I am going to pawn my heart
until it becomes a bird and from it fall
new stars for the world.
Because I still travel
—I am a stranger—
and in the cities, the bridges
fall silent and hurt me.
I am going to protect myself from atrocities
and from injustices
until the twilight turns pink
and scars over.
I, who denied Christ on the first ship,
finally understood the meaning of the word goodbye.
It’s not a simple send-off:
it is the moment when everything sinks
into the white and transparent seas of numbers,
and the flower it lost, the only proof
of the existence of a paradise.
It is the moment of loss of the immediate heat
of the air that encloses and separates each
thing that exists in the world.
We move away from the city,
misfortune, misfortune, etc.
In which we make
no more songs.
Our flute remained buried
in the roots of a willow:
destroying the ground,
raising streets and paving stones.
We go far, friends:
where the cows drink,
where the sap flows.
Our verses need
to be judged,
but in more savage lands...
Juan Arabia (born June 18, 1983 in Buenos Aires, Argentina) is a poet, translator, and literary critic. He is a graduate of the Faculty of Social Sciences of the University of Buenos Aires, where prepared and published a thesis on John Fante and Italian-American working class culture. He is currently the director of the press and journal Buenos Aires Poetry, which has published works by writers including John Ashbery, Dan Fante, Robert Darnton, Mark Ford, and Alan Jenkins, among others. He also collaborates with various other publications, including the journal of the University of La Rioja, Department of Modern Philologies (Spain), the La Torre del Virrey journal of Cultural Studies (Universidad Internacional Menéndez Pelayo de Valencia), the cultural supplement of Diario Perfil (Argentina), and as Argentine correspondent of POESIA (Universidad de Carabobo, Venezuela).
His published books include John Fante: Entre la niebla y el polvo (El fin de la noche: Buenos Aires, 2011); PosData a la Generación Beat (Buenos Aires Poetry: Buenos Aires, 2014); El Enemigo de los Thirties (Buenos Aires Poetry: Buenos Aires, 2015); John Fante: Camino de los sueños diurnos (Buenos Aires Poetry: Buenos Aires, 2016); El Enemigo de los Thirties (Ril Valley: Chile, Los Leones, 2017); Il Nemico dei Thirties (Samuele Editore, 2017); and collana Scilla (Fana, Italia). His translations include Nuevos Versos y Canciones (Arthur Rimbaud, 2014); Un-gin-meando… (Dan Fante, 2015); and Lustra (Ezra Pound, 2016), among others
Arthur Dixon works as a translator and as Managing Editor of Latin American Literature Today. His translation of Andrés Felipe Solano’s “The Nameless Saints” (WLT, Sept. 2014) was nominated for a 2014 Pushcart Prize, and his most recent project is a book-length translation of Arturo Gutiérrez Plaza’s Cuidados intensivos (see WLT, Sept. 2016).
The fourth issue of LALT highlights underrepresented but deserving voices from across Latin America, with a focus on women writers as well as special sections dedicated to genre-bending science fiction, indigenous-language poetry and prose, and the essential relationship between author and translator.
Table of Contents
- "The Poetry of Pedro Lastra" by Marcelo Pellegrini
- "Against the Eviction of the Poet: An Introduction to the Poetry of Juan Arabia" by Rodrigo Arriagada Zubieta
- "Physics and Poetry: An Introduction to Luis Correa-Díaz" by Alberto G. Rojo
- "Juan Ramón Jiménez, Parisian Perfumer" by Néstor Mendoza
- "In Memoriam: Rius for (Absolute) Beginners" by Radmila Stefkova
- "The Copy is the Original: The Problematics of Juan Luis Martínez’s Posthumous Works" by Scott Weintraub
- "A Room, a House, a City of One’s Own: Four Women Prose Writers from Latin America" by Sebastián Diez
- ESSAY: "Five Women Writers in Translation" by George Henson
- FICTION: "Pharos" by Jazmina Barrera
- INTERVIEW: "Eavesdropping": Snippets of a Conversation between Jazmina Barrera and Christina MacSweeney
- FICTION: "Tree Monster Boy Tree" by Mariana Torres
- INTERVIEW: “There is no better reader than a translator”: A Conversation with Mariana Torres by Lisa Dillman
- FICTION: "Series 201" by Luisa Valenzuela
- ESSAY: "Too Cute for Tiny Tale Tellers: Some Thoughts on Translating Series 201 with Luisa Valenzuela" by Grady C. Wray
- POETRY: "March 10, NY" by Jeannette L. Clariond
- INTERVIEW: A Conversation with Jeannette L. Clariond by Samantha Schnee
- POETRY: Three Poems by Carmen Boullosa
- Sarah Booker: Translation is like "Trying to Remember a Dream": A Conversation with Denise Kripper
- “Living out of place has led me towards the defeat of the real”: A Conversation with Pablo Brescia by Thomas Nulley-Valdés
- "Symphonies of Literary Violence: A Conversation with Pedro Novoa" by Gabriel T. Saxton-Ruiz
- "A Sample of Colombian Poetry" by Camila Charry Noriega
- "Poetics" by Juan Manuel Roca
- "Outdoors" by Amparo Osorio
- "Two Days for Lázaro" by Mery Yolanda Sánchez
- "Perfect Unreality" by Pedro Arturo Estrada
- "Light and Shadow Make Up the House" by María Tabares
- "Downpours" by Alejandro Cortés González
- "I Make My Way Through the Deserted City" by Lucía Estrada
- "Untitled" by Juan Guillermo Sánchez
- "The Snack" by Andrea Cote-Botero
- "Janis Joplin" by Henry Alexander Gómez
- "Eternal" by Margarita Losada Vargas
- "They say the last flame" by Tania Ganitsky
- "The House" by Jenny Bernal
- "From a Distance, You Can Only Ask" by Juan Afanador
- "Magdalena River" by Robert Max Steenkist
- Arboretum by Jotacé López
- El último apaga la luz by Nicanor Parra
- Lennon bajo el sol by José Adiak Montoya.
- Temporada de huracanes by Fernanda Melchor
- Pasos Pesados by Gunter Silva
- La derrota de lo real by Pablo Brescia
- La troupe Samsonite by Francisco Font Acevedo
- And We Were All Alive by Olvido García Valdés
- Cicatrices y estrellas by Francisco Véjar
- La sinfonía de la destrucción by Pedro Novoa