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.