Language: Spanish

Translation Tuesday: “Priest without Judgment” by Sara Munizaga

Reconciling Jessica with the faith was perhaps the task God had entrusted to me in this life, the reason I had been preparing for years in silence.

For this week’s Translation Tuesday, we present a short story by Chilean writer Sara Munizaga, translated from Spanish by the author herself. In it, a Catholic priest reflects on the frustrations of his vocation, recounting numerous examples of so-called believers whose behavior belies their professed faith. His suppressed anger conflicts with his desire to embody God’s all-encompassing forgiveness. This all comes to a head when he is asked to officiate the wedding of Jessica, a former object of infatuation who, in his telling, led him on and then cruelly rejected him. Munizaga’s story is a cynical and clever exploration of religion, gender relations, and above all, the self-deceptions that control our lives.

This vocation makes you indolent: deaths, births, and people in general cease to matter, because nothing is more demoralizing to the soul than speaking of God’s love to those who are not listening. We know they come here, to the church, as a last resort—without hope and without any genuine desire to hear the Lord’s message.

They convert to religion at the last minute, under pressure, for on their deathbeds they have no salvation plan other than the one I can give them. I feel their trembling hands clutch at my cassock, trying to keep the fate of a hell they so carelessly secured for themselves from swallowing them whole. Now they fear facing the devil when death is imminent, but when they were healthy they felt immortal and could not be bothered to live virtuously or serve others.

For that reason I spare no one in my funeral sermons. It is the only time I obtain an audience held captive by grief, and I lecture them with tedious catechism texts as a punishment for their superficial and agnostic lives. I am unmoved by the widow’s inconsolable weeping or the mourners’ emotional speeches. I know they are hypocrisy; and I will not worship any god but the God of truth, my Lord Jesus Christ. It is so simple to understand: one need only look at the life of Doña Patricia. Five children, twenty-five grandchildren, six great-grandchildren, and every day she arrived alone at the noon mass, accompanied only by a nurse hired by the family—who preferred to pay a stranger to take charge of the woman who gave them everything. The Christmas before last, Doña Patricia confessed to me that she had kept all her relatives’ gifts, still wrapped, there at the nursing home where she lived; her family never came to see her, and she was left alone during the holidays. And yet, a year later, at her funeral, the church was overflowing—not a single seat left empty. Then she achieved the full attendance she would have desired. I wanted to have the nerve to throw those still-wrapped gifts at their faces from the very altar, but that is not the Lord’s way. He is almighty and teaches us to find forgiveness. A greater crisis will come to that family that will rouse them from the selfish stupor in which they conduct their lives.

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Translation Tuesday: “Cicada Green” by Ju Donzelli

The giant cicadas came and went, hurling themselves at Iturbe. He kept waving his arms, trying to scare the bugs off.

A languid summer vacation takes a distressing turn in this short story by Argentine writer Ju Donzelli, translated from the Spanish by Grace Penry. A group of high school friends abscond to a nearby town to swim, drink, and hang out, but the relaxed atmosphere slowly grows more tense, leading to an altercation between two boys—one of them being the slender, soft-spoken Flaco Luna, an anomaly among the guys and beloved by the girls. The sudden outbreak of violence reveals the unspoken tensions of adolescence, when masculinity must be achieved through publicly dominating others, including your own friends. Between the electrifying fascination of otherness and the terrorizing brutality of conformity, the boys’ fragile ecosystem is fiercely shaken by the incident.

I don’t go on vacation with the guys from high school anymore, but with Flaco, I’d go again. The last time we were all together we went to Guayamba, one of those towns where we Santiagueños will spend a couple of days because it’s nearby, because there’s a river, because it’s cool and cheap.

In the evening, the giant cicadas started getting on our nerves. It’s always like this, but on this day in particular they screeched and screeched. They look like other cicadas, only much bigger and rounder, the area around Santiago is full of them because of the carob trees. They’d zoom past us and hit things like projectiles, making a dry sound when they slammed into the wall. That’s what’s so funny about them: they sound empty when they bang into something and they’re always acting like they want to kill themselves. If there’s a pool, the first thing they do is head straight into the water and buzz their wings until they drown and die. And if you take them out, they’ll jump right back in. It’s an infinite loop lasting half the summer. 

Whenever we’d go to Guayamba, we’d stay in Manso’s parents’ house because it’s pretty big and has a pool. Us guys had taken our clothes off, it wasn’t that hot out, but we were drunk, the humidity made the air dense, and during the siesta we’d sunbathed at the river. Plus, the power kept cutting out because it had rained, and the fans kept turning off. The girls were still in their shorts and bikinis, with their feet in the pool and hair dripping with the smell of chlorine. 

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary updates from Bahrain and Puerto Rico!

This week, we are proud to introduce one of our newest Editors-at-Large, Amal Sarhan, for Bahrain, alongside first-time contributor Alejandra Camila Quintana Arocho, who gives us a dispatch from Puerto Rico. From a long-delayed book fair and ongoing discursive panels in Bahrain to the launch of a new book festival in Puerto Rico, read on to find out more!

Amal Sarhan, Editor-at-Large, Reporting from Bahrain

Bahrain is a quiet country to many. Dotted with date palms, surrounded by sea, and appearing as a mere speck of dust on the world map, it is natural for locals to feel an air of insignificance, including with regards to its literary scene. While the bellows of the recent launch of the 20th Sheikh Zayed Book Award, the Riyadh International Book Fair in October, and the ongoing Sharjah International Book Fair reverberate far into the Arabian Sea, the Bahraini equivalent has been delayed for years, our dismay at which has been cleverly captured in this very poignant caricature by the famed Bahraini artist Khalid Al Hashimi.

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Weekly Dispatches From the Frontlines of World Literature

The latest from Spain, Romania, India, and the Philippines!

This week, our editors bring news of publications with big reputations, celebrations of nature writing in the Himalayas, and a new city joining the prestigious line-up of UNESCO Cities of Literature. Read on to find out more!

MARGENTO, Editor-at-Large, reporting from Spain

From November 5 through 11, the Romanian Language and Culture Center at the University of Granada, Spain hosted a series of events featuring the major voices and rising stars of contemporary Spanish poetry, some of whom included writers with Spanish-Romanian identities, connections, or collaborations. Amongst them, the prolific and multiply awarded Romanian-Spanish poet and painter Mariana Feride Moisoiu was given top-billing, and people crowded in for her reading-performance.

Feride Moisoiu is the founder of the international festival Mujer, Manantial de Vida (Woman, Source of Life), in addition to coordinating the festival Grito de Mujer (Woman’s Scream) in Villa del Prado, Madrid, which focuses on women’s voices, empowerment, and gender equality. She serves as the executive director of the literary magazine Krytón (also published in Villa del Prado), while also being the honorary president of the Casa Nacional de Rumanía (Romanian House/Institute) in Getafe. The event in Granada presented an opportunity for Feride Moiosiu to launch the latest issue of Krytón, coedited with poet Cristian Mihail Deac, which pays tribute to the journal’s founder, Cornel Drinovan. During her reading, the poet moved the audience through a serene and relentless, indomitable cadence, one that placed lyric femininity at the heart of a multifaceted—political, sentimental, and cosmic—vision. READ MORE…

What’s New in Translation: November 2025

New work from India, Serbia, France, Colombia, Mexico, Puerto Rico, Iran, Spain, Lithuania, Palestine, and the Vietnamese diaspora!

This month, we’re bringing reviews of eleven different titles from eleven different regions, from a trilingual text of experimental fiction that veers between Vietnamese and English, a visceral and psychically frenetic portrait of a marriage gone wrong, a rich collection from a master Iranian poet that gestures towards his remarkable life, and the latest metafiction from a Spanish literary giant. 

dog

Dog Star by Nabarun Bhattacharya, translated from the Bengali by Subha Prasad Sanyal, Seagull Books, 2025

Review by Jason Gordy Walker

Something’s rotten in the city of Kolkata. A corrupt managerial class—within which mad scientists and war-mongers play a major role—has conspired with local authorities to capture, confine, and starve as many canines as possible. While the city’s “dead serf-servants and healthful, cellphone-carrying ever-connected mummies and balloons” stagger through their dystopia, the dogs have disappeared from the urban bustle, and no one cares. Animal rights groups have been eliminated, and in the way of Nazi death camps, the system targets even newborn pups. What’s a dog to do in these last dog days? “Bark! Bark!” replies the snappy refrain of Dog Star, the lyrical, subversive, and highly re-readable novella by Bengali writer and poet Nabarun Bhattacharya, delivered in a kinetic English by Subha Prasad Sanyal, who has doubtlessly advanced this innovative author’s reputation in world literature.

A self-proclaimed fable, Dog Star leads the reader through dark alleys where street dogs—“nerikuttas”—hide from “pincers,” form alliances, trade information about current dangers, and strategize escape plans, looking to the constellation “Lubdhok, aka Dogstar, aka Sirius aka Alpha Canis Majoris” for liberation. These survivors, along with their unlikely feline allies, are anthropomorphized in their emotions and dialogues, and their plight, although set in West Bengal, is familiar enough to seem representative of any place under political (dis)order. The Netanyahu regime’s genocide against Gaza comes to mind, for example, as do the active “detention centers” in the US: “They’ll yank and drag you by your neck with the pincers to the caged car. Then throw you in.” Bhattacharya does not avoid visceral descriptions of animal torture, but he balances its brutality with astute irony, giving the murderers absurd lines like: “We must pay heed that there aren’t ridiculous expenses.” READ MORE…

Clinical Time in the Age of Late Capitalism: A Review of My Clavicle and Other Massive Misalignments by Marta Sanz

Ultimately, Sanz’s work is a litmus test to understand how women, their bodies, and their experiences are trivialised.

My Clavicle: And Other Massive Misalignments by Marta Sanz, translated from the Spanish by Katie King, Unnamed Press, 2025

In  2020,  I  was  a  postgraduate  student amidst the COVID pandemic, writing my term-end assignment on Julia Kristeva and her concept of women’s time. Unwittingly, my professor had made a small typo in his materials; instead of ‘cyclical time’, he referred to the concept as ‘clinical time’. The term mystified us, and the entire class was held in a collective confusion in attempting to associate it with Kristeva. The error was later rectified, but not without arousing my interest; I was already thinking about the accidental ‘clinical time’, its importance magnified by the medicalised rhythm of the ongoing pandemic.

If Kristeva’s cyclical time is an indication of repetition and return, clinical time to me indicates a similar ebb and flow of a body in pain. Pain shapes time to be clinical; there is a surge and then a slump, affording the passing moments to be monitored and tracked and traded. In retrospect, the professorial mistake was actually a serendipitous slip that had already begun to align with my understanding of the physical world, an elucidation that was magnified when I encountered Marta Sanz’s My Clavicle: And Other Massive Misalignments. It was as if the error had already prepared me to read her work with a newer focus: to think of pain as a symptom as well as a diagnosis of misalignment, both physical and societal. READ MORE…

Translation Tuesday: “A Scorpion in February” by Guillermo Fadanelli

Further knocking ensues, irritable and unseemly. I’ve been tempted to answer with barks, but I’m no good at imitating animals.

Who’s waiting on the other side of the door? In this week’s Translation Tuesday offering, a darkly comic short story by Mexican author Guillermo Fadanelli, the anxiety of being seen overwhelms our narrator—even when there’s no one else around. It’s for that reason that the threshold, the thin barrier between inside and outside, becomes a sacred space, protecting his tranquil sanctum. From a safe distance, he surveys his surroundings with a mixture of fear and curiosity. But when a neighbor comes calling, he must cross that boundary and confront the bewildering, savage world outside. Translated from the Spanish by Helena Dunsmoor, this story examines what it costs to exist alongside others.

When some person comes to my house and knocks on the door with their knuckles, my heart suffers a strange tremor. Suddenly paralyzed, I can’t move at all or answer out loud that yes, I’m in here hearing your knocking. Then I start thinking about the possibility of opening the door to find out who’s on the other side waiting for a reply, at least. I’d love to own a dog whose bark would let intruders know that things aren’t so easy in here. But the gaze of dogs is unbearable, and it would be hard getting used to looking him in the eye every day. So many times in my life I’ve had to call something off just because a damned animal is watching me.

Yesterday, while I was writing a letter to the director of a charity, three blows—flat, dry, free of reverberations—slammed against my apartment door. I tensed up right away. My spine lost its usual curvature and my fingers curled like seashells. I always nurse the hope it will be a mistake. The individual standing just feet away, separated from my person by nothing more than a thin wall, looks up to confirm the error. The metal figure on the door is quite clearly the number 5. It could look like an S, but I truly doubt anyone would come into this building looking for an S. Things never go that way. Instead, further knocking ensues, irritable and unseemly. I’ve been tempted to answer with barks, but I’m no good at imitating animals. When I was a boy I could moo like a cow, bleat and even trumpet, but those days are gone.

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Our Fall 2025 Issue Is Here!

Featuring Nay Thit, Jen Calleja, Patrick Autréaux, and Johanna Drucker in our Special Feature on Attention

The world rewrites itself daily, unable to leave the past alone. As Trump’s relentless theatre once more monopolizes our gaze—proof, perhaps, of what Johanna Drucker, in her timely essay “Attention as Predation,” diagnoses as a civilization that is consumed even as it consumes—the question becomes what still endures beneath the smudged text of the present. Palimpsest, our Fall 2025 issue illustrated hauntingly by UK-based visual artist Jayoon Choi, turns to those deeper inscriptions: the faint, resistant traces that refuse to fade, the ghosts of meaning that survive the next rewrite.

In Amanda Michalopoulou’s “Desert,” Athens emerges as a manuscript of light and stone, its ruins glowing like marginalia of time. Carla Mühlhaus overlays the Black Dahlia murder and Andersen’s mermaid over Venice’s 2019 acqua alta, letting myth and crime shimmer beneath the rising waterline. Likewise, Barbara Köhler gives Homer’s Penelope her overdue monologue—both weaver and mermaid surfacing from the sediment of male authorship to reclaim their narratives. From Kazakhstan, Marat Uali laments the vanishing of minority tongues, an anxiety echoed in Tim Brookes’s interview on his Endangered Alphabets Project, where each carved script becomes an act of remembrance. In William Heath’s sparkling update, Herodas gives us drama composed on papyri—reminding us that even the most fragile art can defy oblivion.

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This issue’s wildcard Special Feature, “On Attention,” brings together thinkers and storytellers who resist the culture of erasure. Monika Vrečar asks whether poetry can still exist amid the static while Farah Ahamed, in an astute piece of film criticism on the Bollywood classic “Lagaan,” notes that the monsoon is also a season in the body. Elsewhere, Korean artists Koi and Hyungmee Shin—hailing from opposite sides of the 38th parallel—make masterful use of fabric to create radiant topographies of encounter, while Ecuadorian master Pablo Palacio’s “The Double and Singular Woman” (tr. Thomas Taylor) anatomizes the fractured identity of a pair of conjoined twins with a proto-modernist precision that feels radical in our own fragmented age. To read these works together is to experience literature’s own layered materiality.

If this issue has a thesis, it is that world literature does not replace; it accrues. Help us write the next layer: submit to the second installment of our “On Attention” Special Feature (as well as to our regular categories) and apply to join the team (deadline: November 1st)—we especially welcome applicants to the Assistant Editor (Fiction) role. A final note for the record: László Krasznahorkai, this year’s Nobel laureate in literature, appeared in our pages twice—long before Stockholm called. If this kind of early, global advocacy matters to you, please become a sustaining or masthead member today—the vital margin note that keeps this palimpsest legible, and gloriously alive.

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Stone that Treads on Stone: An Interview with Irizelma Robles and Roque Raquel Salas Rivera on Poetry as Alchemy

Myths give us some rituals, some explanations for life, ways of acting in this life.

Awarded the Pedro Lastra International Poetry Prize by the State University of New York at Stony Brook in 2019, Puerto Rican poet and essayist Irizelma Robles percolates ritualist practise, alchemy, and the occult into her scholarship and poetry. Her fourth poetry collection, El libro de los conjuros (Editorial Folium, 2018), embodies this fusion. The text has been translated into English by Puerto Rican poet and translator Roque Raquel Salas Rivera as The Book of Conjurations and was published by Sundial House last June 2024. In this spell book, Dr Robles writes about how “water will make way for the earth / that will listen” and “pieces of language / erased like mist,” summoning skies, substance, soul, and source. In his translator’s note, Dr Salas frames poetry as alchemy: “transmutation through words . . . transform[ing] poet, reader, and language.”

In this interview, I spoke with Dr Robles (in New York) and Dr Salas (in Puerto Rico), on El libro de los conjuros / The Book of Conjurations and the mutability of poetry through the lens of alchemy.

Alton Melvar M Dapanas (AMMD): Irizelma, your remarkable poetry collection from 2018, El libro de los conjuros, is now out in Roque Raquel Salas Rivera’s translation as The Book of Conjurations. Taking us back to that period and before, what were the creative impulses and poetic foundations that shaped this work?

Irizelma Robles (IR): Ten years before it was El libro de los conjuros, its title was La tabla periódica (The Periodic Table) and when I began writing it in 2016, it was titled El libro de la Santa Muerte (The Book of the Santa Muerte). I did fieldwork in the Huaxteca region of Veracruz and Hidalgo during my student years under the direction of my anthropology professor, Ana Bella Pérez Castro. It was during that period that I came across El libro de la Santa Muerte, a book of conjurations and spells. Later, in conversation with Eugenio Ballou, my friend and editor, we discovered that its true title was El libro de los conjuros.

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What’s New in Translation: October 2025

New titles from Haiti, Argentina, the Netherlands, Japan, Germany, Italy, Norway, Turkey, Mexico, Taiwan, Hungary, South Korea, and Latin America!

This month, we bring you thirteen reviews from thirteen countries: a poetry collection that reimagines friendships with long-gone revolutionaries, a tender and incisive rumination on disappearance, the latest novel on the inexplicability of love from a Nobel laureate, a story of Silicon Valley-fueled descent, a compilation of Latin American feminist thought, and much much more!

duels

Duels by Néhemy Dahomey, translated from the French by Nathan H. Dize, Seagull Books, 2025

Review by Timothy Berge

Néhémy Dahomey’s Duels is set in 1842, thirty-eight years after Haiti’s independence—a storied liberation that came through one of the largest slave uprisings in history. France withdrew, but issued an absurd debt of one hundred and fifty million francs. Paying off a debt while attempting to modernize a new country was a tough balancing act, so Haiti imposed high taxes on its citizens and forced them into unpaid labor.

Duels takes place in Böen, a small town in the Cul-de-Sac Plain that evaded a census for several years. As a result, no one in the town had fallen victim to the government’s schemes—until a local official decides that he needs laborers for a new project. From there on, in the context of freedom, economic entrapment, and postcolonial growing pains, the events of Duels unfold. Nathan H. Dize’s translation reads like a yarn spun out by an old relative with a deft deadpan humor, aptly navigating the tense shifts between past and present, and generating a sense of perpetuity for these characters and their stories. Here, the historical and the contemporary connect and blur.

At the center of the story is a wealthy notary named Ludovic Possible, who runs a school in Böen—primarily with the motive of getting close to his illegitimate daughter, Aida. When a two-week long rainstorm hits the region, Aida’s mother, Gracilia, dies, and Ludovic reveals himself as Aida’s father, taking over her care. Yet, what truly drives Dahomey’s narrative is the tenets of community and storytelling. Ludovic falls in love with Gracilia because of the way she tells stories, and she passes these tales to Aida; before the child was born, Gracilia “. . . placed a hand on her lower abdomen and told her fertile ovaries the very first story she’d learned from her own mother, who’d learned it from her grandmother, who’d learned it from her great-grandmother. . .”—and so on, all the way back to their first ancestors. Fittingly, the story itself is about a chantrèl who was admired by all: “When she spoke, things would happen. When she made demands, people got to work. With her voice, the rapture caused men to fear for their own sanity.”

Aida internalizes the story and, after her mother’s death, becomes the chantrèl. Armed with the tales passed down from her mother, the young girl builds and fortifies a circle of people who will come to care deeply about her, who will fight on her behalf. Building on the singular capacity of stories to bring people together, Duels captures their particular power within the historical context, demonstrating how the act of telling can frighten those in power and liberate those in captivity.

Whether against an elemental antagonist or a human one, the people in Böen unite to enact change through rebellion. As Duels connects the creation of such solidarities with storytelling, it also works to help the citizens of a tumultuous country imagine a future where violence, injustice, and exploitation no longer govern—necessary work for any nation undergoing immense transformation.

diving board

Diving Board by Tomás Downey, translated from the Spanish by Sarah Moses, Invisible Publishing, 2025

Review by Regan Mies READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest from Italy, Sweden, and Central America!

This week, our editors from around the world bring news of Palestinian solidarity and the necessity of individual action against genocide, debates surrounding culture and national identity, and the latest laureates of prestigious literary prizes. 

Veronica Gisondi, Editor-at-Large, reporting from Italy

Calls to end Italy’s complicity in Israel’s genocidal politics have intensified in recent weeks. While Italy’s economic and political ties to the Zionist regime are well known, citizens have been reclaiming public spaces with renewed unity and force. From statewide demonstrations on September 22—which drew more than half a million to the streets—to the general strike on October 3, many Italians have reached a breaking point underpinned by enduring forms of political grief. As the genocide in Gaza reaches its most advanced stages, the commitment of scholars such as Majed Abusalama reminds us why continued discussion is crucial: first, to anticipate how the neocolonial project will unfold—not only Israel’s, but that of its global allies—and second, to question our own role in it at “the harshest time of erasure,” both within and beyond cultural work.

Abusalama’s talk, titled “Il futuro di Gaza, la Palestina e noi” (The future of Gaza, Palestine and us), took place at CSA Vittoria, one of Milan’s squats—part of a network facing increasing threats (Leoncavallo’s eviction being a clear example) from municipal and state policies that accelerate urban privatization and erode the city’s relationship with its people. Abusalama, an award-winning journalist, human rights defender, founder of Palestine Speaks in Germany, and president of the Coalition of Lawyers for Palestine in Switzerland, described our present moment as the “last stage” of “a timeline of colonial violence” that has crushed past and future, scarring generations of Palestinians for nearly a century. By refusing to normalize their oppression, Palestinians have become experts in resistance and agency, effectively shaping models of struggle that had been later taken up by movements such as the Black Panthers and South Africa’s anti-apartheid groups. For Abusalama, to never know peace means to know one’s enemy well: for those who stand with Palestine, the enemy is imperialism, it is fascism; a fascism that “did not start on October 7,” but “has been there all the time, from the founding of Zionism until today.” READ MORE…

Translation Tuesday: Excerpt from HEART OF DAMAGE by María Negroni

I didn’t want to be a butterfly that an etymologist couldn’t stab with a pin

For this week’s Translation Tuesday, we bring you a poignant excerpt from HEART OF DAMAGE by the Argentine poet María Negroni, translated by Michelle Gil-Montero. In terse but vivid fragments, the narrator of this long poem recollects her childhood, drawing our attention first to the cavity between her memory of her childhood and her mother’s memory of the same. From there she spirals inward, boring into the center of a lifelong sense of inadequacy bred by her mother’s possessiveness—”my only possession that is truly mine” her mother calls her—before finally moving towards the present, in which her mother’s grievances are recompensed with her own. Read on! 

In the house of Childhood, there are no books.

Roller skates, sure, bicycles, silkworms in cardboard boxes, but no books.

When I mention this to my mother, she’s furious.

Of course there were books, she says.

Who knows. Either way, there’s no vast library of English volumes, like Borges had as a child.

Of one thing, though, I’m certain: a beautiful, difficult woman is the center and circumference of that house. She has big eyes, red lips. Her name is Isabel, but everyone calls her Chiche: a toy, trinket, plaything for a child.

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Translation Tuesday: Two Poems by Paola Assad Barbarino

We all search for the dry shadow at the time of the storm

“I make love to myself with eye crusts and sheet marks in my cheeks.” In this week’s Translation Tuesday, the Venezuelan poet Paola Assad Barbarino turns her eye towards the overlooked liminal moments of human life: waking up at the wrong hour in an unfamiliar bed, wandering the streets in the days between jobs, wishing for someone who left a long time ago. Through two dramatically different metaphors—the experience of jet lag in the first, and the life of a street cat in the second—these poems, expertly translated by Magdalena Arias Vásquez, draw our attention to the rich detail of the moments in our own lives we would rather ignore or hurry to get over with—to our shared experience of frailty and transience in a world that was not made for us. Read on!

 Jet Lag

I live intensely in unearthly hours:
I wake up when it grows dark,
I eat breakfast at hour zero,
I try on dresses while fasting,
I decide the calmness in peak hour,
I curse in childlike schedule,
I make love to myself with eye crusts and sheet marks in my cheeks,
I crave kisses with an expired date,
I miss you when it is already too late,

in short,
it is jet lag.

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Weekly Dispatches From the Frontlines of World Literature

The latest from the Philippines, Italy, and Mexico!

This week, our editors report on a workshop centred around disaster writing in Mexico City; a literary festival with themes of urbanism, gentrification, personal history, and war narratives in Milan; and the passing of two groundbreaking translators in the Philippines. 

René Esaú Sánchez, Editor-at-Large, reporting for Mexico

I used to live with my mother in a small apartment in the eastern part of Mexico City. One day, my bed suddenly shook. I attributed it to a passing truck—but the movement started to feel suspiciously long and, when I realized what was happening, I grabbed Cookie, my dog, and ran out of the building. That day was September 19, 2017, when a 7.1 magnitude earthquake shook central Mexico, taking the lives of more than three hundred and sixty people, affecting over thirty thousand; it caused the collapse of thirty-eight buildings in the city, and damaged more than twelve thousand. Strangely enough, the earthquake struck on the same date as another historical quake in Mexico City thirty-two years prior, and, worse still, just a few hours after the ceremony commemorating the thousands who had died back then.

Writing from disaster is strange: it is an exercise in personal memory, in archiving, a hybrid between literature and journalism. What matters are the hours, the clothes you were wearing, what people told you, what you held in your hands. And precisely because this year marks forty years since the 1985 earthquake and eight since that of 2017, the Institute of Geophysics and Literatura UNAM—both institutions of the National Autonomous University of Mexico—have organized the workshop Zona de riesgo (“Risk Zone”), which seeks to recover, through creative writing and sound production, the collective memory of two of the most significant events in the country’s recent history. READ MORE…