Nexhu’ daapu’ biruba xiñá’,
guidila’du’ nusiasi balaana laa.
Nacu’ ti guie’ biele gasi ne ti bicuini ná’,
ti xho’ cubi cayuu ndaaya’ ra birá gueela’.
Lexu cayé’ niidxi sti’ beeu naya’ni’ dxindxi.
Guirá’ niza cuyaa ne bi xti’ yoo li’dxu’.
Zedanda saa ne zuyaacabe ne xhelu’,
rendu ti larigueela’ ne ca i’cu’ pora guiluxe saa:
guirá’ ni nari’ni’ naguenda rirá.
Napu’ ndaani’ ladxido’lo’ ti guendaracaladxi’ caluxe
ma’ qui zagui’tu’ buñega ne ca biza’nu’
ne ma qui zaba’quilu’ lari ndase bichonga ne
dxi gaca’ nanda’lu’.
First Resting Place
You sleep covered in red tulips,
your body numbed by honor.
You are a flower only just prized by a pinky finger,
a new aroma is baptized as night falls,
a rabbit drinks milk from the colorless moon,
a cornfield dances with the wind in your house.
Music will come and they will dance with your husband,
wrapped in your coverlet you hope the fesivities will end:
all virginity is ephemeral.
In the middle of your heart a desire expires,
you’ll never go back to playing with dolls
never run the streets in starched bloomers
when it’s hot outside.
Nacanu ti bandá’ naduubi’ sti’ bi,
ruaa bi richeza lu xnisanu
rutiidi’ xquibaxubi ladinu,
huaxa cadi nacanu ti daa reza.
Dxi nisadó’ gue’ ca nisa biina’
gúle ti dani zidi galahui’ guie lua’.
Napa’ ti dxumi guidxi guie’ xtiá gan’da’
ne biruba’ xiñá’ quiize’ dxi lanixpidua’ya’.
Zareenia’ ti xigagueta zuchaya’ ndaani’
guendaruxidxi naxhi ne xindxaa candá’ nisadxu’ni alcanfor.
Naa nanna’ xinga guenda bizabi,
xisi napa’ ti lari ro’ raca yoo
ra rusieeche’ cani nadxibalú ruxhague’ doo xpisuude’.
We are a clear-cut portrait painted by the wind,
his mouth wrinkles our waters,
the palette knife glides by,
but we aren’t a broken surface.
When the sea dried my tears,
a salt mine formed in the center of my eyes.
I have a basket full of fresh basil
and tulips to give away on my birthday,
I will emerge, my tray overflowing with honeyed smiles and
I know all about being an orphan,
but I have a tent where I delight
anyone who dares to loosen my underskirts.
Translated by Clare Sullivan
Natalia Toledo has written four books of poetry and two of prose, all bilingual (Zapotec/Spanish). She has read her poetry in Latin America and the United States as well as Europe and Asia. Her work as a jewelry and clothing designer and chef reiterates the lively imagery of her poetry.
Clare Sullivan is an Associate Professor of Spanish at the University of Louisville, where she teaches poetry and translation. She received a 2010 NEA Translation Grant to work with Natalia Toledo’s poetry. The resulting work, The Black Flower and Other Zapotec Poems (Phoneme Media, 2015), was short-listed for the Best Translated Book Award. Her translation of Alejandro Tarrab’s Litane is forthcoming from Cardboard House Press.
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