguez's superior endeavor. This truly is a great book to build new dreams... or die from them. Exito!
-Juan Manuel Pérez, author of Bury My Heart Under The Martian Sky, 2019-2020 Poet Laureate Of Corpus Christi, Texas
Ever fleeting, yet intimate, and fantastical, with a rhythm of wonder and charm and care, Pedro Iniguez' Mexicans on the Moon is sometimes tender, often tragic, but ever so gentle and loving.
-Cynthia Pelayo, Bram Stoker Award-winning author of Crime Scene
In The Eaters of Flowers, her third book of poems for Saddle Road Press, after the much-loved Blood Sugar Canto and Cuicacalli/House of Song, Ire'ne Lara Silva writes about the loss of her brother, her adopted son. In her unique canto style she sings the stunned, broken months following his death, navigating grief, loss, loneliness, and the remembrance of joy, as she begins to re-assemble her life.
In his fourth collection of poems, Ariel Francisco mourns a Miami already ruined by climate change and development, and meditates on the future ruins of a city reclaimed by the sea. From constant flooding to the construction of a hulking Margaritaville on Hollywood Beach, Francisco weaves an elegy to a city in existential limbo with a blend of anger, humor, sadness, and insight. This edition includes Spanish translations by Francisco Henriquez that appear beside the original English.
En su cuarta colección de poemas, Ariel Francisco lamenta un Miami ya arruinado por el cambio climático y el desarrollo, y medita sobre las futuras ruinas de una ciudad ganada por el mar. Desde las constantes inundaciones hasta la construcción de una enorme Margaritaville en Hollywood Beach, Francisco teje una elegía a una ciudad en un limbo existencial con una mezcla de ira, humor, tristeza y perspicacia. Esta edición incluye traducciones al español de Francisco Henríquez que aparecen junto al original en inglés.
Reverberating Voices, speaks about the Central American diaspora-- multiple voices retelling Garay's personal history and the histories of others--the various oppression: political persecution, racism, class, and gender inequities, etc. Diasporic oppression is experienced on both sides of the US-Mexican border by both Salvadorans and Nicaraguans during the Salvadoran civil war and Nicaraguan Revolution in the 1980s. Although Reverberating Voices represents the oppressive struggles suffered by Central Americans in the US and in their homeland, its characters speak as heterogeneous subjects of history, speaking collectively about their histories of Diaspora and love. Also, Reverberating Voices will fill a void in the United States because stories about the Central America-Latino Diaspora are for the most part underrepresented within the US Latino Literary canon.
