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30 Poems by Iconic Latinx Writers We Love

We are always wanting to take in as much of our Latinx culture as we can. The internet, however, has become such an ocean of information, we often don’t know where to paddle for quick and comprehensive roundups of certain topics. Take poetry for example: Where can you find a concise listing of Latin-American poets you should know about? Where can you find poems that you’ll want to read, know, and share with others? What if you wanted to find a roundup that features a mix of Latinx poets from all over Latin America? Don’t worry. We got you covered because you can find that all right here. Here are 30 poems by iconic Latinx poets you should know.

“You Foolish Men” by Sor Juana Inés de la Cruz

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~ The famous poet, Sor Juana Inés de la Cruz ~ Sor Juana Inés de la Cruz (1651—1695) was a poet, dramatist, scholar, and nun, an outstanding writer of the Latin American colonial period and of the Hispanic Baroque. She thirsted for knowledge from her earliest years and throughout her life. As a female, she had little access to formal education and would be almost entirely self-taught. Juana’s mother sent the gifted child to live with relatives in Mexico City. There her prodigious intelligence attracted the attention of the viceroy, Antonio Sebastián de Toledo, marquis de Mancera. In 1667, given what she called her “total disinclination to marriage” and her wish “to have no fixed occupation which might curtail my freedom to study,” Juana began her life as a nun. She remained in the Convent of Santa Paula for the rest of her life. Sor Juana amassed one of the largest private libraries. The patronage of the viceroy and vicereine of New Spain helped her, they had her works published in Spain. She was the last great writer of the Hispanic Baroque and the first great exemplar of colonial Mexican culture. She drew on a vast stock of Classical, biblical, philosophical, and mythological sources. Sor Juana was as prolific as she was encyclopaedic. Sor Juana celebrated woman as the seat of reason and knowledge rather than passion. Her famous poem “Hombres necios” (“Foolish Men”) accuses men of the illogical behaviour that they criticize in women. Her many love poems in the first person show a woman’s disillusionment with love. Other first-person poems have an obvious autobiographical element, dealing with the burdens of fame and intellect. Sor Juana’s most significant full-length plays involve the actions of daring, ingenious women. The short play that introduces her religious drama El divino Narciso (1689; The Divine Narcissus, in a bilingual edition) blends the Aztec and Christian religions. Her various carols contain a mix of Nahuatl (a Mexican Indian language) and Hispano-African and Spanish dialects. Painting : Sor Juana Inés de la Cruz, by uknown artist 🎨 #sorjuanainésdelacruz #poet #history #art #artlovers #arthistory #historyofart #painting #strongwome

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You foolish men who lay
the guilt on women,
not seeing you’re the cause
of the very thing you blame;

if you invite their disdain
with measureless desire
why wish they well behave
if you incite to ill.

You fight their stubbornness,
then, weightily,
you say it was their lightness
when it was your guile.

In all your crazy shows
you act just like a child
who plays the bogeyman
of which he’s then afraid.

With foolish arrogance
you hope to find a Thais
in her you court, but a Lucretia
when you’ve possessed her.

What kind of mind is odder
than his who mists
a mirror and then complains
that it’s not clear.

Their favour and disdain
you hold in equal state,
if they mistreat, you complain,
you mock if they treat you well.

No woman wins esteem of you:
the most modest is ungrateful
if she refuses to admit you; 
yet if she does, she’s loose.

You always are so foolish 
your censure is unfair;
one you blame for cruelty
the other for being easy.

What must be her temper
who offends when she’s
ungrateful and wearies
when compliant?

But with the anger and the grief
that your pleasure tells
good luck to her who doesn’t love you
and you go on and complain.

Your lover’s moans give wings
to women’s liberty:
and having made them bad,
you want to find them good.

Who has embraced
the greater blame in passion?
She who, solicited, falls,
or he who, fallen, pleads?

Who is more to blame,
though either should do wrong?
She who sins for pay
or he who pays to sin?

Why be outraged at the guilt
that is of your own doing?
Have them as you make them
or make them what you will.

Leave off your wooing 
and then, with greater cause,
you can blame the passion
of her who comes to court?

Patent is your arrogance 
that fights with many weapons
since in promise and insistence
you join world, flesh and devil.

Copyright © 2004 by Michael Smith. Reprinted by permission of the translator and Shearsman Books Ltd.

“Tonight I Can Write (The Saddest Lines)” by Pablo Neruda

[translated by W.S. Merwin]

Tonight I can write the saddest lines.

Write, for example, ‘The night is starry and the stars are blue and shiver in the distance.’

The night wind revolves in the sky and sings.

Tonight I can write the saddest lines.
I loved her, and sometimes she loved me too.

Through nights like this one, I held her in my arms.
I kissed her again and again under the endless sky.

She loved me, sometimes I loved her too.
How could one not have loved her great still eyes?

Tonight I can write the saddest lines.
To think that I do not have her. To feel that I have lost her.

To hear the immense night, still more immense without her.
And the verse falls to the soul like dew to the pasture.

What does it matter that my love could not keep her?
The night is starry and she is not with me.

This is all. In the distance, someone is singing. In the distance.
My soul is not satisfied that it has lost her.

My sight tries to find her as though to bring her closer.
My heart looks for her, and she is not with me.

The same night whitening the same trees.
We, of back then, are no longer the same.

I no longer love her, that’s certain, but how I loved her.
My voice tried to find the wind to touch her hearing.

Another’s. She will be another’s. As she was before my kisses.
Her voice, her bright body. Her infinite eyes.

I no longer love her, that’s certain, but maybe I love her.
Love is so short, forgetting is so long.

Because through nights like this one I held her in my arms
my soul is not satisfied that it has lost her.

Though this be the last pain that she makes me suffer
and these the last verses that I write for her.

“I Am Not Alone” by Gabriela Mistral

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#Undíacomohoy 10 de enero de 1957 luego de padecer y luchar largamente con un cáncer al páncreas, Gabriela Mistral falleció en el Hospital de Hemsptead, en Nueva York. Fue una de las poetas más notables de la literatura chilena e hispanoamericana. Se le considera una de las principales referentes de la poesía femenina universal y por su obra obtuvo en 1945 el primer Premio Nobel de Literatura para un autor latinoamericano. Nació el 7 de Abril de 1889 en Vicuña, ciudad nortina situada en el cálido Valle del Elqui, "entre treinta cerros" como ella misma gustaba de recordar. Fue bautizada como Lucila de María Godoy Alcayaga, según consta en los registros parroquiales de su ciudad natal. A través de nuestro #ArchivoFotográfico recordamos Gabriela Mistral. "Recordar un buen momento es sentirse feliz de nuevo" G.M. #historia #GabrielaMistral #Poesía #Letras #Chile

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The night, it is deserted
from the mountains to the sea.
But I, the one who rocks you,
I am not alone! The sky, it is deserted
for the moon falls to the sea.
But I, the one who holds you,
I am not alone! The world, it is deserted.
All flesh is sad you see.
But I, the one who hugs you,
I am not alone!

“I Was My Own Route” Julia de Burgos

I wanted to be like men wanted me to be:
an attempt at life;
a game of hide and seek with my being.
But I was made of nows,
and my feet level on the promissory earth
would not accept walking backwards
and went forward, forward,
mocking the ashes to reach the kiss
of new paths.

At each advancing step on my route forward
my back was ripped by the desperate flapping wings
of the old guard.

But the branch was unpinned forever,
and at each new whiplash my look
separated more and more and more from the distant
familiar horizons;
and my face took the expansion that came from within,
the defined expression that hinted at a feeling
of intimate liberation;
a feeling that surged
from the balance between my life
and the truth of the kiss of the new paths.

Already my course now set in the present,
I felt myself a blossom of all the soils of the earth,
of the soils without history,
of the soils without a future,
of the soil always soil without edges
of all the men and all the epochs.

And I was all in me as was life in me…

I wanted to be like men wanted me to be:
an attempt at life;
a game of hide and seek with my being.
But I was made of nows;
when the heralds announced me
at the regal parade of the old guard,
the desire to follow men warped in me,
and the homage was left waiting for me.

“Heroics” by Julia Alvarez

We keep coming to this part
of the story where we’re sad:
I’ve broken up with my true love
man after man.
You’ve found it.
Once, It was god.
Once, revolution
in the third world.
Now, It’s love.

You’ll survive, our mothers said
when romance was once.
Now they keep tight faces
for our visits home
and tell their friends
all that education
has confused us,
all those poems.

They have, we laugh,
and buy the dreams —
RedbookHouse Beautiful,
Mademoiselle & Vogue 
to read our stories in them
and send the clippings home.
Sometimes the bright chase
of ad lovers in a meadow set
sells us to belief again
in that worn plot of love …

Sadly, we turn the page
to right our hearts,
knowing our lives too well
to be the heroines
of our mothers’ stories.
We’re careful with the words
we pick, the loves with no returns
like the ones we wanted.
Aunts to our sisters’ boys,
we bring them squawking rubber monsters,
birthday poems pasted in the growing albums.

“Sunstone” by Octavio Paz

willow of crystal, a poplar of water, 
	a pillar of fountain by the wind drawn over, 
	tree that is firmly rooted and that dances, 
	turning course of a river that goes curving,
	advances and retreats, goes roundabout, 
	arriving forever:
                  	the calm course of a star 
	or the spring, appearing without urgency, 
	water behind a stillness of closed eyelids 
	flowing all night and pouring out prophecies, 
	a single presence in the procession of waves 
	wave over wave until all is overlapped, 
	in a green sovereignty without decline 
	a bright hallucination of many wings 
	when they all open at the height of the sky, 

	course of a journey among the densities 
	of the days of the future and the fateful 
	brilliance of misery shining like a bird 
	that petrifies the forest with its singing 
	and the annunciations of happiness 
	among the branches which go disappearing, 
	hours of light even now pecked away by the birds, 
	omens which even now fly out of my hand, 

	an actual presence like a burst of singing,
	like the song of the wind in a burning building,
	a long look holding the whole world suspended, 
	the world with all its seas and all its mountains, 
	body of light as it is filtered through agate, 
	the thighs of light, the belly of light, the bays, 
	the solar rock and the cloud-colored body, 
	color of day that goes racing and leaping, 
	the hour glitters and assumes its body, 
	now the world stands, visible through your body, 
	and is transparent through your transparency, 

	I go a journey in galleries of sound, 
	I flow among the resonant presences 
	going, a blind man passing transparencies, 
	one mirror cancels me, I rise from another, 
	forest whose trees are the pillars of magic, 
	under the arches of light I go among 
	the corridors of a dissolving autumn, 

	I go among your body as among the world, 
	your belly the sunlit center of the city, 
	your breasts two churches where are celebrated 
	the great parallel mysteries of the blood, 
	the looks of my eyes cover you like ivy, 
	you are a city by the sea assaulted, 
	you are a rampart by the light divided 
	into two halves, distinct, color of peaches, 
	and you are saltiness, you are rocks and birds 
	beneath the edict of concentrated noon 

	and dressed in the coloring of my desires 
	you go as naked as my thoughts go naked, 
	I go among your eyes as I swim water, 
	the tigers come to these eyes to drink their dreams, 
	the hummingbird is burning among these flames, 
	I go upon your forehead as on the moon, 
	like cloud I go among your imagining 
	journey your belly as I journey your dream, 

	your loins are harvest, a field of waves and singing, 
	your loins are crystal and your loins are water, 
	your lips, your hair, the looks you give me, they 
	all night shower down like rain, and all day long 
	you open up my breast with your fingers of water, 
	you close my eyelids with your mouth of water, 
	raining upon my bones, and in my breast 
	the roots of water drive deep a liquid tree, 

	I travel through your waist as through a river, 
	I voyage your body as through a grove going, 
	as by a footpath going up a mountain 
	and suddenly coming upon a steep ravine 
	I go the straitened way of your keen thoughts 
	break through to daylight upon your white forehead 
	and there my spirit flings itself down, is shattered 
	now I collect my fragments one by one 
	and go on, bodiless, searching, in the dark....

	you take on the likeness of a tree, a cloud, 
	you are all birds and now you are a star, 
	now you resemble the sharp edge of a sword 
	and now the executioner's bowl of blood, 
	the encroaching ivy that over grows and then 
	roots out the soul and divides it from itself, 

	writing of fire on the slab of jade,
	the cleft in the rock, serpent-goddess and queen,
	pillar of cloud, and fountain struck from the stone, 
	the nest of eagles, the circle of the moon,
	the seed of anise, mortal and smallest thorn 
	that has the power to give immortal pain, 
	shepherd of valleys underneath the sea 
	and guardian of the valley of the dead, 
	liana that hangs at the pitch of vertigo, 
	climber and bindweed and the venomous plant, 
	flower of resurrection and grape of life, 
	lady of the flute and of the lightning-flash, 
	terrace of jasmine, and salt rubbed in the wound, 
	a branch of roses for the man shot down, 
	snowstorm in August, moon of the harrowing, 
	the writing of the sea cut in basalt, 
	the writing of the wind upon the desert, 
	testament of the sun, pomegranate, wheat-ear....

                         	life and death
	are reconciled in thee, lady of midnight, 
	tower of clarity, empress of daybreak, 
	moon virgin, mother of all mother liquids, 
	body and flesh of the world, the house of death, 
	I have been endlessly falling since my birth, 
	I fall in my own self, never touch my depth, 
	gather me in your eyes, at last bring together 
	my scattered dust, make peace among my ashes, 
	bind the dismemberment of my bones, and breathe 
	upon my being, bring me to earth in your earth, 
	your silence of peace to the intellectual act 
	against itself aroused;
                         open now your hand 
	lady of the seeds of life, seeds that are days, 
	day is an immortality, it rises, it grows, 
	is done with being born and never is done, 
	every day is a birth, and every daybreak 
	another birthplace and I am the break of day, 
	we all dawn on the day, the sun dawns and 
	daybreak is the face of the sun....

	gate of our being, awaken me, bring dawn, 
	grant that I see the face of the living day, 
	grant that I see the face of this live night, 
	everything speaks now, everything is transformed, 
	O arch of blood, bridge of our pulse beating, 
	carry me through to the far side of this night....

	gateway of being: open your being, awaken, 
	learn then to be, begin to carve your face, 
	develop your elements, and keep your vision 
	keen to look at my face, as I at yours, 
	keen to look full at life right through to death, 
	faces of sea, of bread, of rock, of fountain, 
	the spring of origin which will dissolve our faces 
	in the nameless face, existence without face 
	the inexpressible presence of presences...

	I want to go on, to go beyond; I cannot; 
	the moment scatters itself in many things, 
	I have slept the dreams of the stone that never dreams 
	and deep among the dreams of years like stones 
	have heard the singing of my imprisoned blood, 
	with a premonition of light the sea sang, 
	and one by one the barriers give way, 
	all of the gates have fallen to decay, 
	the sun has forced an entrance through my forehead, 
	has opened my eyelids at last that were kept closed, 
	unfastened my being of its swaddling clothes, 
	has rooted me out of my self, and separated 
	me from my animal sleep centuries of stone 
	and the magic of reflections resurrects 
	willow of crystal, a poplar of water, 
	a pillar of fountain by the wind drawn over, 
	tree that is firmly rooted and that dances, 
	turning course of a river that goes curving, 
	advances and retreats, goes roundabout, 
	arriving forever:


“The Three Wise Kings” by Ruben Dario

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#rubendario #nicaragua🇳🇮 #poeta

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My name is Kaspar. I the incense bear.
The glamour of the Star has made me wise.
I say that love is vaster than the skies.
And God exits. And Life is pure and fair.

-My name is Melchior. And my myrrh scents all.
There is God. He is the light of morn.
The fairest blossoms from the dust are born,
And joy is shadowed by a threatful pall.

-My name is Balthasar. I bring a wreath
Of Orient gold, my gift. I come to say
That God exists. I know all by the ray
Of starry light upon the crown of Death.

-Balthasar, Melchior, Kaspar, be ye still.
Love triumphs and has bid you to his feast.
Radiance has filled the void, the night has ceased:
Wearing Life’s crown, Christ comes to work His Will!

“Ancestor” by Jimmy Santiago Baca

https://www.instagram.com/p/BocYOz_BRJ0/

It was a time when they were afraid of him.
My father, a bare man, a gypsy, a horse
with broken knees, no one would shoot.
Then again, he was like the orange tree,
and young women plucked from him sweet fruit.
To meet him, you must be in the right place,
even his sons and daughter, we wondered
where was papa now and what was he doing.
He held the mystique of travelers
that pass your backyard and disappear into the trees.
Then, when you follow, you find nothing,
not a stir, not a twig displaced from its bough.
And then he would appear one night.
Half covered in shadows and half in light,
his voice quiet, absorbing our unspoken thoughts.
When his hands lay on the table at breakfast,
they were hands that had not fixed our crumbling home,
hands that had not taken us into them
and the fingers did not gently rub along our lips.
They were hands of a gypsy that filled our home
with love and safety, for a moment;
with all the shambles of boards and empty stomachs,
they filled us because of the love in them.
Beyond the ordinary love, beyond the coordinated life,
beyond the sponging of broken hearts,
came the untimely word, the fallen smile, the quiet tear,
that made us grow up quick and romantic.
Papa gave us something: when we paused from work,
my sister fourteen years old working the cotton fields,
my brother and I running like deer,
we would pause, because we had a papa no one could catch,
who spoke when he spoke and bragged and drank,
he bragged about us: he did not say we were smart,
nor did he say we were strong and were going to be rich
 someday.
He said we were good. He held us up to the world for it to see,
three children that were good, who understood love in a quiet
 way,
who owned nothing but calloused hands and true freedom,
and that is how he made us: he offered us to the wind,
to the mountains, to the skies of autumn and spring.
He said, “Here are my children! Care for them!”
And he left again, going somewhere like a child
with a warrior’s heart, nothing could stop him.
My grandmother would look at him for a long time,
and then she would say nothing.
She chose to remain silent, praying each night,
guiding down like a root in the heart of earth,
clutching sunlight and rains to her ancient breast.
And I am the blossom of many nights.
A threefold blossom: my sister is as she is,
my brother is as he is, and I am as I am.
Through sacred ceremony of living, daily living,
arose three distinct hopes, three loves,
out of the long felt nights and days of yesterday.

“Emplumada” by Lorna Dee Cervantes

When summer ended
the leaves of snapdragons withered
taking their shrill-colored mouths with them.
They were still, so quiet. They were
violet where umber now is. She hated
and she hated to see
them go. Flowers
born when the weather was good — this
she thinks of, watching the branch of peaches
daring their ways above the fence, and further,
two hummingbirds, hovering, stuck to each other,
arcing their bodies in grim determination
to find what is good, what is
given them to find. These are warriors
distancing themselves from history.
They find peace
in the way they contain the wind
and are gone.

“To Live in the Borderlands” by Gloria Anzaldua

To live in the borderlands means you

are neither hispana india negra espanola

ni gabacha, eres mestizamulata, half-breed

caught in the crossfire between camps

while carrying all five races on your back

not knowing which side to turn to, run from;

To live in the Borderlands means knowing that the india in you, betrayed for 500 years,

is no longer speaking to you,

the mexicanas call you rajetas, that denying the Anglo inside you

is as bad as having denied the Indian or Black;

Cuando vives en la frontera

people walk through you, the wind steals your voice,

you’re a burra, buey, scapegoat,

forerunner of a new race,

half and half-both woman and man, neither-a new gender;

To live in the Borderlands means to

put chile in the borscht,

eat whole wheat tortillas,

speak Tex-Mex with a Brooklyn accent;

be stopped by la migra at the border checkpoints;

Living in the Borderlands means you fight hard to

resist the gold elixir beckoning from the bottle,

the pull of the gun barrel,

the rope crushing the hollow of your throat;

In the Borderlands

you are the battleground

where enemies are kin to each other;

you are at home, a stranger,

the border disputes have been settled

the volley of shots have scattered the truce

you are wounded, lost in action

dead, fighting back;

To live in the Borderlands means

the mill with the razor white teeth wants to shred off

your olive-red skin, crush out the kernel, your heart

pound you pinch you roll you out

smelling like white bread but dead;

To survive the Borderlands

you must live sin fronteras

be a crossroads.

“Two Homelands” by Jose Martí

I have two homelands: Cuba and the night.
Or are they one and the same? No sooner
does his majesty, the sun, retire, than Cuba, with long veils,
and a carnation in hand, silent,
like a sad widow, appears before me.
I know that bleeding carnation
Trembling in her hand! It’s empty,
my chest is destroyed and empty,
where the heart once was. It’s time
to begin dying. The night is right
to say good-bye. The light is bothersome
and the word is human. The universe
speaks better than man.
Like a flag
inviting us to battle, the candle’s
red flame flickers. I open the windows
overwhelmed inside. Mute, plucking
the carnation’s leaves, like a cloud
darkening the sky, Cuba, a widow, passes by . . .

translated by Ilan Stavans

“Balas Chonas” by Cherrie Moraga

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HAPPY BIRTHDAY CHERRIE MORAGA – maestra, writer! "We are happy to celebrate the amazing storyteller and activist, Cherríe Moraga on her birthday! Fun fact: Moraga is best known for co-editing the anthology of feminist thought 'This Bridge Called My Back: Writings by Radical Women of Color with Gloria Anzaldúa (whose b'day is tomorrow). Currently, Moraga is a part of the faculty at Stanford University in the Department of Drama and Comparative Studies in Race and Ethnicity. . . And congrats to her on this: SO CAL IS SO EXCITED… "This Fall (2017) Maestra Moraga joined the faculty in the Department of English at UCSB, where in addition to her teaching, she will work with her artistic partner, Celia Herrera Rodriguez, to establish Las Maestras Center for Chicana and Indigenous Thought and Art Practice." #xicana #xicanaindigena #cherriemoraga . . #LatinxHeritageMonth #Feminism #LGBTQ" RepostBy @sonsandbros

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This is what matters about the Winnemem Wintu.
We matter.

As a damn-shackled river thrashes its swelling back
up against a concrete wall of shame,
Winnemem first daughters
in white over-sized tee shirts, the regalia of the common
and profound, dive for cooking stones.

For she who comes of age today, tradition
does not require skirt but knee-length basketball shorts
and a braid down her back, just like her brothers.’

The Winnemem do have their traditional wear,
the chief knowing
its importance, the ceremonial mandate of it,
where we all rise to the occasion of the best
of what a whole nation can honor.
It is also, she knows, the opportunity for photo,
its cultural capital in the public eye:
a recognizable unrecognized nation of “real Indians”
layered in leather and shell work.

But their real work resides in the daily stand —
off the mean spirit of spineless enterprise
drowning in its own reservoired state.
That ‘man’

The BIA, Arrowhead, The US Forest Service
could learn a thing or two from the salmon.

The Winnemem speak of it, life before the damn:
River so full, you could cross from bank to bank
on the silver backs of those fish.

What does it take to resist, to live outside violated treaties,
knowing that all those signed sheets of paper were already
laid like infected blankets over everyone’s great auntie?
Yours, too.

No Western romance here. Power is not played; it is worked.

A woman my age — soon sixty — grew into a chief. She was the only one left
and was picked from a small crowd of a fistful of sisters.
I am a Mexican-American.
At our family reunions, the number of people tied
by blood alone is greater than the entire surviving nation
of the Winnemem Wintu.
Yet the Winnemem stand
for what has already been stripped from me, from us:
land, water, the right to original ceremony.
Once, a human right;
we have nothing to lose for this struggle.

Imagine this.
You’re a teenager & a female looking over your chief’s shoulder
at a future chief will not witness and you can only imagine
its labor. Imagine
to be called in that way, to refuse to grow lazy and acquiesce
to oblivion. Imagine that. For our youth
that they would leave their oaktown, sanjo, east los street corners
and make rebellion from memory.

So, how do we come to see
that our own survival resides
on this small nation’s shoulders?
On these five feet of woman-chief,
shrinking in her daily refusal of food and fools;
on her moon-face niece,
whose black eyes are two small spinning disks
of hope (and fear)?

. . .

Standing by the riverbank,
a soul-hungry girl,
skinny and a million miles of loss
away from her own native navajo urges me:
“Dive for a stone. Take it back with you.”
So, I do, stumbling across the shallow waters like an old woman,
my bruising knees reddening in the glacier-iced water.
I surface, like the Winnemem girls around me,
in this rite, rock in hand,
my small token.
It is the green of wet sea. I am breathless.

Still, the rock and I are ambivalent companions.
I leave it everywhere I go, forgetful.
Later in the day, Auntie, she of the river people,
comes ‘round, and tells me, “I’ve got your rock. You left it back at the stone house.”

But I keep forgetting.

until at the hour of our departure, long past midnight,
we go to bid our farewells to the chief and her familia.
Auntie appears, a lit face smiling in the small doorway of the trailer.
Her extended palm is the river pond I had abandoned.
My rock floats in it.

Embarrassed, I take it home
place it upon my altar.
Vow membership
to the detribalized/unrecognized/dropped-off-the-rolls indígenas.
Mi pueblo, 21st century.

“The Poor” by Roberto Sosa

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Another Sosa, more poems from Honduras during a time when it was a vital strategic asset for Reagan’s Contra War against the Sandinistas. . ON HATE . To Inés Consuelo Murillo . Her beautiful mass of hair floated like a wave, bristling at each impact. . Intense and pale and believing as the fools of hate believe that beauty can be shattered like a flask they drilled her into meat. . They erred, of course, by the slightest deflection from their straight line because, look, over there, her rifle in her hand, the guerrilla reappears. . . THE COMMON GRIEF . We daughters and mothers of the word wait for them here. . Hear us. “Alive they took them, alive we want them back.” Heed us, in the name of the father and the son and the brother detained and disappeared. . We wait with heads unbowed fused stitch by stitch like a scab to the sutures of a wound. . No one can sever or divide our common grief. Amen. . . #igreads #bookstagram #robertososa #joanneengelbert #thecommongrief #poetry #billigual #literatureintranslation #honduranliterature #centralamericanliterature #contrawar #inesconsuelomurillo #sandinista #nicaragua #honduras #curbstonepress

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The poor are many
and so —
impossible to forget.
No doubt,
as day breaks,
they see the buildings
where they wish
they could live with their children.
They
can steady the coffin
of a constellation on their shoulders.
They can wreck
the air like furious birds,
blocking out the sun.
But not knowing these gifts,
they enter and exit through mirrors of blood,
walking and dying slowly.
And so,
one cannot forget them.
TRANSLATED FROM THE SPANISH BY SPENCER REECE

“To Be Born a Man” by Adela Zamudio

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Cada 11 de octubre se celebra en Bolivia el Día de la Mujer Boliviana; es por el natalicio de su escritora más importante, y una de las precursoras del feminismo en su país: Adela Zamudio. Nació en Cochabamba y desde pequeña se interesó por la escritura; cuando llegó al tope de la educación ofrecida para mujeres en la época, siguió instruyéndose. A los 15 años publicó el poema Dos Rosas bajo el seudónimo Soledad, y a los 25 años sus poesías en El Heraldo, pero su primer libro, Ensayo poéticos, fue recién a imprenta en Buenos Aires en 1887. A esta publicación se sumaron después el compilado de poesía Ráfagas en 1903, e Íntimas, una novela de 1913; mucho material, desde cuentos a poemas y hasta obras de teatro, llegaron a imprenta tras su muerte. Es en Ráfagas donde aparece uno de sus poemas más famosos, llamado Quo Vadis, con el que se enfrentó a la Iglesia Católica. Criada dentro del catolicismo reinante en la época en América Latina, Adela Zamudio se volvió un nombre famoso en su país no sólo por sus poemas en estilo literario romántico, sino que por batallar por el laicismo en el aula. Tuvo una lucha epistolar con el Padre Pierini, sacerdote que después sería obispo, y que vio en Zamudio una enemiga de la fe. En Quo Vadis, Adela Zamudio escribió: “La Roma en que tus mártires supieron/ En horribles suplicios perecer/ Es hoy lo que Los césares quisieron/ Emporio de elegancia y de placer”. Además, la escritora dejó plasmado en sus poemas la precaria situación que vivían las mujeres. Otra de sus poesías famosas es Nacer hombre, donde ironiza sobre las infidelidades masculinas o el derecho a voto. Adela Zamudio siguió luchando por la educación de las niñas y niños de Bolivia, y se convirtió en directora. En su tumba se puede leer el siguiente poema: “Vuelvo a morar en ignorada estrella / libre ya del suplicio de la vida, / Allá os espero; hasta seguir mi huella / Lloradme ausente pero no perdida”. #mujeresbacanas #adelazamudio

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She works so hard
to make up for the sloth
of her husband, and in the house
(Pardon my surprise.)
he’s so inept and pompous,
that, of course, he’s the boss
because he’s a man!

If some poems get written,
a person must have written them,
but she just transcribed them.
(Pardon my surprise.)
If we’re not sure who’s the poet,
why assume it was him?
Because he’s a man!

A smart, classy woman
can’t vote in elections,
but the poorest felon can.
(Pardon my surprise.)
If he can just sign his name
even an idiot can vote
because he’s a man!

He sins and drinks and gambles
and in a backwards twist of luck
she suffers, fights, and prays.
(Pardon my surprise.)
That we call her the “frail sex”
and him the “strong sex”
because he’s a man!

She has to forgive him
when he’s unfaithful;
but he can avenge himself.
(Pardon my surprise.)
In a similar case
he’s allowed to kill her
because he’s a man!

Oh, privileged mortal
you enjoy lifelong
honor and perfect ease!
For this, to get all this,
it’s enough for you
to be born a man.

English translation by Liz Henry.

“Black Messenger” by Cesar Vallejo

There are in life such hard blows . . . I don’t know!
Blows seemingly from God’s wrath; as if before them
the undertow of all our sufferings
is embedded in our souls . . . I don’t know!

There are few; but are . . . opening dark furrows
in the fiercest of faces and the strongest of loins,
They are perhaps the colts of barbaric Attilas
or the dark heralds Death sends us.

They are the deep falls of the Christ of the soul,
of some adorable one that Destiny Blasphemes.
Those bloody blows are the crepitation
of some bread getting burned on us by the oven’s door

And the man . . . poor . . . poor!
He turns his eyes around, like
when patting calls us upon our shoulder;
he turns his crazed maddened eyes,
and all of life’s experiences become stagnant, like a puddle of guilt, in a daze.

There are such hard blows in life. I don’t know.

“Fragment of a Letter,” by Jose Asuncion Silva

When all has grown calm, in hours
When the sleeping soul wakes,
The sweetest visions of life
Return to the mind,

Which flies between midnight shadows
And white mansions. My thoughts
Linger for a moment in all the crystals
That filter the light to your room,

Kissing the climbing honeysuckles
That embrace your window bower,
Set between delicate apparitions
That open in the morning light.

I see you before the crucifix,
A heart fixed on its promises,
And I hear the mysterious prayer
Whose sweet rhythm and fine cadence

Flies from your lips into arms of snow.
If only I could speak the soul fully
And with the voice of feeling, but who
Could faithfully sketch your calm sense?

Who recounts the freshness of your voice?
Who sees you open and without limit
Under the form your fire folds and unfolds,
Who sees the life that under the rhyme is set?

Of the passions is the poem, holy,
Spoken only to you and to the soul
Which, like a pipe raised to the lips,
Sticks and glows with a kiss.

“Let Me Relate to You,” Manuel Ortiz Guerrero

Let me relate to you
The sorrow that oppresses me,
And sprinkle the night with my tears
For my beloved Asunción.
I recall the women selling produce
With bare feet and blue eyes,
My bosom is burdened with anguish
And is choked with my crying.

Only the music can relieve
With its sweet notes my sadness,
And under a full moon will I declare
The love that I feel for you, Asunción.

“Rain” by Claribel Alegria

https://www.instagram.com/p/BtDLCzgFNn6/

As the falling rain
trickles among the stones
memories come bubbling out.
It’s as if the rain
had pierced my temples.
Streaming
streaming chaotically
come memories:
the reedy voice
of the servant
telling me tales
of ghosts.
They sat beside me
the ghosts
and the bed creaked
that purple-dark afternoon
when I learned you were leaving forever,
a gleaming pebble
from constant rubbing
becomes a comet.
Rain is falling
falling
and memories keep flooding by
they show me a senseless
world 
a voracious
world--abyss
ambush
whirlwind
spur
but I keep loving it
because I do
because of my five senses
because of my amazement
because every morning, 
because forever, I have loved it
without knowing why.

“Instants ” by Jorge Luis Borges

If I could live again my life,
In the next – I’ll try,
– to make more mistakes,
I won’t try to be so perfect,
I’ll be more relaxed,
I’ll be more full – than I am now,
In fact, I’ll take fewer things seriously,
I’ll be less hygenic,
I’ll take more risks,
I’ll take more trips,
I’ll watch more sunsets,
I’ll climb more mountains,
I’ll swim more rivers,
I’ll go to more places – I’ve never been,
I’ll eat more ice creams and less (lime) beans,
I’ll have more real problems – and less imaginary
ones,
I was one of those people who live
prudent and prolific lives –
each minute of his life,
Offcourse that I had moments of joy – but,
if I could go back I’ll try to have only good moments,

If you don’t know – thats what life is made of,
Don’t lose the now!

I was one of those who never goes anywhere
without a thermometer,
without a hot-water bottle,
and without an umberella and without a parachute,

If I could live again – I will travel light,
If I could live again – I’ll try to work bare feet
at the beginning of spring till
the end of autumn,
I’ll ride more carts,
I’ll watch more sunrises and play with more children,
If I have the life to live – but now I am 85,
– and I know that I am dying …

“My Country” Ricardo Miro

https://www.instagram.com/p/BCdFSety_0t/

Such a small country, spread on an isthmus
where the sky is clearer, the sun brighter;
all your music echoes within me, like the sea
in the small cell of the conch.

Yet again, there are times I feel dread
when I don’t see the way back to you…
Perhaps I’d never have known such love,
if destiny hadn’t carried me over the sea.

La Patria is memory…Scraps of life
wrapped in ribbons of love or of pain;
the murmur of palms, the commonplace songs,
the garden, stripped of its flowers.

La Patria is a map of old winding trails,
that, from childhood, I tramped without pause,
on which stand the ancient familiar trees
that talk to us of the soul in times long past.

Instead of these towers, arrowed with gold,
where the sun comes to lose its heart,
leave me the old trunk where I carved a date,
where I stole a kiss, where I learned to dream.

Oh, my ancient towers, beloved and remote:
I feel such nostalgia for your pealing bells!
I have seen many towers, heard many bells,
but have known none, my distant towers,
to sing like you, to sing and to weep.

La Patria is memory…Scraps of life
wrapped in ribbons of love or of pain;
the murmur of palms, the commonplace songs,
the garden, stripped of its flowers.

Such a small country, all of you will fit
beneath the shadow of our flag: perhaps
you were so pretty, to ensure I’d carry you
everywhere in my heart!

“I Think Of You,” by Jose Batres Montufar

https://www.instagram.com/p/Z8lXWAiD6M/

I think of you, you live in my mind
alone, fixed, without truce, at all times,
although maybe the different face
do not let me reflect on my forehead
the flame that silently devours me.
In my gloomy and fantasy fantasy
shine your peaceful and pure image,
like the ray of light that the sun sends
through a somber vault
to the broken marble of a grave.
Silent, inert, in deep stupor,
my heart is seized and alienated,
and there in its center vibrates moribund
when between the vain din of the world
the melody of your name sounds.
Without struggle, without eagerness and without regret,
without stirring in blind frenzy,
without uttering a single, slight accent,
the long hours of the night I tell
and I think about you

“To the Bio-Bio” by Andres Bello

Blest were he, O Bio-Bio!
Who could dwell forevermore
In a deep grove, cool and shady,
Upon thine enchanted shore!

Just a lowly thatched-roofed cottage
Where thy limpid waters are seen
Pouring their calm flood in silence
Amid foliage fresh and green;

Where, instead of shifting changes
In the fickle things of state,
Wind-stirred oaks and maitens murmur,
And the forest peace is great;

Where the bird amid the branches,
In the early dawning gray,
Sings its untaught, artless music,
Greeting thus the new-born day.

In that humble thatched-roof cottage,
Oh, how happy were my lot,
In the peace that nothing troubles,
Envied not and envying not!

This to me in truth were sweeter
Than the Babel wild and loud
Where in chase of a chimera
All are rushing in a crowd;

Where dark treachery and falsehood
Near the quaking altar stay
That the people’s favor raises
To the idols of a day.

Sweet repose, most blissful quiet,
Earthly paradise divine!
Has the palm of war or wisdom
Worth which can outrival thine?

Truth I love, not adulation—
Truth all unadorned and plain,
Not the clamorous applauses
That are raised in Fortune’s train.

Growing old, for that false treasure
I would cease my soul to fret—
Say ‘Farewell to disappointments!
The forgetful I forget.

‘Others call excitement pleasure,
Madly seeking fame or pelf;
I in earth’s most hidden corner
Wish to live now for myself.’

“The Song of Exile” by Antônio Gonçalves Dias

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Quem não conhece “Minha terra tem palmeiras onde canta o sabiá. As aves que aqui gorjeiam, não gorjeiam como lá…?”. Estes são os primeiros versos da “Canção do Exílio”, escritos por Antonio Gonçalves Dias (1823-1864), um dos maiores representantes do romantismo brasileiro e também autor de “I-Juca Pirama”, uma das obras-primas da nossa poesia. Poeta de origem mestiça, Gonçalves Dias foi proibido de desposar Ana Amélia Ferreira do Vale, o grande amor de sua vida, pois a família da moça não concordou com o casamento em virtude da ascendência mestiça do escritor. Visite o Museu Afro Brasil e conheça histórias que nem todos os livros contam! #mab #museuafrobrasil #culturabrasileira #arte #culturasp #museu #saopaulo #sp #Ibirapuera #parqueibirapuera #brasil #goncalvesdias #cancaodoexilio #mestico #mab13anos

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My homeland has many palm-trees
and the thrush-song fills its air;
no bird here can sing as well
as the birds sing over there.

We have fields more full of flowers
and a starrier sky above,
we have woods more full of life
and a life more full of love.

Lonely night-time meditations
please me more when I am there;
my homeland has many palm-trees
and the thrush-song fills its air.

Such delights as my land offers
Are not found here nor elsewhere;
lonely night-time meditations
please me more when I am there;
My homeland has many palm-trees
and the thrush-song fills its air.

Don’t allow me, God, to die
without getting back to where
I belong, without enjoying
the delights found only there,
without seeing all those palm-trees,
hearing thrush-songs fill the air.

“Indifference” by Rosario Castellanos

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In honor of #womenshistorymonth Day 13, we honor Rosario Castellanos ******************************************* Rosario Castellanos Figueroa (Spanish pronunciation: [roˈsaɾjo kasteˈʝanos]; 25 May 1925 – 7 August 1974) was a Mexican poet and author. She was one of Mexico's most important literary voices in the last century. Throughout her life, she wrote eloquently about issues of cultural and gender oppression, and her work has influenced Mexican feminist theory and cultural studies. Though she died young, she opened the door of Mexican literature to women, and left a legacy that still resonates today.#mexico #mexican #internationalwomensday #latina #latinas #latino #latinos #latinosbelike #latinasbelike #hispanics #hispanicsbelike #latinx #rosariocastellanos #oohlalatina

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He looked at me as one looks through a window

or the air

or nothing.

.

And then I knew: I was not there

or anywhere

nor had I ever been or would be.

.

I became like one who dies in an epidemic,

unidentified, and is hurled

into a common grave.

“I Ask the Impossible” by Ana Castillo

I ask the impossible:  love me forever.

Love me when all desire is gone.

Love me with the single mindedness of a monk.

When the world in its entirety,

and all that you hold sacred,  advise you

against it:  love me still more.

When rage fills you and has no name:  love me.

When each step from your door to our job tires you,

love me;  and from job to home again,  love me,  love me.

Love me when you’re bored,

when every woman you see is more beautiful than the last,

or more pathetic, love me as you always have:

not as admirer or judge but with

the compassion you save for yourself

in your solitude.

Love me as you relish your loneliness,

the anticipation of your death,

mysteries of the flesh, as it tears and mends.

Love me as your most treasured childhood memory

– and if there is none to recall –

imagine one,  place me there with you.

Love me withered as you loved me new.

Love me as if I were forever

and I will make the impossible

a simple act,

by loving you,  loving you as I do.

“Night 3” by Alvaro Mutis

Tonight the rain has returned on the coffee plantations.

On the banana leaves,

on the high branches of the cámbulos,

It has rained again tonight a persistent and vast water

that grows the acequias and begins to fill the rivers

who moan with their nocturnal load of vegetable mud.

Rain on zinc roofs

sing your presence and move me away from the dream

to leave me in a growth of the waters without rest,

in the cool night that drips

through the vault of the coffee trees

and drained by the sick trunk of the giant rafts.

Now, suddenly, in the middle of the night

the rain has returned on the coffee plantations

and among the vegetable voices of the waters

I get the intact stuff from other days

saved from the oblivious work of the years.

“Blood” by Carmen Boullosa

If it is the moon that governs the tides, what strange star controls the blood of our two different bodies? It is a star that your eyes can not see, not even mine, it lives hidden by the moon and the sun. His subject cruel plays with the signs of its particles, without fear to get in danger of bursting, or change shape, become once again minimal parts, asteroids into different orbits or dust, scattered dust pilgrim. A star absurd. It is because of him that my blood tends toward your. If they do not show any inclination towards me, then, it is that you’re in the lead mine, that you are my moon. You the one that controls my tendency. Through your veins do not burst circulates this dull sense, your blood limestone.

“Calderoniana” by Efrain Huerta

I was

A fool
& what
I loved
Has made
Me
      Into
           Two fools

“Moving” by Luis Chaves

1.

Picture this:
two weeks of rain
washed away all the flower pots’
ochre rings.

Whites and darks mixing
in the same washing machine.

A house reduced to cardboard boxes.
The afternoon spinning on the rain’s axis.
The false menthol
of a Derby Light + a Halls.

The color Plasticene bars make
when they’ve been kneaded together.

2.

The world is turning so fast
it appears to stand still.
I thought about saying so
but preferred, as your copilot,
to watch you circle
the parking lot.

3.

The ants came in
the moving boxes.
The new apartment
begins to feel more like a home.
One that belongs to someone else, but a home.

4.

In the new apartment,
the handyman hollows out a wall
searching for the water leak.

This isn’t disorder per se,
it’s order of another kind.

Plastic bags, Sharpie
on boxes, in cursive:
kitchen / books / bathroom
If someone else were to walk in at this moment,
they wouldn’t know if we were moving in or out.

5.

Inert, enclosed
in nicotine,
the brain goes soft,
the heart hardens.

I look older without a shirt on.
I thought about saying so but preferred
to remember the time when I was
your copilot as you kept
circling that parking lot.

6.

Without a sound, Francisca
moves through each space –
here with the bucket,
there with the broom –
inside that mouth,
always closed,
the glint of a gold tooth.

7.

A pause which threatens to become
something else entirely.

Clothes we haven’t unpacked,
the taste of synthetic menthol,
that empty space
where you finally parked the car.

8.

Over a few rounds of beer
some friends were discussing
how long we can keep calling ourselves young.
What does it matter, you thought aloud,
if I was never young to begin with.

Then the fog cleared.
Then the crickets came on.

9.

Here’s where a decisive phrase should go
but the t-shirt
from that afternoon we were talking about
fades while the grass grows
and without realizing it,
you begin to use some of my trademark phrases
every six words.

What never will dry in this weather,
what shines whether we like it or not,
the wrong time of year to move,
the brain: a lump of Plasticene,
the heart: two car doors
that only know how to close.

10.

Underneath all of this there’s a song,
even if it can’t be seen or heard.

The promise of a new house
stayed behind in the old one.

What remains of the rainy season is a blend
of all the Plasticene bars –
what will knead together is kneaded
together, the hammering that quiets
the tenacity of a leak,
raindrops
veining the window.
And the crickets’ song
swelling like another fog.

Underneath all of this there is something better.

“What I Am For You” by Juana de Ibarbourou

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К 8 марта – #famouswomen #женщины_личности #уникальные_женщины Хуана де Ибарбуру (исп. Juana de Ibarbourou), также известна как Хуана де Америка (8 марта 1892 — 15 июля 1979) — уругвайская поэтесса. Она была одной из самых популярных поэтесс в испаноязычной Америке. Также известна как феминистка. Существует ли специфическая «женская» поэзия? И чем она отличается от мужской? Ну разве что тематикой, да и то не всегда. Латинская Америка заговорила женскими голосами. Также совпало с расцветом феминизма, но, думается, причина не только в том. Да, для поэзии нужна свобода. Впрочем, латиноамериканские дамы в этом плане вообще с самого начала очень сильно отличались от дам, оставшихся на континенте. Если коротко охарактеризовать женщин, отправившихся с конкистадорами на новые земли, можно определить два главных качества: пренебрежение устоями и фантастическое трудолюбие. Латиноамериканским поэтессам приходилось открывать новые земли. Новые темы – зачастую предельно откровенные. Эротика, недоступная предыдущим поколениям. лучшая ее книга тех лет – Raiz salvaje. Вышла в 1922 году. Чувственность. Эротика. Единение человека и природы. И именно после нее Хуана удостоилась своеобразного титула – Хуана де Америка. На купюрах уругвайских песо изображены самые известные деятели культурного наследия Уругвая. Хуана на 1000 уругвайских песо.

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A doe
eating fragrant grass out of your hand.

A dog
that follows everywhere in your footsteps.

A star
twice as bright and sparkly just for you.

A spring
rippling snake-like at your feet.

A flower
whose honey and whose scent are yours alone.

For you I’m all of these,
I gave you my soul in all its guises.
The doe, the dog, the heavenly body and the flower,
the living water flowing at your feet.
My soul is all
for you, my
Love.