liveblogging at the library

Since I read very quickly I’m done reading the poems for the Redwood City Youth Poetry Contest before the other judges. We’ve read, discussed, and judged K-1, 2-3, 4-5, and now are in the middle of reading poems from grades 6-8.

It’s so much fun! The poems, a good selection and range from English- and Spanish-speaking kids, are knocking my socks off. One of them made me cry. Well, when the contest results are announced and the poems are on the Redwood City Library web site, I’ll link to them and discuss them in detail.

The three of us judges have varying opinions about what make a poem good poetry. Trish likes complex thought and sentiments of beauty and I would say she values form highly. Leslie likes a social issue and a conscience, a poet who looks outside herself. I like to see daring, leaping, unusual juxtapositions, and an awareness of language and form whether that is free verse in its jazzy meter and flow, or regular meter and rhyme.

translation, Lit and Lunch

This sounds great. I’ll be going! The Center for Art in Translation sponsors a lot of great events in SF, but I hardly ever get a chance to go to them.

We hope you’ll join us on April 11 and the second Tuesday of each month
from
12:30 to 1:30 pm (doors open at 12:00)
111 Minna Gallery
Minna Street at 2nd Street (two blocks south of Market)
Downtown San Francisco

Spring 2006 Schedule

April 11: Writers from Europe and Latin America
Pulitzer Prize-winner and translator Galway Kinnell
Galway Kinnell has won almost every honor that can be bestowed on an
American poet, from the Pulitzer Prize to the National Book Award. He is
renowned for spellbinding readings. Kinnell has translated some of the
greatest modern poets, including Lorca, Neruda, and Rilke.

A quick attempt at Salome

I’m really digging Salomé Ureña de Henríquez, and though this is a rough draft of about the first third of a long poem, I thought I’d share it with you. When I come to a more final version I’ll post the whole thing. My translation is very rough. I’d like to polish it up to reflect Ureña’s rhythmic invocations, which are very beautiful in Spanish! Very fancy-languaged and high-toned. This poem is like Krishna’s call to action when he’s talking to Arjuna… a little bit… I remember someone, maybe my friend Humberto, telling me I’d like Urena’s work a nd now I see why. She praises tumult, destruction, and hubris! Cool.

Urena (1850-1897) was a fiercely political writer and a feminist.

In defense of Society (1)

Go through, go through the gates; prepare ye the way of the people; cast up, cast up the highway; gather out the stones; lift up a standard for the people. (Isaiah 62:10)

Creator spirit, fertile genius
you who with inexhaustible activity widen the making
of miracles from your sublime power,
you who perennially shine
in your good works, you who grasp
regions without end in your thoughts
and you who, with your love, extend from world to world
the laws of eternal movement:

Can it be be that the ultimate reward
offered by your august hand
would be condemnation to the repose of nothingness?
Would you have us be lethargic
before your show of active power,
indolent idleness spent in
admiring you – oh Lord – to pass one’s life?

No: wake up, all you who from pleasant fields
in the flowery cushions
only hope for a serene spirit
for hours of peace in ignorant shade.
Rise up, all you who follow
the current of agreeable fashion,
be anathema to the popular uproar,
let out a shout, break the dreams of the most happy.

It’s not pride – all you who raise up to heaven
a grand pyramid
and who exalt yourselves, aspiring to infinite flight:
it’s the immortal spark, that huge and powerful
immense great work,
and in constant travail and internal labor
you create, so that man in his delirium will follow
something of greatness, to stand forever.

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third anniversary of war

It was a full moon three years ago as I drove down the highway crying, thinking of Salam Pax.  These days I still think of him, but every day wonder about Riverbend and her family…  Jeremy, of Daddy Dialectic and othermag,  asked me to post something as a parent on the anniversary of the U.S. bombing of Baghdad.

moon veil your mirror

    March 19, 2003

Moon, sky-hook, when I turn to you
my face is turned away from my mother.
My face is turned away from my mother.

I want to forget I am part of this world.
I want to forget I am part of this world,
so I can become round enough to pity the dust.

Future light won’t shine here.
Future light won’t shine here,
because the wheel of stars will dip below
a housing development conveniently named ‘Purgatory’,
built where teenage boys wake up
handcuffed with their black bandanas.

Moon, breathe the atmosphere of sorrow,
suck it from my dying mouth
as I prepare to put out the light,
because what you are about to see is blood.

What you are about to see is blood.
Turn your face away
if you aren’t strong enough
and for a moment I’ll look for you
long enough to put out the light,

because teenage boys like thin colts
veiled in ash & black bandanas
nerve their legs and put out the stars in their eyes,
preparing for that day when no light will shine.
That’s why they can stare at the sun
while I can only look at you, moon.

Because I don’t have any blood to give.
I’ve bought too many telescopes
in my housing development coincidentally named "The Shadows".
I don’t have any blood to give.
I’ve bought too many telescopes that fold up like ice
and they’ll endure until licked away by a cow’s warm tongue.

Moon
shutter your face
to cut out the harsh light, the violent light.
Wear a black bandana
because a silver lamb unfolds from your pocket like a sailing ship.
Because you can’t close your eyes,
I’ll give you my black veil.

Moon
veil your mirror,
because my eyes have been defiled.

Because my eyes have been defiled
by the future of my country,
because the light gathered by you and thrown back in our faces
has seen the blood that I can’t bleed or see,
because of that, I’ll look, though I have no tears to give,
because my tears are gathering dust in a gallon jug
under the sink, where I keep my lambs and my telescopes,
where I keep my mirror, and the ruins of the Golden Gate Bridge,
and a cow’s hoof, and a ship in a bottle.

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Litgeek? Nerdaesthetics?

I’m so flattered that Brian labelled me a “Technoaesthete Mashup”. We had a really random encounter at the SXSWi conference, where within 3 minutes we established that we both think computer/net/tech and literary theory and cultural studies have this strange point of intersection that barely anyone else sees.

Then when I started to talk about translation, meaning to lead up into mentioning Guillermo Cabrera Infante and Suzanne Jill Levine’s translation of Tres Tigres Tristes, I swear this is true, before the words could come out of my mouth Brian said, “It’s like in Tres Tigres Tristes…” How mind-boggling!

It was great to come across another literary theory geek in the middle of a computer conference.

Reading this Friday at Art21 – Esther Kamkar and Julia Simone Alter

I don’t remember Julia’s poetry, but I heartily recommend Esther Kamkar’s work to anyone in the Bay Area. She’s one of my favorite poets on the SF Peninsula, really amazing. It’s like watching someone carefully bleed themselves and make wine out of the blood, or something. She has this particular intensity and delicacy, especially in describing the darker sides of human relationships, and is never boring. I think she writes at times in Persian as well as in English.

From JC Watson, the MC for this month:

Hello to all my dears who are drenched by rain and darkness!

Friday night, March 10th, 06, brings some RELIEF!

Two Unforgettable Poets, ESTHER KAMKAR and JULIA SIMONE ALTER
will read their work at Art 21 Gallery, corner of Hamilton and Alma,
in Palo Alto at 7:30 p.m..

I promise Enthrallment for all.

MZ JC Watson will emcee and provide good food and drink.
(No Shrimp Chips here!)

So, get under that umbrella and light up your soul!

Parking is easily had in the garage, just a stone’s
throw north of the Gallery.

JC Watson’s own poetry is excellent, as I’ve mentioned on this blog before. She’s well worth hearing. The Art 21 open mike is friendly and welcoming; it’s usually around 10-12 people reading a couple of poems each. Quality varies, but sincerity and variety abounds!

Tiptree winner announcement!

Congratulations to Geoff Ryman, who has just won the James Tiptree, Jr. Literary Award for his book Air: or, Have Not Have. It’s an unusual book and a great story.

The award goes each year to a work of speculative fiction that expands and explores gender. I had a great time being on the Tiptree jury this year!

The short listed works are:

Willful Creatures by Aimee Bender (Doubleday 2005)
“Wooden Bride” by Margot Lanagan (in Black Juice, Eos 2005)
Little Faces” by Vonda N. McIntyre, on SciFiction, 02.23.05
A Brother’s Price by Wen Spencer (Roc 2005)
Misfortune by Wesley Stace (Little, Brown 2005)
Remains by Mark Tiedemann (Benbella Books 2005)

The long list and special mentions will be announced in a week or so.

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List of poets in the anthology

Here’s the list of women poets that I have translated so far (some, many poems; some, only one).

limitation is that they should have been publishing or writing between 1880 and 1930. I have another list of many more poets from the same era – some that I want to translate and expand into a really big book. I will probably put the bios of the poets online. In fact I feel like I could have more of an effect by making Wikipedia pages for all these poets, and by tagging them up. But I would like a book.

The long list (not posted yet) is only a few of the many hundreds of women whose work I’ve seen.

*Luisa Pérez de Zambrana (Cuba)
*Jesusa Laparra (Guatemala)
*Maria Luisa Milanes (Cuba) (1893-1919)
*Maria Villar Buceta (Cuba) (1899-1977)
*Salomé Ureña de Henríquez (Dominican Republic) (1850-1897) “Herminia”
*Elisa Monge (Guatemala) (18XX-1932)
*Adela Zamudio (Bolivia) (1854-1928) “Soledad”
*Mercedes Matamoros (Cuba) (1851-1906)
*Nieves Xenes (Cuba)
*Aurelia Castillo de González (Cuba) (1842-1920)
*María Eugenia Vaz Ferreira (Uruguay) ( 1875-1924 )
*Emilia Bernal de Agüero (Cuba) (1884-1964)
*Delmira Agustini (Uruguay) (1886 – 1914)
* Antonieta Le-Quesne (Chile) (1895-1921)
*Juana de Ibarbourou (Uruguay) (1894 – 1979)
*Enriqueta Arvelo Larriva (Venezuela) (1886-1962)
*Gabrela Mistral (Chile) (1889-1957)
*Emma Vargas Flórez de Arguelles (Colombia) (1885 – )
*Alfonsina Storni (Argentina) (1892-1938)
* Adela Sagastume de Acuña (Guatemala) (18XX – 1926)
*Magda Portal (Perú) (1901-1989)
*MARIA MONVEL (Chile) (1897 – 1936)
*Nydia Lamarque (Argentina) (1906-1982)
*Olga Acevedo (Chile) (1895-1970)

Carnival of Blog Translation – a post from La letra escarlata

Here is my (rather hasty, last minute) translation of a post by Hester Prynne of La letra escarlata, “Primera persona del singular del futuro imperfecto“; done for the first Carnival of Blog Translation over on the ALTA blog. (I apologize for any mistakes or awkward phrasing, and anyone can feel free to correct me.)

And — I have to say — what fun this is!

First person singular future imperfect

A ticket for a bet on the films that might make it to the Oscars this year, four beer cans crumpled as if they were balls of paper where someone didn’t find inspiration, a container of dirty paintbrushes, a radio set (playing happy reggaeton that everyone in the world tends to listen to lately and that gives me a headache), a smell that hasn’t been aired out for several days, a mountain of sheets on the bed, a pizza box I don’t dare to open.

“Did you find it?” asks my housemate from the kitchen, where she’s making sandwiches, she’ll leave everything messed up and I don’t care very much, because I’ve gotten used to it. People in the United States are very disorderly; the most neglectful person in Madrid can’t surpass it. I think it’s becuase they have so many things, trivial things that sometimes don’t seem to serve any purpose, things that they buy every time they go to the shopping center — I don’t know.

“Yes, here it is, thanks.” I pick up the book I was looking for, under a pile of notebooks. I close the door.

Outside it’s snowing. I put on my black overcoat, the thickest one I have, the scarf and legwarmers my bruja made me (isn’t she wonderful?). The gloves my friend Henar gave me, the hat with earflaps that makes me look Peruvian.

How landscapes change according to time’s passing. Now the leafeless trees show what was hidden when I arrived in summer to Saratoga Springs. many people walking hurried with their paper cups full of coffee. I nevertheless am stupified, with my nose redder and redder, gazing at infinity.

More and more, I grow conscious that I’m living a sort of privileged parenthesis. In this one year I’ve been put in a bubble whwere I know what I’m supposed to do with every minute. To go to class, to read, to study, to write, to work, to go to dinner, to take a walk… I don’t have to set out to plan anything on my own, the elitist university system of the United States of America protects me.

But there, watching me, is the near future. June will come and in its backpack loads up verbs like: getting my degree, writing, (or salvation, for me it means the same), working, going back… It’s a future that scares me but at the same time appeals to me. The great bourgeois problem of “what do I do with my life” that we have the luxury of being able to ponder.

Saratoga celebrates the Winterfest, an equivalent to Groundhog Day (Day of the Marmot) that is celebrated in Pennsylvania, and by which people predict how much winter is left (I don’t know if you’ve ever seen the film by Atrapando about this time, about this event). There’s a buffet of soups in all the town’s restaurants, a display of snowmen, and somehow, a band plays with its trombones semifrozen. I have a book in my bag and there’s my favorite cafe. Whenever I go in, my glasses fog up and with the paraphrenalia of scarf, bag, purse, and all that, it takes me a while to clean them off and look around me. The girl behind the bar recognizes me and knows that Iike the hazelnut coffee. She makes me want to say:
“Eeeeeh, could I have also just a little bit of the future, please?”

I hope that my life is always a mix of the Unitedstatesian messy room and precise protective bubble, of glasses misty with the heat of an agreeable place where they know what kind of coffee you like and the white cold of a snowfall predicted by the dreams of a marmot, that forces you to open yourself to a road of responsibility and risk. There are things that I know I want, things I don’t know if I want, things that I know I don’t want… There’s fears, there’s goals, there’s laziness, there’s the emotions of an uncertain and tempting future. I’m going to end this post with a rotten rhetorical question, but oh such a true one: who said going outside is easy?

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