sexoPUROSEXOVELOZ, SEPTIEMBRE UNA EDICION @ILINGUE DE LBROS DOS Y TRES DE Dotores DoRANTES Por Dotores Donantes TRADUCCION DE JEN HOFER Denver: Counrerpati Pass Cuicaco: Kewning Eorrions 1. Poncann by fat i hi quinctas ; 6 Pes 4, com fa ani & andenawiada waste tveide Cdet Oh ag daly 5 doron Ca oct? ae he Ged Sepremacn BOOKS TWO AND THREE OF DoLoREs DonanTes by Dotones Doranres TRANSLATED BY JEN HOFER Denver: Couwreneatn Press Ciicaco: Kewnine Eoirions‘Connterpach Press Kenning Editions ‘pom souaerpatpressong Naw kcnningediions.com (© 2008 Dolores Dorates Engl ranlation © 208 Jen Hofer Aight reserved CIP data sy be found ac che end of his book Some ofthese easatons have been previo poblihed in: 1913: Acie, “a, es Canepa Online, Kong. Tapa Reve a ene “a en’ Ss are ana Sig Eye chapbook, Thanks 0 Sundra Mle, Craig Pete Jobannes Goranson Joelle MeSweeney and Jan Dermos Woods Jasper Benes; Ptick Dorgins Richarel Maes Judith Goldan and ese Sealapino: Kathleen Ossip and Guy Benner repectvey fr hc knd supporto his work. An excrprof Spine seo previously published inte jsreal Onlin Mexico Cy aversion ShietPUROrteELOZ was eo-pabliied by Lapzns(Montevide) and ‘ns (Mexico Cy) a 2004 Dolores deeply appreciates erste Virgia and Poctsin Nec ‘constant he thoughts are; Celin"Catherine” Briones (Laan) Jorge Fag, Jonge Feminder Granados Rodeigo Flores, li Gari, Jens Garden Cusavo Gonzalo Pisce Espino forge Soi and Lavra Selorana Jen isgyaeal fo the emoconaledical material and iellecoua eafolingand ostgtion provided by: Pasi Dargi, La Faia Hofer {an hans, preg fry name), Graciela aco, Douglas Keamey. Ronn in udinna Louse Parr (JP). ane Speague, Alessandro Thompson, Masa: Viegener Mia] Woodand Tim Wood, “The publication of his hook as been made posible inp y the generosity ofthe Following donors to Kenning Esditons: Chas Bers, ‘nen Schult, yn Hina, Marcia and Ricardo Hofer. Marcia Pevsner Dai Pavelch, Adaleide Moin Bacbara Ges, Kevin Kilian, Norma (Cole Pies fers Alen Golding Lin Koes, Bate Watten, Hank Larecand Andes Teolin ‘Onder from Sl Press Distbuton 1341 Seventh Sires. Berkeley CA 99710 vwornspdbooksorg 80086-7553 ‘Cover design by Quemadua sworaquemaduranet Prneedin Card IxrRopucTION ‘SEXOPUROStXOVELOZ/ PURESEXSWIFTSEX, SePTIEMBRE/ SEPTEMBER NOTA DELATRADUCTORA CONTENTS 4“ 105 n6INTRODUCTION: _Do1onEs DoRANTESBY DOLORES DORANTES |A poetics teaches its conclusion when the poet’ life ends. Using this idea a a seating poing, itis dificule 10 make leclatations about the tajectory of particular work. What T can say for sure is that from the time I wrote my first book, | decided that mine would bea continuous trajectory. That there would not be stopping points in these dacuments “That each book might bean “I” in motion. I believe thatthe structure of thee pocms has todo with a chought seruetare IF poetic stractre isnot in harmony with che formal occurrence ‘of the author's thoughes, che author will neverbe able to i communicate beyond the edifice of what she or he says or temps to say. In my case, sayhas always been an intention, that becomes a consequence T should tlk about ny Se book, Poemas pn nas Poems Jor Kids) which was orally seuctared a sete of cubes ‘containing within chem a musical eel. This book is present inthe ewo books that appear in his volume (because hey areall the same book). Poems pre nis ame into being as 2 ctcque ofthe confesional pty tar prealsin Mexican literature, mode impose on writes through government sponsored workshops ia my country ak "style” designed to ‘vin prizes Thistle has its oot in translations of work by ‘André Breton, and venerace the creation of image afer image ‘ith no importance whatsoever given to meaning, There i in Poemas pa nia, a deliberate absence ofthe I? sos f0 generate diane between the emotional and the personal. A fragment from this easier book appeats in these two works:observe withthe blow ofthe chisel: vyourselffind “The adventure of Dolores Doranter as a project began when I was nineteen and refused to wit like José Carlos Becerra, In order to achieve that goal, needed to deaw language taut in such a way that meaning alone mighe be the dominant force, (Orin other words, any writer who finds ie necesary to exorcise Neruda in order to feel liberated must go to extremes. My freedom occurred as I had hoped, after Pemas pana nos the absence ofthe"T” became a marked presence of the "you” in PUREsexSWIF Tex, and ten shifted to insistent frst person voices in September. | might ateempe o define these books a reflections of ‘excitement, massare and peaceful silence in the aftermath of devastation, at las inthe case of September but I don't know for sure. ‘Wohae dots clearly emerge from all ofthis, for me, isa wat. {DD} PRESENTACION: DoLoRESDORANTESPORDOLORES DORANTES ‘Una poétca conclave cuando termina a vida del poeta. Parsiendo de ese punto son difciles las afiemaciones sobre Ia trayeetoria de una obra. Lo que puedo asegurar es que cesde que esrb mi primer libro decd que fa mia seria tuna trayectoria continua, Que no habria escalas en los documentos, Que cada libro fuera un “yo" en movimiento. Creo que a eseractura de Tos poemas tiene que ver con ‘una estructura de pensamiento Sia estructura poétca no ‘oncuerda com la form en que sceden los pensamientos del autor el autor nunca pod comunicar mas all de Iaedlfcacin de lo que diceo intenta deci, En mi caso decir siempre a sido una intencion que seconvierten Debo hablar de mi primer libro: Poems pare nos, donde la Forma de los verso fueron cubos con un circulo musieal por dentro. Este libto est presente en os dos bros que aparecen ‘en este volumen (porque todos son el mismo libro). Poemas pana nis nai6 conso una cite a poesia confesional ‘que predomina en la iteraeara mexicana yque fue impuesta «en fos alles gubernamentales de mi palscomo el “estilo” «creado para premiatse. Un esto que tene sus races en las traducciones de André Breton, y venera la ereacin de imagen. tras imagen sn dale imporeancia alguna al sentido. Hay, en ‘se libro, una ineencionada ausencia del "yo" para generar una distancia entce lo emocional yo personal. Un verso de ese Iibeo anterior aparece en estos dos‘observa agolpe decincel: ‘eneuntrate Laavencura de Dolores Dorantes com proyecto comenz6 cuando yo tenfadiecinueve aos de edad y me nega escribir como José Carlos Becerra, Pata que eso sucedierahabta que censar el lenguaje de sl Forma que slo predominara el sentido, cs deci: cualquier escritor que necesiteexorcizarse de Neruda parasenttse libre tene que ire alo extremos. La libertad se tio como experaba después de Poems pana nie y la ausencia del "yo" se convirtié en una marcada presencia del“ en sexePUROsesoVELOZ.y en insistentes voces de lt pritnera ‘persona en Septiembre, Podria intentardefinir estos libros como teflejos del entusismo, la masacte yl silencio pacifico después dela devastacién, en el «aso de Septiembre, pero nolo sé bien, De todo esto lo que me queda claro es una guerra, (0D} sexoPUROsEXOVELOZ PUREsexSWIFTsexOneTengo la boca Mena de sierra St padre —No digas "padre" Repite conmigo To que yo vaya diciendo: “Tango la boca llena de tierra’ Tengo la boca lena de ti de tu boca Jan Rafe My montis fled with dir es Father Dont sy“ Father” Repeat what Tay air me “My mouth i filled with dit” =My mouth sie with you wie our month Juan Ralf Ex Retincitvo Rojo de calor de salitre a noche, Tur new wanacxe made of beat made of saltpeter the night.‘Oscuntpan donde comienzan nuevas luces vyetecen: ‘enjambres edpidos mumbidos cortan y trazan los colores de la ciudad (Tal vee sve que olvidar cémo) Dok inserta su mis duro gesto El golpe alérgalo hasta la laridad (Despuds Danxavess where new lights begin and grow: fast swarms buzzings slice and erace the colors of che city (May be Thad to forger how) Pain inserts its hacdest expression “The impact, extend it roward clarity (Aperwards nuestra elas separadas ser lagares—ealentes— al topede memorias vepletas) our separated forests tell Be places —hor— abutting memories replete) : |Hav on axpano sibelo (Cada flexién deta pase conduce alametilica caliente soledad Refulge ahi amor: rate de una palmada la certeca Amano abierta cexpandete SéLuz Sélimpara Ture’ 4 scarrotn elimbit Each flex of your step leads to:metalic hoe solitude Shimenee there lee: ‘urnish certainty with one slap Open-banded expand Be Lighe Belamp Dut oreo L400 (co laparte de i que now ve) constrayo Toque pienso imaginamos Denso la mesa de madera roja, 1a silla para esperarte en los das de nieve amor; imaginamos Del oto lado (enlapartede mi queno see) pula niebla dle beso: zest? bres. Eneas preguntas de mi boca Faos rie OTHER SIDE (ia the pare of you ‘thas doen't show) Leonstruct shat [chink we imagine T conjure the red wood eable the chair where I wait for you on snowy days love, we imagine From the other side {in he pace of me that does't show) theobs the fog of your kisi that you? You open, You enter questions from my mouth,Dinwyo In escafandra en el pecho dela soledad “Tedibujo.sin rouro sobre la parafina redondas surean calientes ondas desde el pabilo palpa de cera ‘que teva hormigada visitando Eres (de afters) eszada para mi Interna mia ef Ipraw a diver’s suit against solitude’s chest I draw you me face in che parain hoe waves ound farrow up from the wick wax pulp shae goes to singled vsie you You are (from outside) bristled for me Mine internally Cow rt. naxgueno vex una locura —vedada endilat profunda Bajo ves blandieés la hoz cancla que mi marea comend Cows ware rite noarscan a madness — forbidden — inside you the she-deep you Beneath a dress you'll brandish the sickle anchor my tide will devourLoz per sombra de i bras som agony mds alld de (encarnacos) los ojos —buscan resplandecientes— ‘una puerta de pias (9 cimplices nosoras) seladamos Ligur oF rou shadow of you coal (of) ate those who (watch love) beyond (embodied) the eyes seeking resplendent— barbed door (and complicit) sive eto them Tomaianvo anne note (endulza) quieres En misfilos(ndule,palpa) clavas—dedo adedo—tu mano Exeaes la puerta (amor) cala que te (endulza, permanece) despido Tremaine oven you dont feeeren) want tog0 ‘on my edges (sweeten, touch) you fasten—finger to Finger—your hand “This isthe door (love) where co you I say (sweeten, remain) good-bye“ Si FUERAMOS RELUCIENTES DAGAS (ed Uno junto al otro Debajo de la oscura sangre) movidas por esa mano tuya Siextnjers eabajatas de nucvo ‘en midolor puliendo con afilades pensamientos este oro de ver Tomaria Tovciego dei dolor sin buellay al final dela iuminada calle ce dejacla ‘quedar conmigo IP WE WERE TO BE GLEAMING DAGOERS (the One beside the other Beneath ‘the dark blood) moved by that hand of yours stranger you were to work once again in my pain. polishing with sharpened choughts this gold of seeing would rake swhaeis blind in you that ‘pain with no footprint and ac che end ‘of the illuminated stret I would let you stay with me Dow Two‘Tengo la boca lena det, de tu boca. ‘Ts labios apretados, dures como si mordievan aprimiendo mis labios. Juan Ralf My mouth ieflled with you, with your mouth. Your lips pressed together, hard, as if they were biting, pushing down on m5 lips Juan Rulfo Dw est arti PENDE (oye) cl (me) nunca surcado territorio pulsaré un poco Mira Lapane (desde abi) cs donde fm La brilante cavern del bce bajo el rej) te caben as emils gar stat ungerminado campo interminable 40 Fron river TRIGGER Hans (listen) the (me) never plowed tersitory Tl chew somewhat Look ‘The portion (fom there) is where (inthe moueb briliane cavern beneath the red —) the seeds cover you: ‘you are —place— ‘you would be germinated field interminableJowros y tumbadesvioos ‘entimas Bs de la pantera la sombra en nosoeras Billa olsqueaba la pulps porlaque hambrientor ain _ fugitives faimnos hambee Hicimos neroiot del resplandor silencio: De tu mano extendiste sun désil hasta ella BE Toanrir and filled wesaw tue fle lowing, from the panther the shadovr in uz She sniffed out the pulp for which still hungering «and fugitive we were the fame Nervous we made silence ovt of the radiance In your hand you held out adate toher Mativouos TAPICES VAS CLavANDO Asi eres, amor, cin como ti ‘an silo seban dado a perder de este recuerdo ynadie ve consrucciin La pladida cla nosyace aqui la misma bajo la alfombrs roa Jos ecombros—que para tus pies yortiendo Ev VAP ESTRIES YOU ARE ASTENING ‘Thats how you are, love, bumdred lite you solely they've begun to lose frome this memory and no one sees we don't ee construction ‘The loss she les us here the same one beneath the red rug the rubble—ehat for your feet I spreadLas aspas jESCUCHAS? van a degollar tarde estos maniatados comienzos Note levances Ni gota de ta sangre correrd Mira vestida estoy con lla ylejos 20 Tne vanes, po vou near? they'll be lace slitting the throats ofthese beginnings bound at che wrists Don’eger up "Not a drop of your blood shall run Watch in her Pm dressed and faraway (Ds t1aca ‘en fondo) ls palabras sienden un manto ojo (porencima) ——_ensombrece (estésayende ‘el paleteo) fuera (pobre quisiras caminar la nieve) pero no ‘A lacasa (del ewerpo) marcada fon una orue blanca) decal centeamos todos (eos sone down deep) the words ‘extend a red mantle (on top of dackens (are you heaving theflsiling) outside (poor ching yon would like to walk inthe snow) Due no Inco che house (ofthe body) marked (with a white evs) made of ime weall enter“TheeeA centenares de mers, encima de todas las nubes, ‘ds, mucho més allé de todo, estdsescondida th. Juan Raf Handveds of meters away, above all rhe clouds, way, way beyond everything, you are hiding. Juan Rul Uw svtsren hoy te habiea Lest hilando estar palabras: De musgo las paredes que olvidas colacadas agué ‘que nos a sabes— sirvieron de govy contigo? silencio Miboca excl tinico refugio de ‘boca A cvEsr today inhabits you love he is spinning there worde Made of moss the walls yous forget plaved here shat for us you know— served as should Igo with you? silence My moueh isthe only refuge for "your mouth26 Te v0 repieNDo estruendes semideiertas calles La nube sobre elas aca esperar lalluvia nucre drame en la eaxdn sun vueleo, sex You xntrrixe uproars with abow semidetrted strets the doud above them Toawaie sherain nourish plow through me with reason an overturning, To wavscas ps pus en un buque que parte, dime: eta e ciudad de guerra quiero verte la ciudad tene un puerto dimelo quiero verte los labios Laminada evel yugo dime ja You wavicars ox Foor ina departing vessel, cll me: this isa war-cty want to see you the city has a port tellieto me wane to see your lips the gaze isthe yoke tell meSaxon, mufsreare Femenino y mevilico con las crudezas duras el eubor con sonrosadas posturas cen tus delgados imices Imantando cruzaré eu billo después de capeurar (que en mi cofe descanse) clexacto centro laeente BE SaxtoR, strow rourseue feminine and metalic ‘with your harshness hard fom the fash with blushing poseures at your slender limits Magnetising LLwill ross your brilliance afer eapeuring, (60 it might in my trunk rest) theexaet center lacent Coase Foursudonde yo no puedo aleancarteni verte ‘yadonde no legan mis palabras. Juan Ralf where Lean't reach you or see you land where my words do not navel Juan Ralf Pans olexos hay una vida entera aque no quiere quedarse (amor stu muro) Elbrillo de ese cuerpo «a vsitar la terra desde donde me entrego pides que vaya Yvuelva con a flor roja de una muerte en las manos: garancia Peso no vaavolver To mean ounsetves there's an entre lifecime thar doesn’t wane to stay (love is your murmuring) you “The dazzle ofthat body <4 visit tothe Land from which Lsarrender you ask it to go ‘And revurn with the red lower ofa death in its hands: guarantee Bur ie will noe returncas DE ACERO tiene (defuge) ‘se pico Lo lamamos amor y un poco sobreviene (na bendidura inde) no basta para (eu fuego —en enelo—) ilueninae RE Sense wives that bid has (ade offre) Weal it love and. well suddenly occurs (dep wheres not enough i fire in flighe—) 0 lluminace Como st amon Inubiera fa ciudad que constrayo pata th desalma dleacis de as dlicias ‘neisible on lala tormenta el rfugion cen corsza de luz Ven alleterno cabaret (wna altieud en pe derabia) sigue cl sonido de los cascabeles ‘Ti (La muerte) por encima de ti deshabitada costurera que descose y cose ‘uerposen mi costado cextranjera, conmigo permanece Asi Lore harbored she city Teonstruet for you debilitaces behind ehe delights invisible in her—the storm the efuge in a carapace of light Come to the everialcabaree (a multitude on the march torage) the sound oflietle bells continues You (Death) in spite of you uninhabited seannstressunsewing and sewing Dodies on my side seranger woman, with me remain 43Ew crtanota de oscuro (feloro plata dducrmes _fuerte perdigon de azahares calla carne del alma sete clava yaces exe sala deriva Moja eu boca Lexquisit golpe: 1un mecimiento mio con el fervor dl odio mielamada aE Ow a rear of dark felted silver yousleep the calm ‘bas weighed anchor and the decay: trong orange-blossom decoy parsidge in the Hesh ofthe soul fastens to you ‘youl down you are doifiing ees your mouth, the exquisite blow rocking mine with the fervor of hate Boneyloved Ajts0s Ganica 70 (ox mensaye gue suefias) igual ati: Ia ciudad de las piedras mana, clcaneo de ti Por esa calle tun cortejo finebre gero se adelanta Yo en eus ojos (derde Janada del amor) me cierto En tu frente sobre a herida luz pongo la sombra de mi mano: 5 Tofesvs Garoes You (rue unssace ‘you dream) exacty like you: the city of stones flows with the song of you Along thar street «funeral procession light moves forward Tin your eyes (from the nothing of love) close myself (On your forehead upon the wounded light place the shadow ‘of my handMrnina vienes a mi clamando ‘moviendo mi oscridad No hay més (que orcuridad donde erech _yhas entrade, Menina “in temor, con la quictud cde wn cuadvo de papel que pasa yque no sabe ‘dinde’ por qué ana fuerza lo trasporta volando No sédedinde viene Menina por qué res, mas a agua que pinta aqut jardin donde wa meta raja expera Vests sler Menina, interna mia yonowy BE Mrxixa _you come to me clamoring ‘moving my darkness ‘There is nothing more shan darkness where [grew up ‘and you bave entered, Menina without fear, with the ranguiity of a shees of paper that passes and does not know vwhereand why a force transports it fying don't know where you come from, Menina and why you believe, yet that water painting the garden bere where a red table waits And these suns “Menina, mine internally Tam not Cinco Five‘angola boa ena de tern —Thugo salva expumase, mastcaerronesplagados de gusanos que seme anudan en lagarganta raspan la pared del paladar .} Ele cobijaba entre sus brazos, Medaba amor. Juan Ralf My mouth is filled with die. A swallow frothy salina, Febew dire-clods infested with worms ‘hat male knots in my throat and sespe the wall cof my palate.) He sheltered mein bis arms, He gave me love Juan Relfo _— OTRAS VECES ME HE HUNDIDO EN ESTA TIERRA ‘y todo oueloe ‘en esta himeda fosa roo oueloe a empecar desde el vacio estamos apretadas _y distantes otro cuerpo germina ence por diente uelve oj0 por ojo mi mujer Orme nes rave PLUNGED MYSELF INTO THIS BARTEL and once again everything into this humid grave and once again everything begins from emptiness we are pressed and distant another body germinates tooth fora tooth once again fan eye for an eye my womanIwnospita en altasboras, amor inmévil nos parece —pero—hay capullos de insectos y aqui estamos: semillas que revientan “Tendida wi de espaldas en a tierra ay contigo Sobre el cuerpo navega la sombea de mi nube yes Ia sepuleura Basen in the wee hours, love seems immobile o us —bue—there are insect cocoons and here we ae: seeds explading You stretched out on your back in the earth Tm going with you Over his body navigates the shadow of my cloud and itis the burial place e_ AMon Ia forma prestada ya se ha ido no hablo Noesun escondsijo cesta sombra en la fosa nobablas amor somos exertion Esun durociclo donde viaja la nube y libre: una muerte mis hondo Love swe are strange thae borrowed form is already gone don’ speak Tes not ahideaway this shadow on the grave don't speak ove we are strange lesa ard sky where the cloud travels and you fee a deeper death swewalleTa vez uve que ooidar ma ee Maree Thad to forget how.Sepriemare SepremaerMenina, vines ami dlamande ‘moviendo mi oxcuridad (na ay mas que escuridad) donde erect, Menina ybas entrada sin tomer com Aa guictud de un cuadro de papel que pasa.y que no sabe donde por qud na fuerza lo trasparta volando, No sé ddedinde viens, Meninay por qué cree mas exa.agua gue pinta agut el jardin, donde una mesa raja expert, yests soles, Menina, interna na Jonesy: “Meni, you come ta me clamoring. ‘moving my darkness (there is nothing more than darkness) where [gre up, Menina and you have entered without fear swith de ranguty ofa sheet of paper that paces and doesnot Ienoe where acd why a force enanpores it fying. don't kw where itis youre from, Menina and why you balive, yet ‘thas water painting the garden here where are table esa ese ss, Menina internally mine Tam not:Entonces tomo una mano de Alba, “Then I take one of Dawn's hands,se (Tal ves tive are obidar como) ay be Thad 10 forge how) Septiembre tana erujiente dorada hoja oscura | terminar su vuelo de silencio sobre el plomo blanco ppudimos hablar del precio dehfe ‘Todos corrimos a desprender los frutos de aquel llameante Arbol de los escombros September crackling sgold-dark leat going ro end its Aight of silence ‘upon white lead for us to talk about the price of fith Weall en +o pall down the fruits off that aming tree of rubble yno aleindove como el humo prises not possible rising up ike smoke *2 Eselmando el que quema (y noel sol) elquelava (nosott0s olvidande) ef mundo tun circulo ejido con los hilos de oro (ynoelsol)ese1 mundo Ws the world ‘shat burns (and not the sun) thae cleanses (owe forgetting) ithe worl 4a citcle knie with gold threads (and not he sun) ies the world Y cquivocados vamos hacia nuestro vacio Gcambin i) tambicn t& con cl sol moviendo las hebras vivas desu lama cen dl pecho cone sol cantando de tu boca: +3 And mistaken we go toward our void (alco you) also you with the sun moving the living strands of ts fame in the chest with the sun singing fiom your mouth:sa Contra el duto cielo plagado delos hombres laluz donde te entregas agua brillanse deja caer un frato dinico devorado perece centre las sombeas arriba estoja es violenta cl hambre de las alas Againse the hard plagued sky ofrmen the light where you surrender water briltiant lees fete fll singular devoured perishes among the shadows above essed iesviolent the hunger of souls El mundo (antes) se defendia hoy yace cen los hombres Lo mueven voces que rmueven Ja marea Sin voluntad (el undo) desolado lo llevamos nosotros (en nosotres) ulead “The wosld (befor) defending sel now lies ‘upon men ‘They move ie voices moving tides Wichoue will (he world) desolate we carry i ourselves (in ourselves): multivudeFue después de la Havia Fanube ‘que ain navega sobre muestras caberas Based tun hombre bbast6 el ademan dle un hombre para agriar Ia semi para incrusearla secular cen todos co ‘Affcr the rain the cloud still navigating over our heads Tewas enough wwas enough the gesture of one man 10 sour the seed secular in everyone Canto cencl desierto hacia ext cielo gris (polve gris tw canto) Based tun hombre solo basté el sol en la vou ddetun hombre Tu mano izquierda Tu mano derecha parde estrellas cerradas como cofies descansan enclcorazdn 397 Sing in the desert sovard this sky grey (dust grey ‘your song) Tewas enough ‘one man alone ‘was enough the sun in che voice of one man Yous lef hand Your right band pair of sears closed like trunks in the heartHacia la casa del corazén “Toward the house of the heart Isingyou Lejos delosescombros siempre yy sin embargo estis en la quietud ‘encima del rectingulo de lareada madera ‘Tras delgada limina (por debsjo dei) oe le oscuridad clic gris Sobre ls dunas de ceniz touerpo ta mano tzquiesda sin idencdad la mano derecha sin idenided 9 Far from the rubble always and nonetheless you are tin the quiet atop the veetangle ‘of lsureled wood Behind the thin laminace (underneath you) the dark she grey sky ‘upon the dunce of ash: the body the left hand swith no identiey she right hand swith no identityNatural sembraré en su cuerpo de su cuerpo (la semilla de sl) Ineacto, mi mujer 0s devolvers el mundo a Le envio recuerdos de su infancia, 6 | ‘Natural will sow in her body. a Fomberbdy endo hess : , send her mementos from her childhood. man itr Mean(Obeerva «gop de cincel: encudnrsate) Co (Observe swith the blow ofthe chisel yourselffind) Palabra (la que ya ‘no se nombra) de qué estas hecha ‘Tabamiz infranqucable descansa enelsol dea hierba def bosque del silencio donde ‘otra palabra (laaudible) smi palabra 446 Word (the one now not named) of what are you made Your varnish. impassable in the sun cof the grass ofthe woods ‘of the silence where another word. (the audible) my word isseveredoF Eshoy cesaqui estoy este bosque donde cu pisada depreda yflames cl sol en sefal deacabar Esestoy este drbol donde la préesis aque ereciden tu alma como pie sobre mi viene andando es coday ishere is I'm these woods where your read plonders and the sun Bickers Signal ofits finish Iest'm this tree where the prosthesis thae grew in your soul like a fooe ‘upon me {goes coming toward a No vuelvas ‘a pasae por encima del polvo la memoria Sin ver el agua bebe del pozo interno dl pozo sustieuco para que cances: Don’tcome again to pass over the dust memory Without seeing the water dink ‘of che incernal well, of che subscituce well so you might sin: 4%66 F Donde los hombres articulan (carentes de Is voz) entonces 6 snort gota cargada de musical vacio nes ahi y smuevas laces alas rojas de los escombros selevancan ‘Where men articulate (lacking che voice) your songs shen you sonorous charged drop ‘of musical void you nourish there and new lights wall red out ofthe rubble Estin lavindose Ia cents (rus manos ‘eran cnencos de cereal de lsc) Escfcayendo el agua cn susabismos (us manos: par de estrellas abiertas) El agua sno acaba nanica decaer “They are washing chemselves the ash ‘your hands (your bands were hollows fo grain for light) “The waters falling in its abysses (your bands pair of open start) The water doesn’t ever finish falling 4°«} Cuando el musical destrozo ocurtid tambign yo ctef bas cantando hacia adelante When the musical destruction, occurred Too believed you were goingalong singing forward clbas ei? oquién iba vistiendo tu reBejo quia poli igualindoxe clsonido Lsonida del bosque Elsonide cenvalviéndonos su invisible Fuego 63 ‘Were you going along? ‘or who ‘went wearing, your reflection who polished flattening you to equality the sound the sound of the woods “The sound wrapping us in es invisible ficeee qué estas hecha? Hecha palabra, (alarbraa donde las cuerdas de La vox ‘el sonido oscuro “abrevene: (nieve) ‘gue pervoe en leuerpo ‘monocorde deleampo inhabitable) Por dentro guiero verce: or (Of what are you made? Made word (barbed wie fencing twhere the vocal chords gotaut and she dark sound suddenly swoons: (snow) that endures in the body monochord of the countryside uninhabitable) Inside wane co see you: Ta frente coronada de seacenasabiertas al invierno Ya se a perdido el rojo Sus raices csté echando lanieve +7 Your forehead, crowned with day lilies open +0 the winter ‘The red by now lost Purting down the snow3 De aquel azul, Fla me entiende. 3 From that blue, She understands me.(Encudntrate elearuzén en medio de la sombra) (ourself find the heart in the middle ofthe shadow) Ora orilla la otlla donde zarpas cen a sangre de todos los euerpos (on tu navio desangre) Con fuerea amicielodesal lal deta marea % Other edge the edge where you sal away in the blood of all che bodies (in your Blood ship) With force to my sale sky the light of your tide6 f Porel calcinado sendero de tu pecho tebusco ofrezco smi cabera; Ia euchilla cde tu respiraciin relumbra ‘Along the calcined path of your chest Teck you offer my head; the knife of your breathing, dazzles Falta poco pata que timbren los trenes y bajen de los vagones tus soldados El ejéreito contralbura ‘ondeando su sedosa bandera (No volveremos a nuestro interior cen las miradas carguemos la moneda reluciente del beso) Not much longer ‘until the trains whistle and your soldiers ‘came down from the boxears Thearmy contrafog thei silky fag undulating (We will mot return fo our interior while in grees wwe carry the coin gleaming oF kiss)Cercanos tus labios calcinados alvaleura de mi corazén, Con barcos areullantes por un sélo suen: van quedando atrés ‘van quedando lejos (90 me be ido) de las palabras que ensordecen aa Nearby your lips ealeined alive at the level cof my heart With lullaby ships they move me through one dream only the others going co stay behind, ‘going co stay faraway (Myself Ihave gone) from words which deafen Quien con Ia fuerza de qué mano cerrada cubrié tu corazdn aw? No sino el recuerdo del color en los ojos: Adin mujer con el sol cantando desu boca ynocnel pechoésta latente Who the Force ‘of wha closed hand covered your heart you? No rather the memory ‘of eolor in the eyes: woman sill with the sun singing from her mouth and notin the chese this your ash leneUna brass gue relumbre bajo el camino. siembre surcas caleinando yen dos micades parta | el fruto sin color paraque | 4 desu centro | vuelve agora detu sangre al mundo lectora capa dela sangre de mis pulsos. oe Alive coal | ‘ gitseting beneath he oad ap eader ofthe blood in my pulse advances sows fareows calcining and in two halves spies the fruie with no color s0 that from its center to the world sight recarn the drop of yout blood(Diente por diente euelve jo por ojo i majer) (A tot fora roth once again an ojeforan eye my woman) Suet Eneventra un bosque de hojas doradas, pore frio Enel cenezo del sueio cescucha manos que se ineroducen enclagua Arrodillados than legado para beber det snes 45 Dream. Find «forest of leaves gilded by the cold In ehe center of the dream listen hands introducing themselves into the water On theie knees they have arived to drink from you reat.a4 | Un relimpago. cen tu corona de euencos antorchada Vas con el interno verdeoscuro-no descansando en tus ojos sobre la barca Lentamente ceacrlla la marea Alighening-bole in your corona of hollows roiched You go with the internal greendark-no Festingin your eyes serene you go fon the boat Slowly the tide falls you Dulce era el agua det ago Yo podia ver el fondo Arrojaron punzante la picdra como cl latido de su corazén Laprimera seinerusté en oscureciendo In your lake the water was sweet I ‘could sce the bottom “They hurled the scone stabbing like the beating of their heare “The first ‘encrusted in you darkening 4%Septiembre cera su pecho (on coro invierno vivo) porencima Isfuente donde puse con os ojos cerrados smi cabera Gleracl verde mac de drboles 86 September was the chest (with the autumn alive winter alive) fon top the fountain where I pue with my eyes closed iy head he was che green sea of wees Lapérdida Inundee brillo degarfio en ociego alumbra yparce hacia dentro de mi alumbra Jas dos mitades de mi cuerpo) Loss plunges the grappling ion bright into what is blind illursinares and goes away sovard the inside of me illuminates the two halves of my body 4%m8 Busco Ja compuerta de acer para posar mi odo (igo tw coracdn igo La luz que lo levanta) Puedo dare agitada la beuma cde mi respiracin (pero no puedo verte) pero teexcucho (pero no puedes verme) seek the seel hatch ko rest my ear (hear your Beart hear the light shat lifts it) lean give you agitated the mist ‘of my breathing (bus I can’ see you) Due Uheae you (but you can’ see me) 5 ‘como ya antes lo habia sido, asshe had been beforeCC e—— (Lala tabla sin asdero de todos lor dolores) "0 (he soul plank with no handhold enpty ofall servos) Monedas de sombra csparcidas| sobre el sol de os érboles Compraremos la mis billance loz de eternidad ‘Toma una dl tamano de mi corazén Dimela sostenka deta mano Coins of shadow scateered upon the sun ofthe trees We will buy the mose brilliant light of ecernity Take one the sie of my heart Giveietome hold onto it from your hand tomy handLucificada sembré en hombros enemigos Ia loe que desprendi dew cabeza Ella cava la sombra del drbol exteanjero Jen, paral frente del enemigo son ews petalos dluleeslobelias Lightified sowed stop enemy shoulders the flower pulled loose from your head She exeavates the shadow ofthe foreign tee Jen, for the enemys forchead yout petals are soft sweet lobelias Entonces las apiladas piedras armando ea figora (piedras donadas de septiembre) cestaban enteras todavia Pero bajé el andamio el hombre boguiersitico cestrellando drdenes desde cauterizada lengua yla proves aque crece desu alia en pie dio contigo: 93 ‘Then the piled-up stones forming your figure (gol stones of September) were whole sail But the man came down the scaffold cerratic-mouthed ‘exploding orders from a cauterized tongue and the prosthesis thae grows from his soul seanding found you:Cruza el murmullo de sangre hase a orilla donde mis vacias manos Javan abiereas sus abismos (Lo que me obra essombra) bre la compuerta de sol para que vengas Ven (como quien) vuelve vivo ot Crosses the blood murmue to the shore where my empty hands ‘open wash, their abysses (To excere: a shower of shadow upon me) Opens the sun hatch s0 you might come Come (as who) hhoze again alive Aleo. lacara alzo Ia pregunta Ja pregunta es la sefal que coma ri (em este lage) el alma {rie (on este campo) el cuerpo {rit (en ese viento) la v0: condeando mi silencio atusilencio 1 amy face Lie ‘my question the question isthe sign that cuts _grey (on this lake) the soul ‘ere in this field the body ‘ere fn this wind) the voice undulating my silence to yoursilence 95‘ del murmullo frente al resplandor. 6 ‘ofthe murmuring opposite the splendor.(Sé Lue sé lémpars) 8 | (Be Light be lantern) En ka parce del drbol de todos nuestro nuestro desconocide cexcucha: Ge. mi corazén ‘Modelada de bacteria la punta quer (con mano fta) hhundes abt: _quitdrgico In the part of the tree allof ours cour unknown, liseen hac is my heart formed of bacteria the tip you (witha cold band) bury there surgical ea la uz que lo levanta that is delight at lf it 99(ruc vers) [No vers brotar mis _que soxpresivas gamas naturales devida: ae (you'll never see) You'll never see anything bud other than unexpected natural spectra of lifeae Nora SOBRE L08 TITULOS-EPIGRAPES EN CADA Entonces tomo la mano de Alba. Le encio veewerdos de ‘sm infancia, De aguel azul Ella me entiende,lectora ‘capac dela sangre de mis pulses, como ya antes lo baba sido del murmullo frente al resplandor —Jesiis Gardea Fragmento del cuento *De Alba sombrt Nore on THE CHAPTER TITLES/EPIGRAPHS: ‘Then Itake one of Dawn's hands. Lsend her momentos from her childbood. From that blue, She understands ‘me, apt reader ofthe blood in my pulse, as she bad been Before ofthe murmuring opposite rhe splendor. esis Garden Excerpted from the short story “OF Shady Dawn”“TRANSLATORS NOTE: May Bel Hap To Foncer How 1 ThePainina Name Dovor—esel nombre cellos cn estrelladas sombras Imantados desde ahi desde el dofor desde el nombce Enjuego Ia came ycorsz6n de almaepidermis Paw, DoLOR—is this name is pain they in aramashed shadows oan ‘Magnctize fom there fiom the pain, dolor fiom the name “from Povmar para wt, Eiones El Tackn de Virginia, México, DE 1999, 105In play the flesh and hear of the epidermisoul Tetook me close to year to transac the Fie line of his mall poet from Dolores Dorantes'frst book. In Spanish, “dolor” :means pain or sorrow; “dolores” isthe plural oF "dolon” (or rather, English, as fered through me) cannot possibly expressas sccinctlyand beausiflly as Doloves does in hee \work the idea that her name in particular is made of multiple ‘Pains, and also that naming selfs a kind of pain, char out ofthe sorrow-fled, effortful relationship “in play” between pain and name can be lured all kinds of manifestations, both surface and deeply interior. In this momen of translational difculty Lbegan co understand the complex interplay bberween subjectivity and objectviy in Dolores’ work, even asher writing itself reinforced the ida that all translations (in fcr, al effores to name, these repeated attempes—Faulty, desirous, optimistic—at ordering our world through langsage) are only provisional versions, cates of potentially mistaken (yet serongly expressed, and strongly expressive) identity, (Blab tabla sin asidevo acto de todet ls dolores) (The sou: plank with nohandbold empty ofall orrows) Empty ofall “dolores” the souls aconerete, tactile objec: i can be pereeived o touched, ut no grasped. Nor do names provide any particular handhold: rather, inthis work we Investigate the hollow spaces out of which names have been «mpried. Dolores Dorantes by Dolores Dorantesisa lifelong series of interconnected books begun nealy a decade ago, with Dolores first book, Poemas para nia. By titling this -work with her own name, Dolores distances herself from subjectivity even a she inevicably inhabits it. The sis the work of poetry, and poems are nor just versions of the ‘world, but versions of ourselves. Names are not the objects or subject they designate: che name isa prosthesis. The book, the sequence of text, the name: all ofthese are objets, a8 in ‘this work Dolores becomes, through her name, an object. “The person—Dolores Dorantes or anyone—cannotbe held by anything other than a word, and words do noc hold, are hollow. A hollow ina hollow the pain in name 2. Againet Amerleanzaton Unlike many writers [encountered in my explorations ‘of Mexican iterary communities while working on the anthology Sin puerta sible: Am Anthology of Contemporary Poetry by Mexican Women, Dolores originally had no desire tose her work translated into English and published in che United States In ft, she was 0 reluctant respond tothe call for work I sent out seeking texts by emerging women, ‘writers that her friend Roberto Caillo, whose interest was piqued by my projec, ele compelled to bring s large envelope tober house, gather examples of her work, and deliver them, «othe post offic himself Meanwhile, in Mexico City nad heard of Poemas para nis because Iwas familiar with the book’ publishes, Fl Tucin de Vieginia, though I had ‘been unable to find a copy. (In the absence of any resource like Small Press Distibution, this is sadly a rather common ‘experience with smaltpress publications in Mexico). After ‘months of pleasurable but frustrating searches in numerous bookstores, had finally given up. Then I received the aforementioned envelope inthe mail. The moment began. reading Paemas pane ntos | was electrified —with a physical, almost skeletal thill—and [knew that I absoluely had to cdo anything and everything could to work with Dolores, Doranees 107a . [ Pobre de Mésico, goes the wellknown joke, an lejos de dios _y tan cerca de Estados Unidos Poot Mexico, sof from God sand so close to the United States, And this is perhaps doubly, true for che areas in Mexico that share a border with the US. Since childhood, Dolores has lived in Ciudad June, jue a fev miles from El Paso, yet despive twenty yeas of physical proximity tothe United States (or peshape precisely because fit), Dolores gaze was, until we began working cogether, resolutely eurned souehwatd: coward Mexico, and cowed the rest of Latin America, Dolores interest in poetry, however, isavid and borderless, and that inetes as never excluded. Englsh-hoguage poets—catly on, her particular favorites were TS. Eliot and ee. cummings. Her antipathy cowaed translation into English was primarily iFnot solely, political Jn nature, As such, itwas not only legible ro me, but actually seemed entiely reasonable. The US. image bron is ess than charming, especially when witnessed up close In Juste, US. presence is most palpably fle in the prevalence of big-box superstores, the brutal economics of che maguilas which licerally fame the city geographically on all sides except the border, nd weekly invasions of voraciously ignorant consumers of certain aspects of supposedly “Mexican” culeue. (Ona global scale Dolores and I shae a categoria rejection of the ways the US. imposes ies polis on the larger world cology, Dolores is unique among Mexican writers on many counts. Her editorial and poetic practices and her absolute refusal to buy into the state-sponsored shackles of lterary grants and prizes in Mexico ll signal her radial commitment co literary and personal sronomyy. The sycophantc, imitative gestutes— both literary and social —which ave all to prevalent in Mexican letters and are expected in exchange for economic oreditorial favors bestowed bythe ruling classes disgust her, and sheis not shy about saying so publicly. Her witings, her small pres publishing ventures, and her border art collective, ‘Compania Frugal ll fanesion in diferent ways to construct spaces for an altecnative, non-elts,ani-auchortarian way ‘oflbcingin the ares. Given the ways she enaets hee polities, shen, I found ic unsurprising that Dolores would have cant aspirations towaed the “upwardly mobile carcer move translation into English often implies among Mexico literary establishment For my pars, my interest in patriotism has always been 2er0— ‘or pethaps something more enthusiastically ane-nationaist and anc-imperialist chan zero. Before [moved to Mexico, hhad never considered myself especially “USAmerican’ both by predilection or lack thereof) and by virtue of having a father ‘who is an immigrant whose parents, in cuan, were immigrants (hough cis say aceally make me quintessentially ‘USAmetican), Personal history aside, [indie patently impossible to he proud of ofcal US. conduct che world by any measute imaginable. Furthermore, fim in many ways swayed by Tijuana write, philosopher, and gadly Heriberto, Yépe’s argument that all translation into English (and other colonial languages) sv some extent a colonizing act.” Why, then, would I want to bring Spanish language writing into English, in the process potentially legitimizingrwolayersof 109 historic and contemporary linguist colonization—thar of Spanish and chen again thae of English? have found that ehere s nothing quite lke foreignness ro emind us of where we come from, and how that impacts ‘who we are. One ofthe many things [eared while living in Mexico is how very grnga Tactually am, notwithstanding yy passionate rejection of many aspects of US. culture and comportment. And one of the many things lean from ‘ransating is how involved Iam with English—in love, realy, ‘with ll the ambivalence sel doub, and Fear loving entails Notwith English monogamousy, and notas an obliterating ‘or necesatily primary force within che world (though I cannot deny hat English has been a primary force within my personal ‘world, but with English as an elastic, Buoyant, changeable, expressive force within me, and within many weiters and thinkers whose work sustains me, and whose work creates the possibility for English robe other than what it as been, other than whac tis In face, its precisely my desire vo participate See Wis Trem Df, & Moths. (Pactory School 2007), and hups//nexptimena blogspot.comin creating such possibiliies—ro undermine the linguistic and political hegemony of my” counery and is hnguage deployments and ar the same time to interrupt my own abi and ruts as awriter—that leads me to devore so much of my artiste life oteanlation, (Once Dolores and Ibegan corresponding, and more when we began working closely together on eandating hher work, we both realized chat in many ways, poetic and ‘otherwise, weare kindred spirits. Our working relationship isone of dynamic exchange affectionate challenges to each ‘other’ thinking (and, ofen, wording), and immense mul respect. Asin any intimate elationship, translation entail he

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