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text-center md:mr-4 md:max-w-screen-md md:text-left"><div><span class="mb-1 text-2xs font-semibold uppercase leading-[.7] tracking-widest text-red md:text-xs">Collection</span><h1 class="font-serif text-2xl font-bold leading-tight md:text-[3.125rem]"><p>U.S. Latinx Voices in Poetry</p></h1></div><div class="grid grid-cols-1 gap-1 md:gap-2"><h3 class="text-sm font-semibold leading-tight md:text-lg">Exploring Latino/a American poetry and culture.</h3><p class="text-2xs uppercase tracking-wide text-gray-600 md:text-xs"> BY <span><a class="link-underline-off link-red" href="/people/the-editors">The Editors</a></span></p></div></div><div class="mt-2 md:mt-0"><div class="print:hidden"><button type="button" aria-haspopup="dialog" aria-expanded="false" aria-controls data-state="closed" class="group flex items-center justify-center gap-3 border border-gray-250 p-1 py-3.5 pl-3.5 pr-[18px] text-gray-400 transition duration-200 hover:text-red"><svg class="group-hover:fill-red icon share-component" 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print:hidden"><img src="https://cdn-test.poetryfoundation.org/cdn-cgi/image/w=10,h=10,q=50,blur=3/content/images/c89e2790ddb221b66d9de8deb5b53339502737c9.jpeg" onerror="this.setAttribute('data-error', 1)" alt="pink and green Illustration of hummingbird drinking from a cactus flower." loading="lazy" data-nuxt-img class="w-full md:min-w-[448px]"><figcaption class="mt-1 text-right font-serif text-base italic text-gray-600 md:text-lg">Illustration by CHema Skandal!</figcaption></figure></header><div class="flex flex-wrap gap-x-8 gap-y-5 print:col-span-full col-span-full"><div class="max-w-full flex-1 md:mb-6"><section class="my-4"><div class="copy-large max-[668px]:text-xl rich-text"><p>In his introduction to <em>El Coro: A Chorus of Latino and Latina Poetry</em> (1997), <a href="/bio/martin-espada">Martín Espada</a> wrote, “The common expectation is that literature born amid social and economic crisis by nature must be didactic and polemical, obsessed with simplistic affirmations of identity and written in a raw idiom unconcerned with nuance,” but that a look at Latino/a poetries “will frustrate that expectation.” In their recent introduction to <em>Beyond the Field: New Latin@ Literature </em>(2013), editors <a href="/bio/john-chavez">John Chávez</a> and <a href="/bio/carmen-gimenez-smith">Carmen Giménez Smith</a> explain the new landscape: “Over the last ten years, U.S. Latin@ writers have produced poetry and prose whose influence is yet to be seen, but whose cultural work is exceptional in its scope, variation, and vision” and that “the term ‘Latin@ writing’ is as complex as each member’s varied life experience suggests.”</p> <p>The work of these following poets deftly addresses Latino/a (or Latin@ or Latinx, without imposition of gender) heritage as a powerful force that has altered and shaped the landscape of American art. At times, their poetry has appeared not in print, but in performance and spoken word; it has not always been written as individuals, but in collaboration. Working from their own unique perspectives, narratives, and styles, these poets engage the social, political, and personal while tackling conceptions of cultural homogeneity and normativity to open a discussion about language, history, class, and society.</p> <p>This collection is intended to be broad and inclusive, in order to introduce new readers to Latino and Latina poets in the United States. To make suggestions for additions to this sampler, please <a href="/contact">contact us</a>.</p> <p><em>The editors would like to thank J. Michael Martinez, Carmen Giménez Smith, and Francisco Aragón for their help in compiling this selection.<em> (Last updated March 2021)</em></em></p></div></section><div class="mt-5 md:mt-8"><span class="flex w-full max-w-max bg-black px-3 py-2 text-2xs font-bold uppercase leading-[2.3] tracking-widest text-white md:text-sm md:leading-loose">Poets (in Alphabetical Order)</span><div class="flex w-full flex-col border-t border-black pb-7 pt-4 md:px-0 md:px-4 md:pb-14"><ul class="mt-11 grid grid-cols-12 gap-y-5 md:gap-x-8 md:gap-y-12"><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/elizabeth-acevedo-5aa950f8df1c6"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Elizabeth Acevedo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/marjorie-agosin"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Marjorie Agosín</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/jack-agueros"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Jack Agüeros</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/francisco-x-alarcon"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Francisco X. Alarcón</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/rosa-alcala"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Rosa Alcalá</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/miguel-algarin"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Miguel Algarín</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/alurista"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Alurista</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/luis-alberto-ambroggio"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Luis Alberto Ambroggio</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/gloria-e-anzaldua"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Gloria E. Anzaldúa</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/francisco-aragon"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Francisco Aragón</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/william-archila"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">William Archila</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/rane-arroyo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Rane Arroyo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/jose-angel-araguz"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">José Angel Araguz</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/alfred-arteaga"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Alfred Arteaga</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/gronk"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Gronk</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/harry-gamboa-jr"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Harry Gamboa, Jr.</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/patssi-valdez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Patssi Valdez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/willie-herron"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Willie Herrón</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/naomi-ayala"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Naomi Ayala</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/jimmy-santiago-baca"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Jimmy Santiago Baca</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/rosebud-ben-oni"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Rosebud Ben-Oni</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/oliver-baez-bendorf"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Oliver Baez Bendorf</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/richard-blanco"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Richard Blanco</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/daniel-borzutzky"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Daniel Borzutzky</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/julia-de-burgos"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Julia de Burgos</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/rafael-campo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Rafael Campo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/david-campos"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">David Campos</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/xochiquetzal-candelaria"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Xochiquetzal Candelaria</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/brenda-cardenas"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Brenda Cárdenas</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/reyes-cardenas"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Reyes Cárdenas</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/albino-carrillo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Albino Carrillo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/ana-castillo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Ana Castillo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/sandra-m-castillo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Sandra M. Castillo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/adrian-castro"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Adrian Castro</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/xavier-cavazos"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Xavier Cavazos</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/lorna-dee-cervantes"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Lorna Dee Cervantes</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/john-chavez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">John Chávez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/eduardo-chirinos"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Eduardo Chirinos</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/sandra-cisneros"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Sandra Cisneros</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/judith-ortiz-cofer"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Judith Ortiz Cofer</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/steven-cordova"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Steven Cordova</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/lucha-corpi"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Lucha Corpi</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/eduardo-c-corral"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Eduardo C. Corral</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/margarita-cota-cardenas"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Margarita Cota-Cárdenas</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/cynthia-cruz"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Cynthia Cruz</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/victor-hernandez-cruz"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Victor Hernández Cruz</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/carlos-cumpian"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Carlos Cumpián</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/silvia-curbelo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Silvia Curbelo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/blas-manuel-de-luna"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Blas Manuel De Luna</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/mayda-del-valle"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Mayda Del Valle</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/juan-delgado"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Juan Delgado</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/jose-diaz"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Jose Hernandez Diaz</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/natalie-diaz"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Natalie Diaz</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/david-dominguez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">David Dominguez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/carolina-ebeid"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Carolina Ebeid</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/margarita-engle"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Margarita Engle</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/martin-espada"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Martín Espada</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/sandra-maria-esteves"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Sandra Maria Esteves</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/blas-falconer"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Blas Falconer</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/robert-fernandez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Robert Fernandez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/sandy-florian"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Sandy Florian</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/carrie-fountain"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Carrie Fountain</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/gina-franco"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Gina Franco</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/diana-garcia"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Diana García</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/carmen-gimenez-smith"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Carmen Giménez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/aracelis-girmay"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Aracelis Girmay</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/jennifer-givhan"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Jenn Givhan</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/people/gabriel-gomez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Gabriel Gomez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/rodney-gomez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Rodney Gómez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/guillermo-gomez-pena"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Guillermo Gómez-Peña</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/kevin-a-gonzalez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Kevin A. González</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/rigoberto-gonzalez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Rigoberto González</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/ray-gonzalez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Ray González</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/laurie-ann-guerrero"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Laurie Ann Guerrero</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/roy-g-guzman"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Roy G. Guzmán</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/roberto-harrison"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Roberto Harrison</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/david-hernandez-56d20616a9bf3"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">David Hernandez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/marcelo-hernandez-castillo"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Marcelo Hernandez Castillo</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/juan-felipe-herrera"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Juan Felipe Herrera</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/jen-hofer"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Jen Hofer</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/angela-de-hoyos"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Angela de Hoyos</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/javier-o-huerta"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Javier O. Huerta</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/tato-laviera"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Tato Laviera</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/raina-j-leon"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Raina J. León</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/ada-limon"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Ada Limón</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/sheryl-luna"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Sheryl Luna</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/anthony-madrid"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Anthony Madrid</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/marie-elizabeth-mali"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Marie-Elizabeth Mali</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/carl-marcum"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Carl Marcum</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/mariposa"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Mariposa</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/david-tomas-martinez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">David Tomas Martinez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/demetria-martinez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Demetria Martinez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/j-michael-martinez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">J. Michael Martinez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/valerie-martinez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Valerie Martínez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/paul-martinez-pompa"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Paul Martínez Pompa</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/farid-matuk"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Farid Matuk</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul 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md:text-lg">Lupe Mendez</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/orlando-ricardo-menes"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Orlando Ricardo Menes</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/nancy-mercado"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Nancy Mercado</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/elena-minor"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">elena minor</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul 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link-red inline-block text-sm font-semibold no-underline md:text-lg">Juan J. 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Salinas</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/poets/erika-l-sanchez"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">Erika L. 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flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/video/142312/how-one-poet-is-helping-chicago-students-find-their-voice-through-verse"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">How one poet is helping Chicago students find their voice through verse</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/video/77435/from-the-fields-to-the-library-of-congress-juan-felipe-herrera-took-a-winding-path-to-poetry"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg">From the fields to the Library of Congress, Juan Felipe Herrera took a winding path to poetry</span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a 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md:text-lg"><p>Psycho-Acoustics: A Discussion of Rodrigo Toscano’s “Poetics”</p></span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/audio/146481/artificial-death"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg"><p>artificial death</p></span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/audio/76936/and"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg"><p>And</p></span></a></li></ul></li><li class="col-span-full flex flex-col md:col-span-4"><ul class="mt-1 flex flex-col gap-y-3"><li class="flex flex-col"><a href="/audio/142245/la-bestia-the-beast"><span class="hover:link-underline link-red inline-block text-sm font-semibold no-underline md:text-lg"><p>La Bestia / The 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2025","march-2025","poetrymagazine/issue/1651121/march-2025","https://www.poetryfoundation.org/poetrymagazine/issue/1651121/march-2025","magazines","2025-03-03T01:00:00-06:00","2025-02-10T21:38:12-06:00",[531],{"__typename":25,"id":532,"uid":533,"title":534,"alt":7,"url":535,"height":536,"width":537,"filename":538,"caption":7,"copyright":7,"focalPoint":539},"1651126","e43e11a7-778f-457f-ba35-01686352dd12","March2025 poetry cover RGB","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/march2025-poetry-cover-RGB.jpg",2700,1650,"march2025-poetry-cover-RGB.jpg",[33,33],{"__typename":520,"id":541,"uid":542,"title":543,"slug":544,"uri":545,"url":546,"sectionHandle":527,"postDate":547,"dateUpdated":548,"level":7,"coverImage":549},"1639193","e86c5c3e-c54e-4e12-8a67-7f1e352de030","January/February 2025","january-february-2025","poetrymagazine/issue/1639193/january-february-2025","https://www.poetryfoundation.org/poetrymagazine/issue/1639193/january-february-2025","2025-01-07T01:00:00-06:00","2025-01-30T09:35:55-06:00",[550],{"__typename":25,"id":551,"uid":552,"title":553,"alt":7,"url":554,"height":536,"width":537,"filename":555,"caption":7,"copyright":7,"focalPoint":556},"1639194","39da8e7f-046b-4522-911b-b41f4a853e97","Jan feb2025 poetry cover","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/jan-feb2025-poetry-cover.jpg","jan-feb2025-poetry-cover.jpg",[33,33],{"collectionsEntries":558},[559],{"__typename":5,"id":560,"uid":561,"title":562,"slug":563,"uri":564,"url":565,"sectionHandle":6,"postDate":566,"dateUpdated":567,"level":7,"body":568,"formattedTitle":569,"subtitle":570,"authors":571,"contributors":595,"image":596,"slideshow":608,"collectionSections":609,"contextSpecificSettings":5023,"versions":5024},"257102","5a0bdfc4-1860-4960-bba2-ad7a81569e6d","U.S. Latinx Voices in Poetry","us-latinx-voices-in-poetry","collections/144542/us-latinx-voices-in-poetry","https://www.poetryfoundation.org/collections/144542/us-latinx-voices-in-poetry","2017-10-31T00:00:00-05:00","2024-06-11T18:08:37-05:00","\u003Cp>In his introduction to \u003Cem>El Coro: A Chorus of Latino and Latina Poetry\u003C/em> (1997), \u003Ca href=\"/bio/martin-espada\">Martín Espada\u003C/a> wrote, “The common expectation is that literature born amid social and economic crisis by nature must be didactic and polemical, obsessed with simplistic affirmations of identity and written in a raw idiom unconcerned with nuance,” but that a look at Latino/a poetries “will frustrate that expectation.” In their recent introduction to \u003Cem>Beyond the Field: New Latin@ Literature \u003C/em>(2013), editors \u003Ca href=\"/bio/john-chavez\">John Chávez\u003C/a> and \u003Ca href=\"/bio/carmen-gimenez-smith\">Carmen Giménez Smith\u003C/a> explain the new landscape: “Over the last ten years, U.S. Latin@ writers have produced poetry and prose whose influence is yet to be seen, but whose cultural work is exceptional in its scope, variation, and vision” and that “the term ‘Latin@ writing’ is as complex as each member’s varied life experience suggests.”\u003C/p>\r\n\r\n\u003Cp>The work of these following poets deftly addresses Latino/a (or Latin@ or Latinx, without imposition of gender) heritage as a powerful force that has altered and shaped the landscape of American art. At times, their poetry has appeared not in print, but in performance and spoken word; it has not always been written as individuals, but in collaboration. Working from their own unique perspectives, narratives, and styles, these poets engage the social, political, and personal while tackling conceptions of cultural homogeneity and normativity to open a discussion about language, history, class, and society.\u003C/p>\r\n\r\n\u003Cp>This collection is intended to be broad and inclusive, in order to introduce new readers to Latino and Latina poets in the United States. To make suggestions for additions to this sampler, please \u003Ca href=\"/contact\">contact us\u003C/a>.\u003C/p>\r\n\r\n\u003Cp>\u003Cem>The editors would like to thank J. Michael Martinez, Carmen Giménez Smith, and Francisco Aragón for their help in compiling this selection.\u003Cem> (Last updated March 2021)\u003C/em>\u003C/em>\u003C/p>","\u003Cp>U.S. Latinx Voices in Poetry\u003C/p>","Exploring Latino/a American poetry and culture.",[572],{"__typename":573,"status":574,"title":575,"firstName":576,"middleName":7,"lastName":577,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":579,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":580,"websiteUrl":7,"image":581,"authorRegions":582,"categories":583,"themes":584,"parentCategories":585,"childCategories":586,"id":587,"uid":588,"slug":589,"uri":590,"url":591,"sectionHandle":592,"postDate":593,"dateUpdated":594,"level":7},"authors_default_Entry","live","The Editors","The","Editors","foundation","\u003Cp>The editorial staff of the Poetry Foundation. See the Poetry Foundation staff list and \u003Ca href=\"http://www.poetryfoundation.org/foundation/people\">editorial team masthead\u003C/a>.\u003C/p>",false,[],[],[],[],[],[],"33395","34888b0a-a63d-49b9-853a-645c951e07cf","the-editors","people/the-editors","https://www.poetryfoundation.org/people/the-editors","authors","2009-04-01T00:00:00-05:00","2024-11-11T15:22:11-06:00",[],[597],{"__typename":25,"id":598,"uid":599,"title":600,"alt":601,"url":602,"height":603,"width":604,"filename":605,"caption":606,"copyright":606,"focalPoint":607},"1290827","bd0fc36e-a51b-4af4-aede-b3303ab8bce3","LatinxVoices-POETRY-OK.jpg","pink and green Illustration of hummingbird drinking from a cactus flower.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/c89e2790ddb221b66d9de8deb5b53339502737c9.jpeg",1293,1940,"c89e2790ddb221b66d9de8deb5b53339502737c9.jpeg","Illustration by CHema Skandal!",[33,33],[],[610,614,628,641,654,667,680,693,706,718,731,743,755,767,779,792,804,816,828,839,852,864,877,890,902,915,928,941,954,967,979,991,1004,1017,1030,1043,1056,1069,1082,1094,1107,1120,1132,1145,1158,1170,1182,1195,1207,1219,1231,1244,1257,1270,1283,1295,1308,1321,1334,1346,1359,1372,1384,1397,1409,1421,1433,1445,1458,1470,1483,1495,1507,1519,1532,1544,1557,1569,1581,1594,1607,1620,1632,1644,1656,1668,1681,1693,1706,1718,1730,1742,1754,1766,1778,1791,1803,1815,1827,1839,1852,1865,1878,1891,1904,1917,1930,1942,1954,1966,1978,1990,2003,2015,2028,2040,2053,2065,2078,2091,2104,2117,2129,2141,2152,2165,2177,2189,2201,2213,2226,2239,2251,2263,2275,2287,2299,2311,2323,2335,2347,2359,2372,2384,2397,2410,2423,2435,2447,2460,2471,2484,2496,2509,2522,2535,2548,2560,2573,2585,2598,2610,2622,2634,2646,2658,2670,2682,2695,2707,2720,2733,2746,2758,2770,2783,2796,2808,2820,2832,2844,2856,2868,2881,2893,2895,3006,3066,3108,3148,3172,3281,3334,3395,3457,3516,3572,3659,3719,3723,3744,3793,3832,3902,3941,4002,4023,4043,4102,4105,4138,4162,4191,4215,4252,4276,4280,4304,4328,4357,4381,4416,4449,4481,4511,4542,4572,4601,4625,4649,4673,4697,4721,4745,4769,4792,4816,4845,4869,4898,4922,4946,4970,4999],{"__typename":611,"id":612,"heading":613,"description":7,"title":7,"uri":7},"collectionSections_sectionTitle_BlockType","1290828","Poets (in Alphabetical Order)",{"__typename":615,"id":616,"affiliation":7,"externalLinkUrl":617,"description":7,"title":7,"uri":7,"contentItem":618},"collectionSections_sectionContent_BlockType","1290829",[],[619],{"__typename":573,"id":620,"uid":621,"title":622,"slug":623,"uri":624,"url":625,"sectionHandle":592,"postDate":626,"dateUpdated":627,"level":7},"39859","064902cb-1497-4f6e-9c1e-9a2b2fc559b9","Elizabeth Acevedo","elizabeth-acevedo-5aa950f8df1c6","poets/elizabeth-acevedo-5aa950f8df1c6","https://www.poetryfoundation.org/poets/elizabeth-acevedo-5aa950f8df1c6","2018-03-30T00:00:00-05:00","2025-01-13T15:33:01-06:00",{"__typename":615,"id":629,"affiliation":7,"externalLinkUrl":630,"description":7,"title":7,"uri":7,"contentItem":631},"1290830",[],[632],{"__typename":573,"id":633,"uid":634,"title":635,"slug":636,"uri":637,"url":638,"sectionHandle":592,"postDate":639,"dateUpdated":640,"level":7},"34801","129ee8cb-8523-412a-9d27-e64b2b073459","Marjorie Agosín","marjorie-agosin","poets/marjorie-agosin","https://www.poetryfoundation.org/poets/marjorie-agosin","2013-11-19T00:00:00-06:00","2024-07-25T17:36:03-05:00",{"__typename":615,"id":642,"affiliation":7,"externalLinkUrl":643,"description":7,"title":7,"uri":7,"contentItem":644},"1290831",[],[645],{"__typename":573,"id":646,"uid":647,"title":648,"slug":649,"uri":650,"url":651,"sectionHandle":592,"postDate":652,"dateUpdated":653,"level":7},"37805","21daa22c-174a-4d68-83ab-c5b307340a2a","Jack Agüeros","jack-agueros","poets/jack-agueros","https://www.poetryfoundation.org/poets/jack-agueros","2014-01-22T00:00:00-06:00","2024-06-11T12:10:42-05:00",{"__typename":615,"id":655,"affiliation":7,"externalLinkUrl":656,"description":7,"title":7,"uri":7,"contentItem":657},"1290832",[],[658],{"__typename":573,"id":659,"uid":660,"title":661,"slug":662,"uri":663,"url":664,"sectionHandle":592,"postDate":665,"dateUpdated":666,"level":7},"35073","2d9db1f5-f8e0-48f8-951c-f9ec63a36d04","Francisco X. Alarcón","francisco-x-alarcon","poets/francisco-x-alarcon","https://www.poetryfoundation.org/poets/francisco-x-alarcon","2010-09-09T00:00:00-05:00","2024-10-29T16:34:29-05:00",{"__typename":615,"id":668,"affiliation":7,"externalLinkUrl":669,"description":7,"title":7,"uri":7,"contentItem":670},"1290833",[],[671],{"__typename":573,"id":672,"uid":673,"title":674,"slug":675,"uri":676,"url":677,"sectionHandle":592,"postDate":678,"dateUpdated":679,"level":7},"37515","8be0a058-03da-44cd-a747-cecaf39eefc5","Rosa Alcalá","rosa-alcala","poets/rosa-alcala","https://www.poetryfoundation.org/poets/rosa-alcala","2013-10-01T00:00:00-05:00","2024-06-11T12:07:56-05:00",{"__typename":615,"id":681,"affiliation":7,"externalLinkUrl":682,"description":7,"title":7,"uri":7,"contentItem":683},"1290834",[],[684],{"__typename":573,"id":685,"uid":686,"title":687,"slug":688,"uri":689,"url":690,"sectionHandle":592,"postDate":691,"dateUpdated":692,"level":7},"37557","afb3c847-7672-49cc-b35f-27128d9dab5c","Miguel Algarín","miguel-algarin","poets/miguel-algarin","https://www.poetryfoundation.org/poets/miguel-algarin","2013-10-09T00:00:00-05:00","2024-10-29T16:37:39-05:00",{"__typename":615,"id":694,"affiliation":7,"externalLinkUrl":695,"description":7,"title":7,"uri":7,"contentItem":696},"1290835",[],[697],{"__typename":573,"id":698,"uid":699,"title":700,"slug":701,"uri":702,"url":703,"sectionHandle":592,"postDate":704,"dateUpdated":705,"level":7},"37537","3740071b-4ac7-4854-af6a-31bfd54226b2","Alurista","alurista","poets/alurista","https://www.poetryfoundation.org/poets/alurista","2013-10-07T00:00:00-05:00","2024-10-29T16:31:53-05:00",{"__typename":615,"id":707,"affiliation":7,"externalLinkUrl":708,"description":7,"title":7,"uri":7,"contentItem":709},"1290836",[],[710],{"__typename":573,"id":711,"uid":712,"title":713,"slug":714,"uri":715,"url":716,"sectionHandle":592,"postDate":691,"dateUpdated":717,"level":7},"37555","febd4919-8962-4df3-93b3-d455163aab7b","Luis Alberto Ambroggio","luis-alberto-ambroggio","poets/luis-alberto-ambroggio","https://www.poetryfoundation.org/poets/luis-alberto-ambroggio","2024-06-11T12:08:17-05:00",{"__typename":615,"id":719,"affiliation":7,"externalLinkUrl":720,"description":7,"title":7,"uri":7,"contentItem":721},"1290837",[],[722],{"__typename":573,"id":723,"uid":724,"title":725,"slug":726,"uri":727,"url":728,"sectionHandle":592,"postDate":729,"dateUpdated":730,"level":7},"37519","3cb7f20d-45cd-4dd5-9e76-00344e93b2ad","Gloria E. Anzaldúa","gloria-e-anzaldua","poets/gloria-e-anzaldua","https://www.poetryfoundation.org/poets/gloria-e-anzaldua","2013-10-08T00:00:00-05:00","2024-10-29T16:34:11-05:00",{"__typename":615,"id":732,"affiliation":7,"externalLinkUrl":733,"description":7,"title":7,"uri":7,"contentItem":734},"1290838",[],[735],{"__typename":573,"id":736,"uid":737,"title":738,"slug":739,"uri":740,"url":741,"sectionHandle":592,"postDate":593,"dateUpdated":742,"level":7},"34729","ec6825fc-e62b-439a-a833-9bb293ab7bf1","Francisco Aragón","francisco-aragon","poets/francisco-aragon","https://www.poetryfoundation.org/poets/francisco-aragon","2025-02-05T10:42:26-06:00",{"__typename":615,"id":744,"affiliation":7,"externalLinkUrl":745,"description":7,"title":7,"uri":7,"contentItem":746},"1290839",[],[747],{"__typename":573,"id":748,"uid":749,"title":750,"slug":751,"uri":752,"url":753,"sectionHandle":592,"postDate":691,"dateUpdated":754,"level":7},"37573","1c95bf35-06d2-443d-adef-4a54498226f9","William Archila","william-archila","poets/william-archila","https://www.poetryfoundation.org/poets/william-archila","2024-06-11T12:08:28-05:00",{"__typename":615,"id":756,"affiliation":7,"externalLinkUrl":757,"description":7,"title":7,"uri":7,"contentItem":758},"1290840",[],[759],{"__typename":573,"id":760,"uid":761,"title":762,"slug":763,"uri":764,"url":765,"sectionHandle":592,"postDate":593,"dateUpdated":766,"level":7},"34565","6d78c1f8-39f3-48c5-8df4-642fa96201f4","Rane Arroyo","rane-arroyo","poets/rane-arroyo","https://www.poetryfoundation.org/poets/rane-arroyo","2024-06-11T11:40:00-05:00",{"__typename":615,"id":768,"affiliation":7,"externalLinkUrl":769,"description":7,"title":7,"uri":7,"contentItem":770},"1290841",[],[771],{"__typename":573,"id":772,"uid":773,"title":774,"slug":775,"uri":776,"url":777,"sectionHandle":592,"postDate":593,"dateUpdated":778,"level":7},"35555","54c45145-38b0-4673-80bb-e35d02b631d0","José Angel Araguz","jose-angel-araguz","poets/jose-angel-araguz","https://www.poetryfoundation.org/poets/jose-angel-araguz","2024-06-11T11:49:24-05:00",{"__typename":615,"id":780,"affiliation":7,"externalLinkUrl":781,"description":7,"title":7,"uri":7,"contentItem":782},"1290842",[],[783],{"__typename":573,"id":784,"uid":785,"title":786,"slug":787,"uri":788,"url":789,"sectionHandle":592,"postDate":790,"dateUpdated":791,"level":7},"38191","deb58d2a-efc7-4060-8352-7fc3469c5c62","Alfred Arteaga","alfred-arteaga","poets/alfred-arteaga","https://www.poetryfoundation.org/poets/alfred-arteaga","2015-02-19T00:00:00-06:00","2024-06-11T12:14:44-05:00",{"__typename":615,"id":793,"affiliation":7,"externalLinkUrl":794,"description":7,"title":7,"uri":7,"contentItem":795},"1290843",[],[796],{"__typename":573,"id":797,"uid":798,"title":799,"slug":800,"uri":801,"url":802,"sectionHandle":592,"postDate":704,"dateUpdated":803,"level":7},"37543","06c4961f-466d-43cb-b4e7-c45da28e075a","Gronk","gronk","poets/gronk","https://www.poetryfoundation.org/poets/gronk","2024-06-11T12:08:11-05:00",{"__typename":615,"id":805,"affiliation":7,"externalLinkUrl":806,"description":7,"title":7,"uri":7,"contentItem":807},"1290844",[],[808],{"__typename":573,"id":809,"uid":810,"title":811,"slug":812,"uri":813,"url":814,"sectionHandle":592,"postDate":678,"dateUpdated":815,"level":7},"37523","222054b7-9dfa-44e6-8aee-1b84dfe682bc","Harry Gamboa, 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Quiñones","noel-quinones","people/noel-quinones","https://www.poetryfoundation.org/people/noel-quinones","2024-08-08T22:00:14-05:00",{"__typename":615,"id":2833,"affiliation":7,"externalLinkUrl":2834,"description":7,"title":7,"uri":7,"contentItem":2835},"1291007",[],[2836],{"__typename":573,"id":2837,"uid":2838,"title":2839,"slug":2840,"uri":2841,"url":2842,"sectionHandle":592,"postDate":2794,"dateUpdated":2843,"level":7},"40763","36415078-9ccc-4b73-bd63-58663178a51d","Anthony Morales","anthony-morales","people/anthony-morales","https://www.poetryfoundation.org/people/anthony-morales","2024-06-11T13:19:03-05:00",{"__typename":615,"id":2845,"affiliation":7,"externalLinkUrl":2846,"description":7,"title":7,"uri":7,"contentItem":2847},"1291008",[],[2848],{"__typename":573,"id":2849,"uid":2850,"title":2851,"slug":2852,"uri":2853,"url":2854,"sectionHandle":592,"postDate":2794,"dateUpdated":2855,"level":7},"40761","03b3df75-6216-41a4-8f05-9b64c1b9f681","féi hernandez","fei-hernandez","people/fei-hernandez","https://www.poetryfoundation.org/people/fei-hernandez","2024-06-11T13:19:02-05:00",{"__typename":615,"id":2857,"affiliation":7,"externalLinkUrl":2858,"description":7,"title":7,"uri":7,"contentItem":2859},"1291009",[],[2860],{"__typename":573,"id":2861,"uid":2862,"title":2863,"slug":2864,"uri":2865,"url":2866,"sectionHandle":592,"postDate":2794,"dateUpdated":2867,"level":7},"40757","6e52e3ae-c2fb-43bd-8fe2-f1088d8342fd","Ashley August","ashley-august","people/ashley-august","https://www.poetryfoundation.org/people/ashley-august","2024-07-25T17:35:15-05:00",{"__typename":615,"id":2869,"affiliation":7,"externalLinkUrl":2870,"description":7,"title":7,"uri":7,"contentItem":2871},"1291010",[],[2872],{"__typename":573,"id":2873,"uid":2874,"title":2875,"slug":2876,"uri":2877,"url":2878,"sectionHandle":592,"postDate":2879,"dateUpdated":2880,"level":7},"40749","3c42e356-b8c3-422f-a120-97aa784c392b","Suzi F. Garcia","suzi-garcia","poets/suzi-garcia","https://www.poetryfoundation.org/poets/suzi-garcia","2020-03-02T00:00:00-06:00","2024-10-01T11:12:30-05:00",{"__typename":615,"id":2882,"affiliation":7,"externalLinkUrl":2883,"description":7,"title":7,"uri":7,"contentItem":2884},"1291011",[],[2885],{"__typename":573,"id":2886,"uid":2887,"title":2888,"slug":2889,"uri":2890,"url":2891,"sectionHandle":592,"postDate":2794,"dateUpdated":2892,"level":7},"40779","cb008c97-4763-494a-88d1-80afd7758b7e","Benjamín Naka-Hasebe Kingsley","benjamin-kingsley","poets/benjamin-kingsley","https://www.poetryfoundation.org/poets/benjamin-kingsley","2024-06-11T13:19:11-05:00",{"__typename":611,"id":2894,"heading":129,"description":7,"title":7,"uri":7},"1291012",{"__typename":615,"id":2896,"affiliation":7,"externalLinkUrl":2897,"description":7,"title":7,"uri":7,"contentItem":2898},"1291013",[],[2899],{"__typename":2900,"id":2901,"uid":2902,"title":2903,"slug":2904,"uri":2905,"url":2906,"sectionHandle":2907,"postDate":2908,"dateUpdated":2909,"level":7,"excerpt":2910,"body":2911,"formattedTitle":2912,"subtitle":7,"essayYear":7,"magazineEntries":2913,"image":2916,"authors":2917,"articleType":3000},"articles_legacy_Entry","26379","5b6c5806-f2d9-4b71-9e73-1d3a2a95d455","Introduction to Angels of the Americlypse: New Latin@ Writing","introduction-to-angels-of-the-americlypse-new-latin-writing","poetrymagazine/articles/70110/introduction-to-angels-of-the-americlypse-new-latin-writing","https://www.poetryfoundation.org/poetrymagazine/articles/70110/introduction-to-angels-of-the-americlypse-new-latin-writing","articles","2014-05-01T00:00:00-05:00","2024-06-11T09:49:48-05:00","\u003Cp>\u003Cem>No one is free of their narrative.\u003Cbr />— Leslie Scalapino\u003C/em>\u003Cbr />In 2009 we began the long and arduous process of editing an anthology meant to provide a current view of contemporary Latin@ letters. To begin with, we wanted to widen the notion of...\u003C/p>","\u003Cp>\u003Cem>\u003Cspan class=\"attribution\">No one is free of their narrative.\u003Cbr>\u003Cspan class=\"attribution\">— Leslie Scalapino\u003C/span>\u003C/span>\u003C/em>\u003C/p>\r\n\u003Cp>In 2009 we began the long and arduous process of editing an anthology meant to provide a current view of contemporary Latin@ letters. To begin with, we wanted to widen the notion of what Latin@ letters \u2028looked like outside of what we saw as conscripted lyric and narrative traditions. When looking at the literary history of the avant-garde, we noted that the outlined lineages elided some of the greatest innovators of the twentieth century, writers like \u003Ca href=\"/bio/juan-felipe-herrera\">Juan Felipe Herrera\u003C/a>, \u003Ca href=\"/bio/alurista\">Alurista\u003C/a>, \u003Ca href=\"/bio/gloria-e-anzaldua\">Gloria Anzaldúa\u003C/a>, and \u003Ca href=\"/bio/pedro-pietri\">Pedro Pietri\u003C/a>, who are often overlooked for aesthetic canons, even though their work is deeply influential, linguistically and formally innovative, and invested in revising notions of subjectivity. In our view, the exclusion of these vanguard artists is due to the misreading of their work as exclusively driven by Latin@ identity (as opposed to being part of the larger and translucent “American,” defined by gatekeepers who are often not Latin@).\u003C/p>\r\n\u003Cp>As editors we considered the many problems associated with organizing an anthology, a selection, or sampler, based on what is an arbitrary or complex designation: Latin@. Ultimately we felt that our goal was to widen the conversation, the lens through which that designation is applied. \u003Cem>Angels of the Americlypse: New Latin@ Writing \u003C/em>seeks to fill a crucial gap. The writers included in this anthology are concerned with reimagining and rearticulating the corpus of Latin@ writing as much as they are concerned with calling into question the need to patrol our borders. Replete with artistic, cultural, and aesthetic ambition, the writers included in this book embrace the intersections of poetry and the page as typographical canvas; of the photograph, the written word, and the page as a symbiotic space for narrative; of the stage, the text, the political context, and the performance as both ethical and poetical utterance.\u003C/p>\r\n\u003Cp>The poets in this short excerpt from the anthology, which will be published by Counterpath Press later this month, represent a wide swath of what we consider the innovative contemporary work being done in Latin@ letters. We are excited by the complex ways through which these poets express their sensibilities, their histories, and their identities. This portfolio is, in part, a compendium of otherness, but the spectacle is not in our histories but in our voices, the peculiarities of our sensibilities that tie us both to cultures behind us and the cultures before us.\u003C/p>\r\n\u003Cp class=\"grey\">Editors’ Note: Visit the table of contents for \u003Cem>Poetry\u003C/em>’s \u003Ca href=\"/poetrymagazine/toc/2436\">May 2014\u003C/a> issue to read the portfolio that accompanies this introduction.\u003C/p>","\u003Cp>Introduction to Angels of the Americlypse: New Latin@ Writing\u003C/p>",[2914],{"__typename":520,"id":2915},"256806",[],[2918,2965],{"__typename":573,"status":574,"title":1076,"firstName":2919,"middleName":7,"lastName":2920,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":2921,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":2922,"authorRegions":2923,"categories":2924,"themes":2959,"parentCategories":2960,"childCategories":2962,"id":1074,"uid":1075,"slug":1077,"uri":1078,"url":1079,"sectionHandle":592,"postDate":1080,"dateUpdated":1081,"level":7},"John","Chávez","\u003Cspan>John Chávez is the author of the chapbook \u003Cem>Heterotopia\u003C/em>, published by Noemi Press, and a co-author of the collaborative chapbook \u003Cem>I, NE: Iterations of the Junco\u003C/em>, published by Small Fires Press. He earned an MFA from New Mexico State University and a PhD from the University of Nebraska-Lincoln. His poetry has appeared in \u003Cem>Cooper Nickel\u003C/em>, \u003Cem>Diode, Notre Dame Review, Puerto del Sol, Tusculum Review, The Laurel Review, Palabra, Pilgrimage, \u003C/em>and \u003Cem>Zone 3\u003C/em>. His first, full-length collection \u003Cem>City of Slow Dissolve (\u003C/em>University of New Mexico Press, 2012) \u003C/span>\u003Cspan>won the IPPY (Independent Publisher Book Award) Gold Medal for Poetry. \u003C/span>\u003Cspan>He lives in Denver, Colorado, and teaches at the University of Colorado-Boulder.\u003C/span>",[],[],[2925,2938,2948],{"__typename":2926,"id":2927,"uid":2928,"title":2929,"slug":2930,"uri":2931,"url":2932,"sectionHandle":2933,"postDate":2934,"dateUpdated":2935,"level":2936,"formattedTitle":2937},"categories_default_Entry","242778","2bb89aba-50f4-4e89-bc02-c81eed4ace2e","Geography","geography","categories/geography","https://www.poetryfoundation.org/categories/geography","categories","2018-09-26T09:55:51-05:00","2024-06-10T13:24:57-05:00",1,"\u003Cp>Geography\u003C/p>",{"__typename":2926,"id":2939,"uid":2940,"title":2941,"slug":2942,"uri":2943,"url":2944,"sectionHandle":2933,"postDate":2945,"dateUpdated":2945,"level":2946,"formattedTitle":2947},"1530382","459c82f4-8aef-4bdb-b79f-61aaad5b1176","North America","north-america","categories/north-america","https://www.poetryfoundation.org/categories/north-america","2024-07-18T09:39:00-05:00",2,"\u003Cp>North America\u003C/p>",{"__typename":2926,"id":2949,"uid":2950,"title":2951,"slug":2952,"uri":2953,"url":2954,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957,"formattedTitle":2958},"242810","24a4db6e-81ef-4716-9053-38f690d78f4e","U.S., Northwestern","u-s-northwestern","categories/u-s-northwestern","https://www.poetryfoundation.org/categories/u-s-northwestern","2024-04-12T08:00:00-05:00","2024-04-12T08:00:14-05:00",3,"\u003Cp>U.S., Northwestern\u003C/p>",[],[2961],{"__typename":2926,"id":2927,"uid":2928,"title":2929,"slug":2930,"uri":2931,"url":2932,"sectionHandle":2933,"postDate":2934,"dateUpdated":2935,"level":2936},[2963],{"__typename":2926,"parent":2964,"id":2949,"uid":2950,"title":2951,"slug":2952,"uri":2953,"url":2954,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957},{"__typename":2926,"id":2939,"uid":2940,"title":2941,"slug":2942,"uri":2943,"url":2944,"sectionHandle":2933,"postDate":2945,"dateUpdated":2945,"level":2946},{"__typename":573,"status":574,"title":1428,"firstName":2966,"middleName":7,"lastName":2967,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":2968,"galeBio":7,"poetryBio":2969,"polBio":2970,"birthYear":2971,"deathYear":7,"isPoet":56,"websiteUrl":2972,"image":2973,"authorRegions":2986,"categories":2987,"themes":2996,"parentCategories":2997,"childCategories":2998,"id":1426,"uid":1427,"slug":1429,"uri":1430,"url":1431,"sectionHandle":592,"postDate":1255,"dateUpdated":1432,"level":7},"Carmen","Giménez","\u003Cp>Born in New York, poet Carmen Giménez earned a BA in English from San Jose State University and an MFA in creative writing from the University of Iowa. She is the author of six collections of poetry, including \u003Ci>Cruel Futures\u003C/i> (City Lights, 2018); \u003Ci>Milk and Filth\u003C/i> (2013), a finalist for the National Book Critics Circle Award; and \u003Ci>Goodbye, Flicker\u003C/i> (University of Massachusetts Press, 2012), winner of the Juniper Prize for Poetry. She is the author of the memoir \u003Ci>Bring Down the Little Birds: On Mothering, Art, Work, and Everything Else\u003C/i> (University of Arizona Press, 2010), which received an American Book Award. She also coedited \u003Ci>Angels of the Americlypse: New Latin@ Writing \u003C/i>(Counterpath Press, 2014).\u003Cbr />\u003Cbr />Giménez is publisher and executive director of Graywolf Press and served as the publisher of Noemi Press for twenty years.\u003C/p>","\u003Cp>Carmen Giménez is the author of \u003Ci>Be Recorder\u003C/i> (Graywolf Press, 2019). She has served as the publisher of Graywolf Press since 2022.\u003C/p>","\u003Cp>Born in New York, poet Carmen Giménez Smith earned a BA in English from San Jose State University and an MFA in creative writing from the University of Iowa. She is the editor-in-chief of \u003Cem>Puerto del Sol\u003C/em> and publisher of Noemi Press. She teaches at New Mexico State University in Las Cruces, New Mexico. Giménez Smith’s work explores issues affecting the lives of females, including Latina identity, and frequently references myth and memory.\u003C/p>","1971","https://carmengimenez.net/about",[2974],{"__typename":25,"id":2975,"uid":2976,"title":2977,"alt":2978,"url":2979,"height":2980,"width":2981,"filename":2982,"caption":7,"copyright":7,"focalPoint":2983},"523650","8aaadf30-eea5-4ae6-9b61-6c1636742ce8","carmen-gimaenez-smith.jpg","Black and white portrait of Carmen Giménez Smith","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/1869e4c7e1af310887fcd6edd30bec100b25db7d.jpeg",293,448,"1869e4c7e1af310887fcd6edd30bec100b25db7d.jpeg",[2984,2985],0.4611,0.3883,[],[2925,2938,2988],{"__typename":2926,"id":2989,"uid":2990,"title":2991,"slug":2992,"uri":2993,"url":2994,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957,"formattedTitle":2995},"242812","d400003c-101d-4ff1-9720-041ceab5c3ac","U.S., Southwestern","u-s-southwestern","categories/u-s-southwestern","https://www.poetryfoundation.org/categories/u-s-southwestern","\u003Cp>U.S., Southwestern\u003C/p>",[],[2961],[2999],{"__typename":2926,"parent":2964,"id":2989,"uid":2990,"title":2991,"slug":2992,"uri":2993,"url":2994,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957},[3001],{"__typename":3002,"id":3003,"title":3004,"formattedTitle":3005},"articleTypes_default_Entry","53","Prose from Poetry Magazine","\u003Cp>Prose from \u003Ci>Poetry\u003C/i> Magazine\u003C/p>",{"__typename":615,"id":3007,"affiliation":7,"externalLinkUrl":3008,"description":7,"title":7,"uri":7,"contentItem":3009},"1291014",[],[3010],{"__typename":2900,"id":3011,"uid":3012,"title":3013,"slug":3014,"uri":3015,"url":3016,"sectionHandle":2907,"postDate":3017,"dateUpdated":3018,"level":7,"excerpt":3019,"body":3020,"formattedTitle":3021,"subtitle":3022,"essayYear":7,"magazineEntries":3023,"image":3024,"authors":3025,"articleType":3062},"24103","6b4512af-9b11-4243-b69d-a0f2ff295bd7","The Wind Shifts","the-wind-shifts","articles/68904/the-wind-shifts","https://www.poetryfoundation.org/articles/68904/the-wind-shifts","2007-07-10T00:00:00-05:00","2024-06-11T09:36:06-05:00","\u003Cp>\u003Cstrong>1. “Report from the Temple of Confessions in Old Chicano English” by Brenda Cárdenas\u003C/strong>\u003Cbr />\u003Cbr />A response to an art installation by Roberto Sifuentes and Guillermo Gómez-Peña about social issues surrounding the U.S.–Mexico border, this poem, like the installation, concerns itself with...\u003C/p>","\u003Cp>\u003Cimg src=\"http://www.poetryfoundation.org/images/poets/BrendaCardenas.gif\" style=\"float:left; height:110px; width:135px\">\u003Cstrong>1. “Report from the Temple of Confessions in Old Chicano English” by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98508\">Brenda Cárdenas\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cbr>\r\nA response to an art installation by Roberto Sifuentes and Guillermo Gómez-Peña about social issues surrounding the U.S.–Mexico border, this poem, like the installation, concerns itself with migration, assimilation, and identity politics. Cárdenas creates a sense of a border in two ways, using visual effects and “code switching” (sentences that begin in one language and end in another). Cárdenas deploys this technique with a twist: her language mimics alliterative verse, but rather than Old English, she uses English and Spanish (“Old Chicano English”). By staying true to the convention of Old English poetry, she also creates jagged white space—a border—moving down the page. In this way the poem comments on itself, making its meshing of two languages one of its themes: “Language lies across the barbed lines.”\u003Cbr>\r\n\u003Cbr>\r\nCárdenas also invents phrases that become portraits, at times using expressions that can make the reader wince (“the river rats who ride his wetback”). The speaker pokes fun at those who favor blending in by concealing or playing down their indigenous ancestry (“the Hispanic hodgepodge hiding their Indio”), and elsewhere considers Latinos who welcome the newly arrived immigrant, as well as those who resent him or her (“la raza who receive him, la raza who repel him”).\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\n\u003Cimg src=\"http://www.poetryfoundation.org/images/poets/RichardBlanco.gif\" style=\"float:left; height:110px; width:135px\">\u003Cstrong>2. “Somewhere to Paris” by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98499\">Richard Blanco\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cbr>\r\nWhile riding on a train somewhere between Italy and France, Blanco revels in his between-ness, coming to identify with “the arc of space / I travel through” in the same way that one strand of his work dwells on what it means to be both Cuban and American. In this particular poem, the act of writing helps the speaker (and us) more fully inhabit this middle space. The “clack” of “every stitch of track” and the other internal and slant rhymes are hypnotic, creating an elemental experience: “If I don’t know / where I am, then I am only these heartbeats, / my breaths.”\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\n\u003Cimg src=\"http://www.poetryfoundation.org/images/poets/SteveCordova.gif\" style=\"float:left; height:110px; width:135px\">\u003Cstrong>3. \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179893\">“Across a Table”\u003C/a> by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98497\">Steven Cordova\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cbr>\r\n“I’d glad you’re positive,” a man announces in the opening line of Cordova’s poem, and another replies, “I’m glad you’re positive, / too.” Though the conversational tone and iambic regularity of the lines imply that the speakers are at ease with each other, the word “positive” has a double meaning, announcing HIV as the unspoken subject. The first stanza ends with a comma and a pause, telegraphing what follows: the speech becomes hesitant, and the stuttering rhythm conveys the awkwardness of the moment.\u003Cbr>\r\n\u003Cbr>\r\nThe final lines return to regular iambic rhythm when Cordova’s poem pays homage to the late poet Thom Gunn: In Gunn’s poem “Terminal,” a healthy partner helps his companion downstairs, watching him “bring down his feet / As if with that spare strength he used to enjoy.” Cordova’s “knives” and “forks” function in the same way: they “do the heavy lifting now.”\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\n\u003Cimg src=\"http://www.poetryfoundation.org/images/poets/EmmyPerez.gif\" style=\"float:left; height:110px; width:135px\">\u003Cstrong>4. \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179892\">“One Morning”\u003C/a> by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98509\">Emmy Pérez\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cbr>\r\nPicasso’s work never abandons, completely, what he calls the recognizable world. For instance, even when he distorts the human body, one never doubts that it is the human body. In a similar way, “One Morning” by Emmy Pérez evokes narrative while resisting it. The poem sketches a recognizable place (“yellow pines” and “adobe” suggest the Southwest) interspersed with descriptive phrases that seem to tell a story (“I look at myself in / a mirror of weather”) but never reach a tidy resolution.\u003Cbr>\r\n\u003Cbr>\r\nReading this poem is a matter of trusting its journey rather than expecting to arrive at an understanding of a conventional meaning. Phrases such as “rain trenzas” (“trenzas” is Spanish for “braids”) acknowledge that Spanish is part of this linguistic landscape and so contribute to what could be called a conceptual rhyme. Just as rain braids water, the poet is braiding two languages to form something new.\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\n\u003Cimg src=\"http://www.poetryfoundation.org/images/poets/KevinAGonzalez.jpg\" style=\"float:left; height:110px; width:135px\">\u003Cstrong>5. “Cultural Stakes; or, How to Learn English as a Second Language” by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=81726\">Kevin A. González\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cbr>\r\nTouching on divorce, joint custody, and visitation rights, González constructs a sustained portrait of a son and his father: “Don’t ask him what compelled him / to call you today, eighteen months later, / & never admit that his absence / was a moist towel stuffed in your chest.” González fleshes out his family’s past with a poignancy that is not sentimental. Gambling and alcohol, it seems, might have doomed his parents’ marriage, but the poem does not set out to evoke sympathy. Rather, one senses that the son relished the weekends he spent with his father (mostly at a place called Duffy’s), weekends when he became adept at pool and darts: “Fruit will be rolling inside the slot machine; /darts will flash by like hubcaps.”\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\n\u003Cimg src=\"http://www.poetryfoundation.org/images/poets/DeborahParedez.gif\" style=\"float:left; height:110px; width:135px\">\u003Cstrong>6. “The Fire” by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98495\">Deborah Parédez\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cbr>\r\nA dramatic suicide attempt plunges the reader into a literal drama: “The night Tony decided to end it all, / bathing his head and limbs in gasoline / and igniting himself into effigy in the third floor dressing room of the theatre. . . .” These opening lines are end-stopped to emphasize the physical separateness and differences between Tony and the man working in “the scene shop” who ends up rescuing him.\u003Cbr>\r\n\u003Cbr>\r\nWhen the rescuer enters and saves Tony’s life, the enjambed lines move with a skilled deliberateness (“you stayed calm, moved / quickly, took all the necessary precautions,”) that will characterize a different kind of “saving” at the end of the poem. The final stanza depicts the speaker as “a bright girl, ablaze / and reckless” who is becoming a player in a romantic drama of her own.\u003C/p>","\u003Cp>The Wind Shifts\u003C/p>","Six poems from an influential anthology of Latinx poets.",[],[],[3026],{"__typename":573,"status":574,"title":738,"firstName":3027,"middleName":7,"lastName":3028,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3029,"galeBio":7,"poetryBio":3030,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":3031,"image":3032,"authorRegions":3046,"categories":3047,"themes":3058,"parentCategories":3059,"childCategories":3060,"id":736,"uid":737,"slug":739,"uri":740,"url":741,"sectionHandle":592,"postDate":593,"dateUpdated":742,"level":7},"Francisco","Aragón","\u003Cp>Poet, translator, essayist, editor, and San Francisco native Francisco Aragón studied Spanish at the University of California at Berkeley and New York University. He earned an MA from the University of California at Davis and an MFA from the University of Notre Dame.\u003Cbr />\u003Cbr />Exploring how language and genre both connect and diverge, Aragón’s poems locate personal experience within a wider cultural and historical conversation. Aragón’s debut poetry collection, \u003Ci>Puerta del Sol\u003C/i> (2005), appears in a bilingual edition, pairing poems originally composed in English with their Spanish-language “elaborations.” As Craig Santos Perez observed in his review for \u003Ci>Jacket\u003C/i>, “The poems in Francisco Aragón’s \u003Ci>Puerta del Sol\u003C/i> resemble gates of light as they capture the shifting hues of the poet’s experience living abroad in Spain and the memories of his native California.” In an interview with \u003Ci>Connect Savannah\u003C/i>, Aragón spoke of his writing process, noting, “Oftentimes I have the experience of sound or smell or song—some sort of sensory sensation jars some memory I thought had long been forgotten.” \u003Cbr />\u003Cbr />Aragón’s multi-genre book \u003Ci>Glow of Our Sweat\u003C/i> (2010) includes poems, translations, and an essay. His lastest book is \u003Ci>After Rubén\u003C/i> (Red Hen Press, 2020). His translations appear in Federico García Lorca’s \u003Ci>Selected Verse: A Bilingual Edition\u003C/i> (1996). The editor of Bilingual Press’s \u003Ci>Canto Cosas\u003C/i> poetry book series and the anthology \u003Ci>The Wind Shifts: New Latino Poetry\u003C/i> (2007), Aragon has seen his own poetry appear in many anthologies, including \u003Ci>Inventions of Farewell: A Book of Elegies\u003C/i> (2001) and \u003Ci>Mariposa: A Modern Anthology of Queer Latino Poetry\u003C/i> (2008).\u003Cbr />\u003Cbr />The winner of an Academy of American Poets Prize, Aragon has served on the board of directors of the Association of Writers &Writing Programs. At the University of Notre Dame, Aragón directs \u003Ci>Letras Latinas\u003C/i>, the literary program of the Institute for Latino Studies, and edits for Momotombo Press, which he founded.\u003Cbr /> \u003C/p>","\u003Cp>Francisco Aragón is the author of \u003Ci>After Rubén\u003C/i> (Red Hen Press, 2020). He directs Letras Latinas, the literary initiative at University of Notre Dame’s Institute for Latino Studies\u003C/p>","http://franciscoaragon.net/",[3033],{"__typename":25,"id":3034,"uid":3035,"title":3036,"alt":3037,"url":3038,"height":3039,"width":3040,"filename":3041,"caption":3042,"copyright":3042,"focalPoint":3043},"1626245","fb5e7766-19f7-4144-810a-a2bcb4ffd818","Francisco Aragon","Headshot of Francisco Aragon","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/Francisco-Aragon-c-ND-studios.jpg",2400,3000,"Francisco-Aragon-c-ND-studios.jpg","\u003Cp>Photo by ND studios\u003C/p>",[3044,3045],0.4909,0.3589,[],[2925,2938,3048],{"__typename":2926,"id":3049,"uid":3050,"title":3051,"slug":3052,"uri":3053,"url":3054,"sectionHandle":2933,"postDate":3055,"dateUpdated":3056,"level":2957,"formattedTitle":3057},"242808","d139e134-f2d3-49e9-a779-f22a56b1fd1b","U.S., Midwestern","u-s-midwestern","categories/u-s-midwestern","https://www.poetryfoundation.org/categories/u-s-midwestern","2015-06-09T15:00:10-05:00","2024-06-10T13:25:18-05:00","\u003Cp>U.S., Midwestern\u003C/p>",[],[2961],[3061],{"__typename":2926,"parent":2964,"id":3049,"uid":3050,"title":3051,"slug":3052,"uri":3053,"url":3054,"sectionHandle":2933,"postDate":3055,"dateUpdated":3056,"level":2957},[3063],{"__typename":3002,"id":3064,"title":3065,"formattedTitle":3065},"60","Poem Sampler",{"__typename":615,"id":3067,"affiliation":7,"externalLinkUrl":3068,"description":7,"title":7,"uri":7,"contentItem":3069},"1291015",[],[3070],{"__typename":2900,"id":3071,"uid":3072,"title":3073,"slug":3074,"uri":3075,"url":3076,"sectionHandle":2907,"postDate":3077,"dateUpdated":3078,"level":7,"excerpt":3079,"body":3080,"formattedTitle":3081,"subtitle":3082,"essayYear":7,"magazineEntries":3083,"image":3084,"authors":3085,"articleType":3104},"23989","bb2f1248-f2b0-42eb-aba2-e4dd57f3b3d3","On Standing at Neruda’s Tomb","on-standing-at-nerudas-tomb","articles/68844/on-standing-at-nerudas-tomb","https://www.poetryfoundation.org/articles/68844/on-standing-at-nerudas-tomb","2007-03-05T00:00:00-06:00","2024-06-11T09:35:31-05:00","\u003Cp>\u003Ci>Martín Espada was born in Brooklyn, New York in 1957. He has published thirteen books in all as a poet, editor and translator. His eighth book of poems is called \u003C/i>The Republic of Poetry\u003Ci> (Norton, 2006). A former tenant lawyer,...\u003C/i>\u003C/p>","\u003Ci>Martín Espada was born in Brooklyn, New York in 1957. He has published thirteen books in all as a poet, editor and translator. His eighth book of poems is called \u003C/i>The Republic of Poetry\u003Ci> (Norton, 2006). A former tenant lawyer, Espada is a professor in the English Department at the University of Massachusetts-Amherst, where he teaches creative writing and the work of Pablo Neruda.\u003C/i>\r\u003Cbr>\r\u003Cbr>\u003Cb>Luis Urrea: I recall hearing you read “Mrs. Báez Serves Coffee on the Third Floor” when you and I were both living in Boston in the early 1980s. I never forgot it—not so much the exact lines, but the tone and feeling of the poem. Other Latino writers and poets living there then used to joke that you were “the most famous unknown poet in Boston” because you seemed certain of your destiny. I don’t want to sound as if you sprung fully formed from the head of Zeus, but you appeared with a remarkable maturity of voice and presence, even then. Were you always a poet? \u003C/b>\r\u003Cbr>\r\u003Cbr>Martín Espada: If I did spring fully formed from the head of Zeus, I’m quite sure I would’ve tripped and broken my ankle. I was never certain of my destiny, but I was certain that I wanted to be a poet. I wrote my first poem when I was 15, as a result of a classroom assignment, and my first book was published in 1982, when I was 24 years old—a relatively early start. Before I arrived in Boston, I spent some time working in radio, broadcasting music, news, and public affairs on WORT-FM in Madison, Wisconsin. My experience in radio influenced how I presented my work at readings. \u003Ci>What you heard was my experience.\u003C/i>\r\u003Cbr>\r\u003Cbr>I wasn’t always a poet. In fact, I was a terrible student, not unlike a certain chief executive I could mention. I flunked English one semester in the eighth grade, and now I’m a professor of English, which only demonstrates how one life can zig and zag. \r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>In Boston you were working as a tenant lawyer. Did your encounters with evildoers in the Chelsea housing world and the trenches of the law shape your poetic vision?\u003C/b>\r\u003Cbr>\r\u003Cbr>Yes, I was the supervisor of Su Clínica Legal, a legal services program for low-income, Spanish-speaking tenants in Chelsea, a project of Suffolk University Law School. [Chelsea is a tough little town right across the Tobin Bridge from Boston. It’s a gateway city, a city of immigrants, and it always has been.] We did eviction defense, obtained court orders to exterminate rats or fix the heat in winter, and trained law students to do the same. \r\u003Cbr>\r\u003Cbr>The term “evildoers” sounds ironic or hyperbolic, but in fact there were some evildoers in Chelsea District Court among the landlords, attorneys, and judges I encountered. Ultimately, however, the system was more evil than any one individual. It was a system that valued property over people and rewarded the well-crafted untruth. This was a place for the exercise of raw political and economic power.\r\u003Cbr>\r\u003Cbr>Working in the “legal trenches” definitely affected my poetry. I wrote poems about Chelsea and the law—many of them appear in a book called \u003Ci>City of Coughing and Dead Radiators.\u003C/i> As a lawyer and a poet, I was an advocate, speaking on behalf of those without an opportunity to be heard. Therefore, as a poet, my advocacy could go well beyond the law or that particular community. \r\u003Cbr>\r\u003Cbr>There were lawyer-poets long before me. Edgar Lee Masters and Charles Reznikoff come to mind as two of my favorites. As a poet and a lawyer, I appreciate Masters’ \u003Ci>Spoon River Anthology\u003C/i> and Reznikoff’s \u003Ci>Testimony.\u003C/i> There are also contemporary lawyer-poets I admire, like Sam Allen, Ilya Kaminsky, and Lawrence Joseph.\r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>Do you recall a night in Boston when a group of Latino writer/poets hunched over a small table in a bistro? I’m not sure if it was an epochal meeting of great talents or a conglomeration of degenerates. But I do remember it was you, Tino Villanueva, Jimmy Santiago Baca, and me. We have spoken before about that night, and the vibrant atmosphere in Boston (and America in general) in those days. What was happening, and—ahem—what happened? Where did everybody go?\u003C/b>\r\u003Cbr>\r\u003Cbr>I remember that night of talented degenerates—and those times—very well. There was a Latino cultural renaissance in Boston during the 1980s. A number of writers emerged in the Boston Latino community at that time: you and me, Tino Villanueva, Marjorie Agosín, Rosario Morales, Alicia Gaspar de Alba, Alan West Durán. There was a magazine of literature and the arts called \u003Ci>Imagine: International Poetry Journal,\u003C/i> as you well know, since you and Tino were the editors. There was a vibrant cultural center in the South End, called El Portón, that hosted local readings, and a bigger reading series in Harvard Square that enabled us to bring in visiting writers such as Jimmy Santiago Baca and Sandra Cisneros. There were conferences and festivals dedicated to the work of major Puerto Rican poets like Juan Antonio Corretjer and Clemente Soto Vélez. These events never could have happened without energetic cultural organizers, primarily a young civil rights lawyer by the name of Camilo Pérez-Bustillo.\r\u003Cbr>\r\u003Cbr>What happened? Many of us left Boston because we couldn’t find teaching jobs or other work. A few of us stayed and were marginalized. When I first arrived in Boston, an older African-American poet named Sam Allen took me aside and explained that Brahminism still dominated Boston—not the Cabots and the Lowells, but a kind of cultural and literary Brahminism which perpetuated patterns of exclusion and segregation, particularly in the academic world.\r\u003Cbr>\r\u003Cbr>He was right. We were \u003Ci>in\u003C/i> Harvard Square, but we were not \u003Ci>of\u003C/i> Harvard Square. The Latino cultural boom in Boston did nothing to integrate us into the mainstream that controlled most of the resources. We were told, in effect, to go away, and we did. \r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>There can be no doubt that your father had a profound influence on your vision, or at least on \u003Ci>The Immigrant Iceboy’s Bolero,\u003C/i> your first book. Can you talk about him?\u003C/b> \r\u003Cbr>\r\u003Cbr>My father, Frank Espada, was a political activist and leader of the New York Puerto Rican community in the 1960s. He was, and is, a documentary photographer who directed the Puerto Rican Diaspora Documentary Project, a photo-documentary and oral history of the Puerto Rican migration from the mid-1960s to the mid-1980s. Thus his influence was personal, cultural, political, and artistic. He not only provided an activist example but also taught me something about the visual image which is, I think, reflected in my work. My first book, \u003Ci>The Immigrant Iceboy’s Bolero,\u003C/i> published in 1982, combines my poems with his photographs. He also did the covers for four subsequent books.\r\u003Cbr>\r\u003Cbr>In 1949, when my father was 19 and serving in the U.S. Air Force, he was arrested in Biloxi, Mississippi, for refusing to go to the back of the bus. He spent a week in jail; that was his political awakening. In 1964, he was arrested and jailed again. This time he was protesting against the racially discriminatory hiring practices of the Schaefer Brewing Company. There was a demonstration organized by the Congress of Racial Equality at the Schaefer Beer Pavilion during the New York World’s Fair, and my father was one of many arrested there who simply disappeared into the legal machinery. \r\u003Cbr>\r\u003Cbr>Being seven years old in 1964, and with no other explanation forthcoming, I concluded that my father must be dead. I would hold a snapshot of him in my hands and cry. One day, to my amazement, he walked in the door. Once he established that he was not dead, he realized that he had to explain his absence. That was, you might say, my political awakening. I wrote a poem about it 30 years later:\u003Cblockquote>\u003Cb>The Sign in My Father’s Hands\u003C/b>\r\u003Cbr> \u003Ci>For Frank Espada\u003C/i>\r\u003Cbr>\r\u003Cbr>The beer company\r\u003Cbr>did not hire Blacks or Puerto Ricans,\r\u003Cbr>so my father joined the picket line\r\u003Cbr>at the Schaefer Beer Pavilion, New York World’s Fair,\r\u003Cbr>amid the crowds glaring with canine hostility.\r\u003Cbr>But the cops brandished nightsticks\r\u003Cbr>and handcuffs to protect the beer,\r\u003Cbr>and my father disappeared.\r\u003Cbr>\r\u003Cbr>In 1964, I had never tasted beer,\r\u003Cbr>and no one told me about the picket signs\r\u003Cbr>torn in two by the cops of brewery.\r\u003Cbr>I knew what dead was: dead was a cat\r\u003Cbr>overrun with parasites and dumped\r\u003Cbr>in the hallway incinerator.\r\u003Cbr>I knew my father was dead.\r\u003Cbr>I went mute and filmy-eyed, the slow boy\r\u003Cbr>who did not hear the question in school.\r\u003Cbr>I sat studying his framed photograph\r\u003Cbr>like a mirror, my darker face. \r\u003Cbr>\r\u003Cbr>Days later, he appeared in the doorway \r\u003Cbr>grinning with his gilded tooth.\r\u003Cbr>Not dead, though I would come to learn\r\u003Cbr>that sometimes Puerto Ricans die\r\u003Cbr>in jail, with bruises no one can explain\r\u003Cbr>swelling their eyes shut.\r\u003Cbr>I would learn too that “boycott”\r\u003Cbr>is not a boy’s haircut,\r\u003Cbr>that I could sketch a picket line\r\u003Cbr>on the blank side of a leaflet. \r\u003Cbr>\r\u003Cbr>That day my father returned \r\u003Cbr>from the netherworld\r\u003Cbr>easily as riding the elevator to apartment 14F,\r\u003Cbr>and the brewery cops could only watch\r\u003Cbr>in drunken disappointment.\r\u003Cbr>I searched my father’s hands\r\u003Cbr>for a sign of the miracle.\u003C/blockquote>\u003Cb>Since we are looking at father figures now, can you also say a few words about how Clemente Soto Vélez, a major Puerto Rican poet and a leader of the independence movement in Puerto Rico, influenced you?\u003C/b>\r\u003Cbr>\r\u003Cbr>Clemente Soto Vélez was a dear friend of mine. As a poet, he was a revolutionary surrealist comparable to César Vallejo of Perú. I co-translated a selection of his work called \u003Ci>La sangre que sigue cantando,\u003C/i> or \u003Ci>The Blood That Keeps Singing,\u003C/i> published by Curbstone Press. \r\u003Cbr>\r\u003Cbr>As a militant \u003Ci>independentista\u003C/i>—that is, an advocate of independence for the island—he was convicted of seditious conspiracy and served six years in federal prison from 1936 to 1942. Upon his release, he settled in New York, where he mentored generations of poets, artists, and activists in the Puerto Rican community, myself included. I knew him in the last decade of his life; my wife and I named our son for him, and they met once, on Columbus Day 1992, when my son was nine months old and the elder Clemente was 87. When Soto Vélez died the next year, I wrote an elegy for him called “Hands Without Irons Become Dragonflies.” \r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>In July 2004, you were part of a small U.S. delegation invited to participate in the commemoration of the Pablo Neruda Centenary in Chile. Can you share some impressions of your visit?\u003C/b> \r\u003Cbr>\r\u003Cbr>This experience was a revelation. Consider the context: We poets are told in this country, over and over, that we do not matter. We internalize the rhetoric of irrelevance. In this mercantile culture, poetry is quantified in terms of dollars and found lacking.\r\u003Cbr>\r\u003Cbr>I hear the same dirge about poetry everybody else hears.\r\u003Cbr>\r\u003Cbr>Then I went to Chile. I never imagined that a nation could celebrate a poet, or poetry in general, with such fervor. Restaurants used Neruda’s odes for recipes. There were séances to commune with the spirits of dead poets. In a taxicab I heard a radio call-in show on poetry. A security guard at the airport wouldn’t let me leave the country—literally—until I declaimed a poem for her. At Neruda’s Isla Negra home, I saw poetry put to a hundred uses by thousands of celebrants singing, dancing, painting, reading, and performing his poems. \r\u003Cbr>\r\u003Cbr>I found myself in the middle of two remarkable scenes at Isla Negra, one public and one personal. The families of the \u003Ci>desaparecidos\u003C/i>—those people who were disappeared, tortured, imprisoned, or murdered under the Pinochet regime—staged a silent demonstration at the tomb of Neruda. To them it made perfect sense to make their appeal for justice at the grave of a poet. To them there was an unbreakable nexus between justice and poetry. \r\u003Cbr>\r\u003Cbr>When they found out I was a poet, they broke their silence. For my part, I promised that I would tell their story. And I did.\r\u003Cbr>\r\u003Cbr>The personal scene happened just after I finished an interview with the national Chilean television station. It attracted a circle of onlookers, and this poem describes what happened next:\u003Cblockquote>\u003Cb>Black Islands\u003C/b>\r\u003Cbr> \u003Ci>For Darío\u003C/i>\r\u003Cbr>\r\u003Cbr>At Isla Negra,\r\u003Cbr>between Neruda’s tomb\r\u003Cbr>and the anchor in the garden,\r\u003Cbr>a man with stonecutter’s hands\r\u003Cbr>lifted up his boy of five\r\u003Cbr>so the boy’s eyes could search mine.\r\u003Cbr>The boy’s eyes were black olives.\r\u003Cbr>\u003Ci>Son,\u003C/i> the father said, \u003Ci>this is a poet,\r\u003Cbr>like Pablo Neruda.\u003C/i> \r\u003Cbr>The boy’s eyes were black glass.\r\u003Cbr>\u003Ci>My son is called Darío,\r\u003Cbr>for the poet of Nicaragua,\u003C/i>\r\u003Cbr>the father said.\r\u003Cbr>The boy’s eyes were black stones.\r\u003Cbr>The boy said nothing,\r\u003Cbr>searching my face for poetry,\r\u003Cbr>searching my eyes for his own eyes.\r\u003Cbr>The boy’s eyes were black islands.\u003C/blockquote>This experience was deeply moving for me, and it offered a kind of challenge here: How do I live up to these expectations? On the other hand, I was glad to be far away from the pose of detached, hip cynicism that characterizes so much poetry in the United States. Poetry doesn’t have to be an absurd, meaningless gesture, a finger up the nose at the dinner table. Poetry can be a matter of faith, trust, justice. \r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>So what do you think about the giant standing on the horizon—Neruda.\u003C/b>\r\u003Cbr>\r\u003Cbr>I teach a whole course on the life and work of Neruda at the University of Massachusetts, Amherst. Gabriel García Márquez said that Neruda was the greatest poet of the 20th century in any language. He may have been right. \r\u003Cbr>\r\u003Cbr>There are many Nerudas, of course: the love poet, the surrealist poet, the political poet, the poet of historical epic, the poet of the sea, the poet of everyday things. The common denominator is the image. Neruda is grounded in the senses, and his imagery never loses the wildness of those early surrealist days, though at the same time he manages a startling clarity. He has a passionate appreciation for the fact of being alive, a great empathy that expresses itself in poems like “The Great Tablecloth”:\u003Cblockquote>Let us sit down soon to eat\r\u003Cbr>with all those who haven’t eaten:\r\u003Cbr>let us spread great tablecloths,\r\u003Cbr>put salt in the lakes of the world,\r\u003Cbr>set up planetary bakeries,\r\u003Cbr>tables with strawberries in snow,\r\u003Cbr>and a plate like the moon itself\r\u003Cbr>from which we all can eat.\r\u003Cbr>\r\u003Cbr>For now I ask no more\r\u003Cbr>Than the justice of eating.\r\u003Cbr>\r\u003Cbr> (Thanks to Alastair Reid for the translation.)\u003C/blockquote>\r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>Aside from Neruda, who are your other influences? Do you see yourself as a member of any movement or “school”?\u003C/b> \r\u003Cbr>\r\u003Cbr>I am part of a tradition that goes back to Whitman. I mentioned before the concept of the poet-advocate. It was Whitman, in #24 of \u003Ci>Song of Myself,\u003C/i> who wrote: “Through me many long-dumb voices.” It was Whitman in \u003Ci>Leaves of Grass\u003C/i> who constantly spoke for slaves, prisoners, and prostitutes, “the rights of them the others are down upon.” Whitman’s greatest disciple, Neruda, stood at the heights of Macchu Picchu and said, “I come to speak for your dead mouths.” They were poet-advocates, and I follow their example.\r\u003Cbr>\r\u003Cbr>When Whitman writes, in the preface to the first edition of \u003Ci>Leaves of Grass,\u003C/i> that the duty of the poet is “to cheer up slaves and horrify despots,” he is laying the foundation for a tradition of political poetry in the generations to come. (We can only imagine what Whitman would make of this administration, but he is the guy who coined the term “filthy Presidentiad.”)\r\u003Cbr>\r\u003Cbr>In addition to Neruda, many other major poets working throughout the 20th century in this Whitmanesque vein influenced me, including Hughes, Sandburg, Masters, Ginsberg, Hikmet, Cardenal. Sterling Brown was an important early influence.\r\u003Cbr>\r\u003Cbr>Many other contemporary poets have influenced me to one degree or another, including Forché, Rich, Piercy, Komunyakaa, Clifton, Olds, not to mention Latino and Latina poets such as Gary Soto, Lorna Dee Cervantes, Tino Villanueva and Jack Agüeros.\r\u003Cbr>\r\u003Cbr>Beyond influence, I have had mentors. There was Clemente Soto Vélez, but also Robert Creeley, Sam Cornish, Andrew Salkey, and Sandy Taylor. In London last year I met the writer and activist Adrian Mitchell, the “Shadow Poet Laureate” of England. I want to be him when I grow up.\r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>And are you comfortable with being seen as a poet of witness?\u003C/b>\r\u003Cbr>\r\u003Cbr>I am perfectly comfortable with the idea of being identified as a “poet of witness.” This concept of witness, as articulated by Carolyn Forché and others, is closely linked to the Latin American \u003Ci>testimonio.\u003C/i> All it means is that we see and we speak. As I’ve said elsewhere, how could I know what I know and not tell what I know? \r\u003Cbr>\r\u003Cbr>\r\u003Cbr>\u003Cb>Here’s a simple, complicated question: Latino, Hispanic, or what?\u003C/b> \r\u003Cbr>\r\u003Cbr>Everybody’s working their little label-making-machines, trying to find one that will help make a handy bundle of us for general consumption. What flavor are you, Martín? Are you and I different flavors? And how do you think auto-determination varies from our culture’s definitions of us? This is important both personally and aesthetically.\r\u003Cbr>\r\u003Cbr>If I were ice cream, I’d be mango beef flavor. Something exotic.\r\u003Cbr>\r\u003Cbr>As for your simple, complicated question: Personally, I prefer “Latino” over “Hispanic.” “Latino” is a term that emerged organically from the community. The word is Spanish, being shorthand for “Latinoamericano.” As such, it includes all those of Latin American origin or descent living in the U.S. The term has always been associated with the more politically progressive sectors of the community. \r\u003Cbr>\r\u003Cbr>On the other hand, “Hispanic” is a term coined by the U.S. Census Bureau and picked up by the mainstream media, which is why its usage predominates. It’s an English word which, paradoxically, emphasizes our Spanish heritage at the expense of our African or indigenous roots. Generally, this is the term associated with the more conservative elements of our community. By the way, “Hispanic” includes the word “panic” in it, which is what many right-wing pundits and politicians are doing in response to all those Latin American immigrants coming across the border.\r\u003Cbr>\r\u003Cbr>I also like “Latino” better than “Hispanic” because it’s more musical. Maybe that’s just the poet in me. We shouldn’t underestimate the musicality of words; no one says “Puerto Rican–American,” not only because it’s redundant, but because it’s awkward.\r\u003Cbr>\r\u003Cbr>In addition to being Latino, I’m Puerto Rican, Nuyorican, and Boricua. “Puerto Rican” is self-explanatory; my father is from Puerto Rico. I’m “Nuyorican” because I’m a Puerto Rican born in New York. I’m “Boricua”—derived from the original word that the indigenous people of the island used to describe themselves and their home—because this is a term that Puerto Ricans use when they are feeling especially, quintessentially Puerto Rican, a feeling that permeates much of my work.\r\u003Cbr>\r\u003Cbr>Auto-definition is critical. If I say that I’m Puerto Rican, Nuyorican or Boricua, that should be enough for anybody. We spend too much time inside our respective communities playing the authenticity game. Identity is a collection of experiences, and all of us should have the right to name our experience. We all deserve the benefit of the doubt.\r\u003Cbr>\r\u003Cbr>We should all be wary of labels and boxes that confine rather than define us. At the same time, this language can be useful. I believe in useful language, and I am of the opinion that “Latino” is more useful than “Hispanic.” \r\u003Cbr>\r\u003Cbr>Having said that, I should also say that I won’t scream and faint if someone calls me “Hispanic” rather than “Latino.” As long as I’m addressed respectfully, the nomenclature is of secondary importance. I’ve been called “spic” too many times in my life to worry about being called “Hispanic.” If you’ve had your head slammed into a wall by a gym coach spitting racial slurs at you, or received racist hate mail because you’ve written an editorial calling for Puerto Rican independence, then these linguistic distinctions start to blur.\r\u003Cbr>\r\u003Cbr>One reason I do believe in an umbrella term for us—be it Latino, Hispanic, or whatever—is that I recognize so much common ground in terms of history, culture, religion, politics, music, art, language, and, yes, poetry. We all confront the borders of racism, and transcend those borders. That is common ground too.\r\u003Cbr>\r\u003Cbr>I know, for example, that my sensibility as a poet owes a debt to the Mexican muralists, especially Rivera and Orozco. I know that my politics, which are essential to my poetry, have been shaped and inspired by Mexicans from Emiliano Zapata to César Chávez. My book of essays is called \u003Ci>Zapata’s Disciple\u003C/i>; I once interviewed Chávez for the radio. I am continually gratified by the support of Chicano poets and the response of Chicano audiences to my work. We should be building bridges and coalitions between these communities, and if an umbrella term like “Latino” helps us do that, then so much the better.","\u003Cp>On Standing at Neruda’s Tomb\u003C/p>","An interview with Martín Espada about his influences, his trip to Chile, and his new book \u003Ci>The Republic of Poetry.\u003C/i>",[],[],[3086],{"__typename":573,"status":574,"title":3087,"firstName":3088,"middleName":3089,"lastName":3090,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3091,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3092,"authorRegions":3093,"categories":3094,"themes":3095,"parentCategories":3096,"childCategories":3097,"id":3098,"uid":3099,"slug":3100,"uri":3101,"url":3102,"sectionHandle":592,"postDate":593,"dateUpdated":3103,"level":7},"Luis Alberto Urrea","Luis","Alberto","Urrea","\u003Cp>Luis Alberto Urrea is the author of several volumes of poetry, as well as the nonfiction books \u003Cem>The Devil’s Highway,\u003C/em> a finalist for the 2005 Pulitzer Prize for general nonfiction, and \u003Cem>Across the Wire.\u003C/em> He teaches creative writing at the University of Illinois in Chicago.\u003C/p>",[],[],[],[],[],[],"34459","ff702490-06c9-4cbc-959d-76b8358f4b94","luis-alberto-urrea","poets/luis-alberto-urrea","https://www.poetryfoundation.org/poets/luis-alberto-urrea","2024-06-11T11:39:05-05:00",[3105],{"__typename":3002,"id":3106,"title":3107,"formattedTitle":3107},"51","Interview",{"__typename":615,"id":3109,"affiliation":7,"externalLinkUrl":3110,"description":7,"title":7,"uri":7,"contentItem":3111},"1291016",[],[3112],{"__typename":2900,"id":3113,"uid":3114,"title":3115,"slug":3116,"uri":3117,"url":3118,"sectionHandle":2907,"postDate":3119,"dateUpdated":3120,"level":7,"excerpt":3121,"body":3122,"formattedTitle":3123,"subtitle":3124,"essayYear":7,"magazineEntries":3125,"image":3126,"authors":3127,"articleType":3144},"24735","6671e0ce-e3a9-442f-92c4-a5cffaa8f329","Reclaiming the Sleepless Volcano","reclaiming-the-sleepless-volcano","articles/69238/reclaiming-the-sleepless-volcano","https://www.poetryfoundation.org/articles/69238/reclaiming-the-sleepless-volcano","2009-02-25T00:00:00-06:00","2024-06-11T09:40:48-05:00","\u003Cp> \u003Cbr />\u003Cem>Juan Felipe Herrera. Photo: Michael Elderman\u003C/em>\u003Cbr />When Juan Felipe Herrera started third grade in San Diego’s Barrio Logan, he spoke little English; until then, he’d followed his parents, migrant Mexican farmworkers, from crop to crop around California. He couldn’t understand...\u003C/p>","\u003Cdiv style=\"margin: auto; color: #777;\">\u003Cimg src=\"http://poetryfoundation.org/images/features/juanfelipeherrera500.jpg\" border=\"0\"> \u003Cbr>\u003Cem>Juan Felipe Herrera. Photo: Michael Elderman\u003C/em>\u003C/div>\r\n\u003Cp>When \u003Ca href=\"http://poetryfoundation.org/archive/poet.html?id=99366\">Juan Felipe Herrera\u003C/a> started third grade in San Diego’s Barrio Logan, he spoke little English; until then, he’d followed his parents, migrant Mexican farmworkers, from crop to crop around California. He couldn’t understand anything his classmates said to him, so he made no attempt to respond. The boy thought to himself, “My tongue is a rock.” He wouldn’t speak for fear of sounding stupid. \u003Cbr> \u003Cbr>As his vocabulary improved, his teacher, Lucille Sampson, broke through his silence by assigning Herrera to write his first poem in English. Sampson pushed him further out of his shell by asking her students to perform plays and songs. “You have a very beautiful voice,” she told him when he sang “Three Blind Mice” in front of the class. Moments like these, according to Herrera, launched the career of one of America’s most celebrated Latino poets. (Sampson still receives dedications in his books.) \u003Cbr> \u003Cbr>“I didn’t even know I had a voice,” says Herrera in his casual California Chicano twang. He’s 60 now, and the author of more than 20 acclaimed books, including this year’s new-and-selected-poetry volume, \u003Cem>Half the World in Light\u003C/em>, a finalist for the 2008 National Book Critics Circle award. “That’s how far away I was. I was just an observer.” \u003Cbr> \u003Cbr>Herrera’s family moved frequently between San Francisco and San Diego when he was a kid. In 1958, at the age of 10, he shared a room in San Francisco’s Mission District with his teenage cousin Tito Quintana, whom he calls “the family beatnik.” The walls in Quintana’s room were black, save for an eyeball painted on one of them; he’d mounted the album covers from jazz records by the likes of Dave Brubeck and Cal Tjader, and hung strange mobiles. Music by the Cuban percussionist Mongo Santamaria provided the soundtrack when Quintana wasn’t pounding his own bongos. Herrera, having just found his voice in San Diego, now had the perfect place to raise it. \u003Cbr> \u003Cbr>Herrera arrived in San Francisco between two of its more celebrated moments. The North Beach writers and their fans whom \u003Cem>San Francisco Chronicle\u003C/em> columnist Herb Caen had nicknamed “beatniks”—\u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=6407\">Gary Snyder\u003C/a>, \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=2162\">Lawrence Ferlinghetti\u003C/a>, et al.—would soon hand the spotlight and stereotypes to the Haight and hippies such as Stephen Levine and Janis Joplin. \u003Cbr> \u003Cbr>“All those currents were combined: storytelling, the political moment, the ’60s, the civil rights movement, and my desire to speak, to break through,” remembers Herrera, who nowadays wears his mustache thick, his glasses round and his hair cropped and graying. “I felt locked in, locked up. I had been hurt in school because I spoke Spanish only. I was very sensitive, so it became a battle for me: the pain I was feeling about being Mexicano, Chicano, Spanish-speaking only.” \u003Cbr> \u003Cbr>Herrera would take the number 14 bus from Mission Street to downtown and hop the cable car at Powell and Market streets to head toward Chinatown, or he’d transfer from the 14 to the 47 Van Ness and ride to the piers to net crabs. Some days he’d walk past neon signs that advertised nudie bars and sniff the beef sizzling on steakhouse grills. San Francisco stimulated the kid from all over as no place else had. And once Herrera hit high school, he added another stop to his route, and a whole new type of stimulus: City Lights Bookstore, a place he would continue to visit after he left San Francisco to get his bachelor’s degree at UCLA, and a place where he still occasionally finds himself the featured reader. \u003Cbr> \u003Cbr>“The texture of the books, and the kind of books that City Lights carried, and then the atmosphere inside and around the bookstore, and the narrow stairway that goes down, and the 3,000 posters and handouts that you read on the walls as you go down,” Herrera recalls over the phone from Riverside, where he teaches creative writing at the University of California, when asked what he remembers of the bookstore. He consumed all the words he could get, roamed California, and started to put down some lines of his own. “I just got deeper and deeper into it. I traveled and I wrote nonstop, so it became my life,” he says of his early years as a writer and reader. “It became my entire life, so then I wanted for it not only to be my life, but I wanted to share my life with others, and listen to their stories, and create a beautiful kind of a class of poetry that circulated among all of us for the better of all. That’s how it began.” \u003Cbr> \u003Cbr>He changed his life and changed his look. “I used to strut down Haight-Ashbury as a high-schooler with my corduroy double-pleated who-knows-what bell-bottoms and my New York East Village leather boots and my see-through lime-green East Indian traditional shirts and every bead you could think of wrapped around my hand as I thought about Jimi Hendrix’s latest album, \u003Cem>Are You Experienced?\u003C/em>,” he says. Still, he wasn’t just about being a hipster. \u003Cbr> \u003Cbr>His work reflected the struggles he witnessed all around him. “I came out of the civil rights movement and also was involved in the Chicano-Latino literary political-arts movement of the ’60s and ’70s and to the present,” he says. Herrera marched for the United Farm Workers in the 1960s and ’70s and against U.S. involvement in Central America in the 1970s and ’80s—but for the most part his poems were his placards. In poetry he explored the issues of injustice, oppression, inclusion, and exclusion that fueled the rallies, debates, and conferences in which he participated. “We had a lot of concerns about questions of homeland, questions of cultural roots, reclaiming our culture, you know, questions of religious foundations,” he says. “What is a community? What are our indigenous community roots? Questions of language: What is our language? What is language? Literature: What is literature? What are all those things? We had to reevaluate. All of us did—not just Chicanos and Latinos. All people of color, the gay and lesbian movement did the same thing, the black-arts movement did the same thing, the feminist movement did the same thing, the working-class movement did the same thing: reinterpreting what we thought was real.” With his fellow Latino writers—and concurrently with so many other artistic and political movements—Herrera wrote about the struggle he witnessed. “The mere act of writing can be a way of speaking: an act of liberation, teaching, learning, sharing, crossing over from silence into being,” he says. “Writing more than ever is one of the most powerful ways to clarify and deflect misinformation and, most of all, to aid in the end of suffering of many. Writing is not activism when it is solely entertainism—as the late Harold Pinter puts it in his Nobel speech.” \u003Cbr> \u003Cbr>In 2005, four decades after he first leafed through the work of \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=2547\">Allen Ginsberg\u003C/a> at City Lights and got turned on to new ideas and questions, Herrera began choosing poems for a pair of complementary, career-spanning new-and-selected collections. City Lights put out \u003Cem>187 Reasons Mexicanos Can’t Cross the Border\u003C/em> in 2007, and \u003Cem>Half of the World in Light\u003C/em>, from the University of Arizona Press, hit shelves in July 2008. \u003Cbr> \u003Cbr>The first book on the long literary road to these two collections was \u003Cem>Rebozos of Love\u003C/em>—selections from which still find their way into creative-writing and Chicano studies curricula—published in 1974. The words in the volume can confuse monolinguals, as Herrera never sticks too long to English or Spanish, preferring that third language, the version of Spanglish common in and specific to California.\u003C/p>\r\n\u003Cblockquote>we \u003Cbr>speak \u003Cbr>lluvia \u003Cbr>roja \u003Cbr>fuente \u003Cbr>song \u003Cbr>of \u003Cbr>our \u003Cbr>struggle\u003C/blockquote>\r\n\u003Cp>“(Dawning Luz)” offers a characteristic mash-up of words and worlds: \u003Cem>lluvia\u003C/em> means rain, \u003Cem>roja\u003C/em> means red, \u003Cem>fuente\u003C/em> means fountain, and \u003Cem>luz\u003C/em> means light. When you add connotations and double entendres in two languages, you can easily end up wondering what anything means anymore. It’s an in-between world that Herrera still relishes. “I use words in those books on occasion that are directly from my childhood, and they’re ways of speaking that farmworkers, campesinos, or working-class Mexicanos or Latinos employ every day to communicate,” he says. “It’s part of our linguistic universe and not necessarily valued in officialized language classrooms, but I choose to use those words because those are the words that I know. When I read those words in the classroom in California or the Southwest or any classroom where there’s migrant students, they’re going to know those words.” \u003Cbr> \u003Cbr>After his first book was published he often read his work publicly, and the opportunities to combine art and activism multiplied. He met the Chilean poet Fernando Alegría in San Francisco at the Sexto Sol Conference for Latino writers in 1974. Later that year, Herrera went to Mexico City for the Fifth Festival of Chicano Theater and the First Latin American Teatro Festival and then met up with Alegría in El Salvador to get further informed and inspired. “He was a great mentor,” Herrera said. He marched when he had to, but mostly he wrote. \u003Cbr> \u003Cbr>In the late 1970s, after earning a bachelor’s degree in social anthropology at UCLA, he returned to the Mission District while pursuing a master’s in the same field at Stanford. There he met Stephen Kessler, a poet studying in the university’s Department of Spanish and Portuguese. Kessler would translate and, in 1989, publish a bilingual edition of \u003Cem>Akrílica\u003C/em>, Herrera’s fourth book and the only volume he wrote entirely in Spanish. Herrera let it all hang out in the book, writing it long, to 250 pages, and experimental. Even after cutting it back to 186 pages, Herrera says, he didn’t have it in him to put it into another language. “Can you help me get this translated into good English?” he asked Kessler. “Because I’m fried, I’m fried. That’s it: I’m not about to attempt to translate this monster. You like to translate, so, if you’re open to it. . . .” \u003Cbr> \u003Cbr>Kessler thought Herrera was wild but magnetic. In a phone interview from Santa Cruz, California, he calls Herrera’s style “heteroformalism,” a blend of tones, modes, and registers with uncommon stylistic flexibility. “I don’t see it so much in a single poem but in the range of styles and voices and moods and modes—comical, polemical, reportorial, satirical, lyrical, incantatory, introspective, collective, etc.—from one text to the next,” Kessler explains, “unlike many poets, who can only write one kind of thing over and over and over in a single signature style.” A bit overwhelmed by the task, Kessler enlisted the help of poet Sesshu Foster, who called \u003Cem>Akrílica\u003C/em> “rock ’n’ roll surrealism.” The Chicano poetry stalwarts Francisco X. Alarcón and Dolores Bravo and Magaly Fernandez also consulted on the project. “This may be the first book of the post-Reaganite era, an era when English-only, evasive, nonreferential poetry glutted the market,” the poet, novelist, and agitator \u003Ca href=\"http://poetryfoundation.org/archive/poet.html?id=5686\">Ishmael Reed\u003C/a> wrote in a blurb. “Juan Felipe Herrera cares as much about people as he does landscapes. His energy is boundless. . . . He restores integrity to surrealism, an esthetic which has recently fallen on hard times.” \u003Cbr> \u003Cbr>The book is a mix of love and war and observations and social justice.\u003C/p>\r\n\u003Cblockquote>the bodies of bright red oxygen who denounce the plague America \u003Cbr>the gangrene the intervention the sores the pus of \u003Cbr>bayonets in El Salvador the mothers with daughters of seven and \u003Cbr>twenty Lenten years point at the Junta reclaiming the sleepless volcano. \u003Cbr>\u003Cspan style=\"padding-left: 20px;\">—“24th & Autumn,” from \u003Cem>Akrílica\u003C/em>, written in 1980, “for El Salvador”\u003C/span>\u003C/blockquote>\r\n\u003Cp>In 1988, around the time he was polishing the final text of \u003Cem>Akrílica\u003C/em>, Herrera left California for the Iowa Writers’ Workshop. There, under the tutelage of \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=2661\">Jorie Graham\u003C/a>, \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=6565\">Gerald Stern\u003C/a>, and \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=457\">Marvin Bell\u003C/a>, Herrera began to learn craft. “Juan Felipe, you’ve got to work on simplicity,” Herrera remembers Stern saying. “You’re too complicated. You’re obscure. I recommend you work toward simplicity.” \u003Cbr> \u003Cbr>“What do you mean, I’m obscure?” Herrera thought to himself. “I want to be \u003Cem>more\u003C/em> obscure next time—wait till you hear my next piece.” He tried out simplicity anyway, and his newfound ability to write more clearly and concisely led him to publish in an unexpected genre. “I discovered Stern was right,” Herrera said. \u003Cbr> \u003Cbr>In the decade and a half since his graduation from Iowa, Herrera has written four young-adult novels and half a dozen children’s books, all in verse, in addition to putting out a collection or chapbook just about every other year. “Writing for children—a book that a child is actually going to pick up and enjoy and read and want to read again—I mean, that’s hard to do,” Herrera says of the new challenges presented to him by the genre. “You can’t use all these fancy words that as poets and adult writers we want to use. We want to have fun with the language and go against it and create new fusions of sound, words, and ideas, but most of that has to be transformed when you write for children. When we write for children, simplicity is the key, and of course the beauty is that if you can get to simplicity and provide a story that children are going to enjoy and relate to and be inspired by, a whole universe is available. But it’s tough; to this day I battle with it.” He won the Ezra Jack Keats Award for children’s literature and the Américas Award for the 1999 young-adult narrative \u003Cem>CrashBoomLove\u003C/em>. Drawing on his Iowa education, Herrera creates lines that tell complicated stories in language clear enough for readers of all levels. It’s mellower work than he did in the wild \u003Cem>Akrílica\u003C/em> years, a fact that Herrera himself notes without regret. \u003Cbr> \u003Cbr>Though much of his recent work has been written for children, the anti-immigrant wave of the past few years—and the response to it by the Chicano community, in events such as the millions-strong marches in Los Angeles—have inspired Herrera to engage in further observation and activism. Much of the newer work in \u003Cem>187 Reasons\u003C/em>—named after California’s 1994 anti-immigrant Proposition 187—comes in the form of unpunctuated, scarcely capitalized prose poems that Herrera calls the “Aztlán Chronicles.” In “Riverside Train West” (from volume 1, number 1), “ . . . the young chicanos ask me if I am a journalist with my notes & camera no I say just going to the city where we got a day,” he writes, describing a Metrolink ride to Los Angeles for 2006’s Day without a Mexican demonstration. \u003Cbr> \u003Cbr>Herrera now plans on “stepping back from writing, just stepping back from the voices in my head, the voices in our heads, the agendas in our heads, the agendas in my head, what I consider to be the message.” He’ll continue teaching at UC Riverside, where he’s been since 2005, after a long stint at the California State University in Fresno. He started teaching at Fresno in 1990, the year he earned his MFA from Iowa. \u003Cbr> \u003Cbr>With his partner in art and life, the poet Margarita Robles, he’ll continue leading “streetshops”—happenings somewhat akin to traditional writing workshops, but infused with motion, music, and multimedia. Streetshops are an attempt to get the words from the page to the people by enhancing the manner in which they’re delivered, and they’re open to whomever is open to them. But there’s less urgency for Herrera to make himself heard now. Years after finding his voice, he’s ready to step back and simply help others find theirs. \u003Cbr> \u003Cbr>“Even though we mean well when we write, it’s an aggressive action,” he says. “It’s making a statement or delivering a product or making an incision—making an incision into society and into nature—so I want to reflect on letting things speak on their own, without having to speak for them—it is a poet’s paradox.” \u003Cbr> \u003Cbr>Many Chicano poets have come to look up to Herrera. “For Chicanos, poetry has always been an essential form of expression,” poet \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=82604\">Rigoberto González\u003C/a> says. “It is our art, our declaration of perspective, but it’s also our cry of protest. Juan Felipe Herrera has the distinction of being one of these political activists who went on to build a career around his talent.” González ranks Herrera among Chicano poetry’s best, along with the recently deceased Abelardo “Lalo” Delgado, \u003Ca href=\"/bio/alfred-arteaga\">Alfred Arteaga\u003C/a>, \u003Ca href=\"/bio/raul-r-salinas\">raúlrsalinas\u003C/a>, Luis Omar Salinas, and \u003Ca href=\"/bio/gloria-e-anzaldua\">Gloria Anzaldúa\u003C/a>, and the “still marching” \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=81786\">Lorna Dee Cervantes\u003C/a> and Alurista. “Juan Felipe Herrera (and all those Chicano writers I just mentioned) taught me that writing is activism—not documentation.” \u003Cbr> \u003Cbr>Herrera gives us his newest work in the final poems of \u003Cem>Half of the World in Light\u003C/em>: a section called “The Five Elements,” divided into “Wood,” “Fire,” Earth,” “Metal,” and “Water,” and navigating the continents, conflicts, and tragedies of days recent and long gone. His sympathy goes out to the victims of Hurricane Katrina and the 2004 train bombings near Madrid; his characters inhabit Afghanistan and Austin, Texas. In “Follow Różewicz,” he writes, “all these years, he utters so many things / about days gone and villages raped and / winters that lasted decades / how the women / clenched their hands and held their backs.” \u003Cbr> \u003Cbr>Will a writer who found his voice half a century ago, nurtured it in the academy and on the street, channeled it into more than 20 books, and still has so much to say find comfort in silence for long? His tongue was once a rock, but now he speaks for multitudes.\u003C/p>","\u003Cp>Reclaiming the Sleepless Volcano\u003C/p>","How celebrated Chicano poet Juan Felipe Herrera found his voice.",[],[],[3128],{"__typename":573,"status":574,"title":3129,"firstName":3130,"middleName":7,"lastName":3131,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":7,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":580,"websiteUrl":7,"image":3132,"authorRegions":3133,"categories":3134,"themes":3135,"parentCategories":3136,"childCategories":3137,"id":3138,"uid":3139,"slug":3140,"uri":3141,"url":3142,"sectionHandle":592,"postDate":593,"dateUpdated":3143,"level":7},"Milan Gagnon","Milan","Gagnon",[],[],[],[],[],[],"35659","40255a77-06bd-4f4e-b19d-1d117e46c8d7","milan-gagnon","people/milan-gagnon","https://www.poetryfoundation.org/people/milan-gagnon","2024-06-11T11:50:22-05:00",[3145],{"__typename":3002,"id":3146,"title":3147,"formattedTitle":3147},"52","Profile",{"__typename":615,"id":3149,"affiliation":7,"externalLinkUrl":3150,"description":7,"title":7,"uri":7,"contentItem":3151},"1291017",[],[3152],{"__typename":3153,"id":3154,"uid":3155,"title":3156,"slug":3157,"uri":3158,"url":3159,"sectionHandle":3160,"postDate":3161,"dateUpdated":3162,"level":7,"excerpt":7,"formattedTitle":3163,"image":3164,"authors":3165,"body":3166,"blogCategories":3167},"blogPosts_default_Entry","68200","3c394af3-a3b6-4dd3-a522-ceb5e4bb21b7","Roundtable on a More Complicated Latino/a Poetry Now at PSA","roundtable-on-a-more-complicated-latino-a-poetry-now-at-psa","poetry-news/68200/roundtable-on-a-more-complicated-latino-a-poetry-now-at-psa","https://www.poetryfoundation.org/poetry-news/68200/roundtable-on-a-more-complicated-latino-a-poetry-now-at-psa","blogPosts","2013-06-20T12:30:45-05:00","2024-06-10T17:32:08-05:00","\u003Cp>Roundtable on a More Complicated Latino/a Poetry Now at PSA\u003C/p>",[],[],"\u003Cp>\u003Ca href=\"http://www.poetrysociety.org/psa/poetry/crossroads/interviews/LatinoPoetryRoundtable/\">Installment 4 of Latino/a Poetry Now, at Poetry Society of America\u003C/a>, features \u003Cstrong>J. Michael Martínez\u003C/strong>, \u003Ca href=\"http://www.poetryfoundation.org/bio/carmen-gimaenez-smith\" target=\"_blank\" title=\"Carmen Gimenez Smith\">\u003Cstrong>Carmen Giménez Smith\u003C/strong>\u003C/a>, \u003Ca href=\"http://www.poetryfoundation.org/bio/roberto-tejada\" target=\"_blank\" title=\"Roberto Tejada\">\u003Cstrong>Roberto Tejada\u003C/strong>\u003C/a>; and is worth a read, especially if you fancied our \u003Ca href=\"http://www.poetryfoundation.org/harriet/2013/06/letras-latinas-noemi-press-team-up/\">recent post on the new Noemi Press/ILS collaboration\u003C/a>. \u003Ca href=\"http://www.poetryfoundation.org/bio/francisco-aragon\">Francisco Aragón \u003C/a>introduces the interview:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>When I curated the slate that became installment 4 of "Latino/a Poetry Now," my proposition was straightforward: Here are three poets whose work undermines- complicates-thwarts the expectations one commonly encounters when the subject is "Latino poetry." Translation: you will \u003Cem>not\u003C/em> be reading poems like these, nor these poets, in the relatively recent \u003Cem>Norton Anthology of Latino Literature\u003C/em>, which a number of us lament.\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>One of Aragón's questions for the participants:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>How do you see your own work and the work of your colleagues here actively participating in contemporary American poetic culture, and how does your work and the work of your colleagues purposefully and productively, if it does, "complicate" or "recast" American poetic culture and culture writ large? I'd really encourage dialogue too, to determine if there is any overlap in influence or inspiration.\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>Roberto Tejada gives close readings to both poets and to the questions in his response, part of which is below.\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>It seems to me, Carmen, that what you pursue in \u003Cem>Goodbye, Flicker\u003C/em> is a replacement legacy. In the process you also describe the dilemma many of us currently confront: "I had a forked tongue. / a story to tell with one bit. and the way / to tell it with the other." You turn to literary versions of European folk knowledge—Brothers Grimm, Giambattista Basile, Hans Christian Andersen, among others—to belie human experience as solely composed of verifiable evidence, action, and outcome. The poems, too, are of twin manufacture: even as each poem's perceptible surface appears as an identifiable form, they are containers perforated with "self-holes" that trip up the "one story": call the latter aesthetic determinism. Just as a poem satisfies a sonic or thematic expectation, an unforeseen element emerges—a hardness of semantic plane, the clip-work or overlap that averts a reader's compass—to recall techniques of an earlier modernism (as in certain moods of Mina Loy): "I became a small colony in the world upon request." This absolutely singular world, with its self-self-governing frame and attendant surrogates for a subject (Sliver Poet, Owl), coalesces to re-enchant in counter-narratives that dispute our geographically-inflected "exile in the literary world." \u003Cem>Goodbye, Flicker\u003C/em> is the password for such cruel ironies as when the alleged democratic leveling of digital space does not uniformly distribute attention: "I hide the bones / but sometimes they win."\u003C/p>\r\n\r\n\u003Cp>This is to say, as in your book, J. Michael, that I think we're unwilling to abandon the cultural grounding of our rhetorical stakes. I side with an uneasiness concerning poetry of "witness" if it devolves finally into hushed affirmations, and to the exclusion of history's unavoidable impact. By contrast, \u003Cem>Heredities\u003C/em> aims to upend contemporary evocations of the ancestral when deployed in art as a unifying story. An apocryphal record of bones, "Articulations of Quetzacóatl's Spine" and "The Sternum of Our Lady of Guadalupe" are descriptions, surgically written and aligned with ink drawings derived from \u003Cem>Gray's Anatomy\u003C/em>, as rendered in your hand. They provide a residual view: to the degree that a mechanical process reinforces the idiosyncrasy of the hand-made, so a cultural practice holds the appearance of social relations to light: "I said, The Chicano shapes identity like an icicle fingering down from the roof's edge." These poems disavow ostensible appeals to a mythic past as per one's present imaginative location by foregrounding a forensic archeology. Your poems ask: Do crime scenes of the historical process exasperate or exult the specificity of our present flesh and bone? They reply as well: In the open-ended endeavor that uncovers specters of the past arises a relationship between one's individuated dawning and more recent emergences: a "\u003Cem>Third Capilla\u003C/em> (fig. 203) whose surfaces "temporally attach[ ]" to the upper and lower "levels of creation."\u003C/p>\r\n\r\n\u003Cp>It's not difficult to situate conceptual poetry as having achieved a noteworthy but belated redirection of art-historical method into a frame of manufacture for US avant-garde poetry, albeit with a nuance that rivals that of garden tools. That's one reason I prefer to avoid reference to \u003Cem>ekphrasis\u003C/em>, inasmuch as the aim of works evolved from my interaction with living artists has been to underscore an "art object" only insofar as it is contingent and entangled; not detached or in keeping with some puritanical work ethic and its accumulative concept of production. These engagements compel me to unlearn the assumptions of description as anything other than a lawless encounter of subject and object—the dreamwork so external to the self as to render that difference into something rhetorically indistinguishable.\u003C/p>\r\n\r\n\u003Cp>I sense—from the varieties of experience we've shared among ourselves, and with a greater cohort, drawn, like Carmen, "to art and protest with multiple modalities"—a common dissatisfaction. It derives from what appeared to be a horizon of promise and possibility enjoyed by prior generations: that if you had the inclination—a gift—cared deeply enough about the craft, and surrendered yourself to the intellectual labor, then the system that values competency would properly acknowledge work well done with a sustainable readership to confirm not only your configuration of experience in the sphere of art, but to confer as well a visibility to compel you to more expansive wagers; an engagement with a public that so intensified the forecast proper to our task.\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetrysociety.org/psa/poetry/crossroads/interviews/LatinoPoetryRoundtable/\">Much more good reading where that came from.\u003C/a>\u003C/p>",[3168],{"__typename":3169,"id":3170,"title":3171,"formattedTitle":3171},"blogCategories_default_Entry","22","Poetry News",{"__typename":615,"id":3173,"affiliation":7,"externalLinkUrl":3174,"description":7,"title":7,"uri":7,"contentItem":3175},"1291018",[],[3176],{"__typename":2900,"id":3177,"uid":3178,"title":3179,"slug":3180,"uri":3181,"url":3182,"sectionHandle":2907,"postDate":3183,"dateUpdated":3184,"level":7,"excerpt":3185,"body":3186,"formattedTitle":3187,"subtitle":3188,"essayYear":7,"magazineEntries":3189,"image":3190,"authors":3201,"articleType":3280},"24009","275e8a59-dfb1-4964-899d-385cb4276ba3","Reading Victor Hernandez Cruz","poets-on-the-poetry-of-victor-hernandez-cruz","articles/68855/poets-on-the-poetry-of-victor-hernandez-cruz","https://www.poetryfoundation.org/articles/68855/poets-on-the-poetry-of-victor-hernandez-cruz","2007-04-14T00:00:00-05:00","2024-06-11T09:35:34-05:00","\u003Cp>\u003Cstrong>\u003Cstrong>Francisco Aragon\u003C/strong> on “Dolores Street”\u003C/strong>\u003Cbr />\u003Cem>Ah, California, mi segundo país\u003C/em>\u003Cbr />—Victor Hernández Cruz\u003Cbr />\u003Cbr />“Dolores Street” hones in on San Francisco’s Mission District, where the poem’s speaker looks out his window and notices a group of teenagers walking to—and later back from—a park. He also...\u003C/p>","\u003Cp>\u003Cstrong>\u003Cimg src=\"/images/poets/Aragon135110.gif\" style=\"float:left; height:110px; width:135px\">\u003Ca href=\"/archive/poet.html?id=98353\">\u003Cstrong>Francisco Aragon\u003C/strong>\u003C/a> on \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179540\">“Dolores Street”\u003C/a>\u003C/strong>\u003Cbr>\r\n\u003Cem>Ah, California, mi segundo país\u003C/em>\u003Cbr>\r\n—Victor Hernández Cruz\u003Cbr>\r\n\u003Cbr>\r\n\u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179540\">“Dolores Street”\u003C/a> hones in on San Francisco’s Mission District, where the poem’s speaker looks out his window and notices a group of teenagers walking to—and later back from—a park. He also compares nearby windows to eyes—eyes that likely saw, in a very distant past, a landscape of treeless plains. But by the end of the stanza, he imagines\u003C/p>\r\n\r\n\u003Cblockquote>The city settling\u003Cbr>\r\nUp from planks and kerosense lamps\u003Cbr>\r\nRugged\u003C/blockquote>\r\n\r\n\u003Cp>The historical economy of these three lines is striking, the words hinting at the Gold Rush, the Barbary Coast.\u003Cbr>\r\n\u003Cbr>\r\nWhen the poem’s Latino youths head back to their neighborhood, the poet’s idiosyncratic idiom suggests they’ve been smoking something (“Eyes fresh like just arrived mushrooms”); they’ve also probably been making out on the grass (“Clothes wrinkled”), maybe listening to the songs of Rick James. (I like that the poet refrains from using a term like “boom box” and instead refers to “the big radio of the teenagers.”) The language can be plain, but the way the language is deployed is not—from Cruz’s speeding things up by eschewing commas (“Dolores park green waving / mounds”), to his slant rhyme of “mounds” with “downtown,” to his fresh view of the city’s financial district (“looks like you / could stretch and scratch it”). Perhaps Cruz is recalling his own teenage days in East Harlem, and is thus careful not to pass any sort of judgment on these young people—his is a sympathetic, almost tender gaze.\u003C/p>\r\n\r\n\u003Cp align=\"right\">\u003Cstrong>\u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179540\">READ THE POEM>>\u003C/a>\u003C/strong>\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp>* * *\u003C/p>\r\n\r\n\u003Cp>\u003Cbr>\r\n\u003Cbr>\r\n\u003Cstrong>\u003Cimg src=\"/images/poets/RayGonzalez135110.gif\" style=\"float:left; height:110px; width:135px\">\u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=81228\">Ray Gonzalez\u003C/a> on \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179547\">“Here is an Ear Here”\u003C/a>\u003C/strong>\u003Cbr>\r\nThe last lines of this poem, in which a mythic bard hears “the sound made by flowers as they stretched into light,” are some of the most crucial in the poetry of Victor Hernández Cruz. They are about the magical connection made when a poet listens to everything around him and forges a connection between home and the imagination.\u003Cbr>\r\n\u003Cbr>\r\nCruz’s poetry has always centered on his beloved Puerto Rico. The speaker in this poem recognizes how his experiences rise from the sea to create the vision of the poet and set him on his journeys. This connection between the rocky earth and sea of Puerto Rico and the myth of language and time is what makes Cruz a master of human desire and longing. The competing desires for home and the need to explore the world beyond the rocky shores drive him to write poetry. These poetic discoveries form the poet’s true home, though as the speaker acknowledges in this poem, it takes time to fill “all the holes of that giant missing link.”\u003Cbr>\r\n\u003Cbr>\r\nIn this myth about Saru-Saru, a legendary poet journeys across the water, soaking up everything like a sponge—“this bard’s curiosity” is at its peak. When Saru-Saru blows “so hard into a rock,” the lyrics of personal origins emerge. This poem grants the reader time to dream and re-create the culture of a home that is open to the world, inviting numerous readings.\u003C/p>\r\n\r\n\u003Cp align=\"right\">READ THE POEM>>\u003C/p>\r\n\r\n\u003Cp>* * *\u003C/p>\r\n\r\n\u003Cp>\u003Cbr>\r\n\u003Cbr>\r\n\u003Cstrong>\u003Cimg src=\"/images/poets/MariaMelendez135110.gif\" style=\"float:left; height:110px; width:135px\">\u003Ca href=\"/archive/poet.html?id=98355\">\u003Cstrong>Maria Melendez\u003C/strong>\u003C/a> on \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179542\">“Glow Flesh”\u003C/a>\u003C/strong>\u003Cbr>\r\nWritten when Victor Hernández Cruz was just 17, \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179542\">“Glow Flesh”\u003C/a> brings us skin to skin with Spirit incarnate. The poem’s exuberant speaker invokes “queen of the earth,” a personification of both night and inspiration. Such exuberance fuels eroticism (“on the stoop your skirt rises / fingers go up your legs”), creativity (“bloom bloom / you got all / sing”), and revolution (“crack your eggs / on stupid american heads”). By connecting sex drive, artistic creation, and social change to the same divine source, “Glow Flesh” suggests there is a single fuse that ignites these three impulses. (Meanwhile, each reader can imagine her own suite of Americans, fellow or otherwise, who deserve an egg to the head.)\u003Cbr>\r\n\u003Cbr>\r\nThe poem uses both feminine (egg, breast, sea) and masculine (bomb, volcano) imagery to describe its deity, suggesting that the primal power invoked here is accessible to all of us. Cleverly, the poet defuses the fourth stanza’s ticking bomb by beginning the ninth stanza with “bloom, bloom” where we might have expected “boom, boom.” The wordplay and incantatory poetics in “Glow Flesh” are central to much of Cruz’s work, making the study of his poems a magical, rejuvenating experience.\u003C/p>\r\n\r\n\u003Cp align=\"right\">READ THE POEM>>\u003C/p>\r\n\r\n\u003Cp>* * *\u003C/p>\r\n\r\n\u003Cp>\u003Cbr>\r\n\u003Cbr>\r\n\u003Cstrong>\u003Cimg src=\"/images/poets/UrayoanNoel135110.gif\" style=\"float:left; height:110px; width:135px\">\u003Ca href=\"/archive/poet.html?id=98354\">\u003Cstrong>Urayoán Noel\u003C/strong>\u003C/a> on \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179546\">“Airoplain”\u003C/a>\u003C/strong>\u003Cbr>\r\n“Airoplain” epitomizes Victor Hernández Cruz’s idiosyncratic poetics of cultural and linguistic dislocation. Its opening line traces the epistemology of diaspora: “To me myself them and others always then and now that day.” \u003Cem>That day\u003C/em> is, of course, the day of the immigrant’s flight from Puerto Rico to New York—the first of the countless culture-crossings that animate Cruz’s poetry.\u003Cbr>\r\n\u003Cbr>\r\nAs elsewhere in Cruz, the distance between language and sensation is bridged through music: memorably, the rhythmic wordplay between “plain,” “plane,” “plan,” and the percussion-heavy Puerto Rican \u003Cem>plena.\u003C/em> Life on the \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179546\">“Airoplain”\u003C/a> is all about erring and playing, about spiritedly dismantling the doctrines of cultural and aesthetic assimilation. In mid-eros, civilization gives way to sensation, as Cruz jettisons the return to the native island and imagines in its place a utopia of the stateless: “They can keep Puerto Rico just give us / the guava of independence depending on no bodies tortures dreams / of the past or future within the present State no State ever of / things.”\u003Cbr>\r\n\u003Cbr>\r\nThe poem’s structure—period-less phrases and sentences enclosed in an unjustified block of text—locates “Airoplain” and its readers in the ceaseless interplay between freedom and constriction. This is not “political poetry” in any conventional sense; rather, it is intensely, quirkily, uncompromisingly personal. But “Airoplain” also imagines a nomad polis, inviting us to work through the terms of our inarticulate statelessness, to find ourselves in language. To read Cruz is to heed the poem’s unrelenting call: “Assemblage yourself” and “listen to the beat abnormalize yourself.”\u003C/p>\r\n\r\n\u003Cp align=\"right\">\u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179546\">READ THE POEM>>\u003C/a>\u003C/p>\r\n\r\n\u003Cp>* * *\u003C/p>\r\n\r\n\u003Cp>\u003Cbr>\r\n\u003Cbr>\r\n\u003Cstrong>\u003Cimg src=\"/images/poets/LidiaTorres135110.gif\" style=\"float:left; height:110px; width:135px\">\u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98348\">Lidia Torres\u003C/a> on \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179541\">“Two Guitars”\u003C/a>\u003C/strong>\u003Cbr>\r\nVictor Hernández Cruz arranges for two guitars to meet in this poem—a tight-stringed guitar full of tears and an internationally known guitar. \u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179541\">“Two Guitars”\u003C/a> is one of many Cruz poems that describe the poet’s close relationship to music.\u003Cbr>\r\n\u003Cbr>\r\nThe first guitar is played by a man with “no heart,” but when it is squeezed tightly, the guitar can “bring down the angels who live off the chorus.” The middle section of the poem describes the powerful impact of music: “sentiment comes off the hinges.” The landscape also opens up as music swells: “something so big in the harmony.” The poet playfully cautions that “we are always in danger of blowing up with passion,” possibly referring to the romantic lyrics that the trios sing.\u003Cbr>\r\n\u003Cbr>\r\nThe second guitar represents the culture, history, and landscape of New York. This guitar is also held tightly and is transformed into an “airport for dreams” to the listener. The poet places the guitar on 102nd Street in East Harlem, surrounded by the crush of people at a celebration.\u003Cbr>\r\n\u003Cbr>\r\nAt the end of the poem, a door opens. What remains is the pregnant pause at the end of an emotional bolero. “Two Guitars” is as intense as a romantic song—the lyrics and sounds of the poem resonate with nostalgia and longing.\u003C/p>\r\n\r\n\u003Cp align=\"right\">\u003Ca href=\"http://www.poetryfoundation.org/archive/poem.html?id=179541\">READ THE POEM>>\u003C/a>\u003C/p>\r\n\r\n\u003Cp> \u003C/p>","\u003Cp>Reading Victor Hernandez Cruz\u003C/p>","Five poets interpreting five of his poems.",[],[3191],{"__typename":25,"id":3192,"uid":3193,"title":3194,"alt":3195,"url":3196,"height":2980,"width":2981,"filename":3197,"caption":7,"copyright":7,"focalPoint":3198},"283799","cf19f787-202a-4b87-ae5a-e0747720cc3a","victor-hernandez-cruz.jpg","Tight-cropped, black-and-white face profile of Victor Hernandez Cruz.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/40019896ca7a60757fdc83c0ccde0081de5d52c4.jpeg","40019896ca7a60757fdc83c0ccde0081de5d52c4.jpeg",[3199,3200],0.393,0.4976,[3026,3202,3227,3260],{"__typename":573,"status":574,"title":1526,"firstName":3203,"middleName":7,"lastName":3204,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":3205,"foundationBio":3206,"galeBio":3207,"poetryBio":3208,"polBio":3209,"birthYear":3210,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3211,"authorRegions":3222,"categories":3223,"themes":3224,"parentCategories":3225,"childCategories":3226,"id":1524,"uid":1525,"slug":1527,"uri":1528,"url":1529,"sectionHandle":592,"postDate":1530,"dateUpdated":1531,"level":7},"Ray","González","gale","\u003Cp>\u003Ca class=\"author-bio-link\" href=\"http://www.poetryfoundation.org/archive/poet.html?id=98352\">Ray González\u003C/a> is the author of seventeen books of poetry, including four from BOA Editions--\u003Cem>The Heat of Arrivals\u003C/em> (1997 PEN/Oakland Josephine Miles Book Award), \u003Cem>Cabato Sentora\u003C/em> (2000 Minnesota Book Award Finalist), \u003Cem>The Hawk Temple at Tierra Grande\u003C/em> (winner of a 2003 Minnesota Book Award for Poetry) and \u003Cem>Consideration of the Guitar: New and Selected Poems\u003C/em> (2006 Minnesota Book Award Finalist). \u003Cem>Turtle Pictures\u003C/em> (University of Arizona Press, 2000), a mixed-genre text, received the 2001 Minnesota Book Award for Poetry. His poems have appeared in the 1999, 2000, and 2003 editions of \u003Cem>The Best American Poetry\u003C/em> (Scribners) and \u003Cem>The Pushcart Prize: Best of the Small Presses 2000\u003C/em> (Pushcart Press). He is also the author of a collection of essays, \u003Cem>The Underground Heart: A Return to a Hidden Landscape\u003C/em> (Arizona, 2002), which received the 2003 Carr P. Collins/ Texas Institute of Letters Award for Best Book of Non-fiction, was named one of ten Best Southwest Books of the Year by the Arizona Humanities Commission, named one of the Best Non-fiction Books of the Year by the Rocky Mountain News, named a Minnesota Book Award Finalist in Memoir, and selected as a Book of the Month by the El Paso Public Library. His other non-fiction books are \u003Cem>Memory Fever\u003C/em> (University of Arizona Press, 1999), a memoir about growing up in the Southwest and the forthcoming \u003Cem>Renaming the Earth: Personal Essays\u003C/em> (Arizona, 2008). He has written two collections of short stories, \u003Cem>The Ghost of John Wayne\u003C/em> (Arizona, 2001, winner of a 2002 Western Heritage Award for Best Short Story and a 2002 Latino Heritage Award in Literature) and \u003Cem>Circling the Tortilla Dragon\u003C/em> (Creative Arts, 2002). His second mixed-genre text, \u003Cem>The Religion of Hands\u003C/em> (volume two of the \u003Cem>Turtle Pictures\u003C/em> trilogy) was published by the University of Arizona Press in 2005 and received a 2006 Latino Heritage Best Book of Poetry Award. He is the editor of twelve anthologies, most recently \u003Cem>No Boundaries: Prose Poems by 24 American Poets\u003C/em> (Tupelo Press, 2002). He has served as Poetry Editor of The Bloomsbury Review for twenty-five years and founded LUNA, a poetry journal, in 1998. He received a 2004 Lifetime Achievement Award in Literature from the Border Regional Library Association. He is a professor emeritus at the University of Minnesota in Minneapolis.\u003C/p>","\u003Cp>Poet, essayist, and editor Ray González was born and raised in El Paso, Texas. González’s work is inextricably linked to his Mexican ancestry and American upbringing in the deserts of the Southwest, as well as to rock n’ roll music and mid-century American poets such as \u003Ca href=\"http://www.poetryfoundation.org/bio/robert-bly\">Robert Bly\u003C/a> and \u003Ca href=\"http://www.poetryfoundation.org/bio/james-wright\">James Wright\u003C/a>. A long-time professor at the University of Minnesota, González has spoken to the importance of place in his work: “I do not have to live in west Texas or southern New Mexico to shape new poems about my past life there,” he told \u003Cem>CLA Today,\u003C/em> “because the magical aspects of poetry have allowed me to bring the spirit of my home to Minnesota. Living in Minnesota has given me fresh perspectives about the area I came from… Perhaps my most powerful discovery in writing and teaching poetry in Minnesota is that all poets carry their homeland experience with them, no matter where they go.”\u003Cbr />\n\u003Cbr />\nGonzález is the author of numerous books of poetry, including \u003Cem>The Heat of Arrivals\u003C/em> (1997), which won the PEN/Oakland Josephine Miles Book Award; \u003Cem>Cabato Sentora\u003C/em> (2000), a Minnesota Book Award Finalist; \u003Cem>The Hawk Temple at Tierra Grande\u003C/em> (2003); winner of the Minnesota Book Award for Poetry; \u003Cem>Consideration of the Guitar: New and Selected Poems\u003C/em> (2005) another finalist for the Minnesota Book Award Finalist; \u003Cem>Cool Auditor \u003C/em>(2009); \u003Cem>Faith Run \u003C/em>(2009); and \u003Cem>Beautiful Wall \u003C/em>(2015). His mixed-genre book \u003Cem>Turtle Pictures\u003C/em> (2000) received the 2001 Minnesota Book Award for Poetry; \u003Cem>The Religion of Hands \u003C/em>(2005)\u003Cem>,\u003C/em> a follow-up to \u003Cem>Turtle Pictures\u003C/em>, received a 2006 Latino Heritage Best Book of Poetry Award. With Lawrence Welsh and Bruce Berman he collaborated on the book \u003Cem>Cutting the Wire: Poetry and Photography from the US-Mexico Border \u003C/em>(2018). His poems have appeared in \u003Cem>The Best American Poetry\u003C/em> and \u003Cem>The Pushcart Prize: Best of the Small Presses 2000\u003C/em>.\u003Cbr />\n\u003Cbr />\nGonzález’s recent work has explored the formal possibilities of the prose poem. As he told \u003Cem>BOMBlog \u003C/em>in an interview: “It [prose poetry] has given poets the freedom to focus on detail, word choice, movement, fable, perception, and scene while keeping the various aspects of poetry—rhythm, deep imagery, sound, and ideas. Prose poems allow the poet to condense the world into a tiny paragraph that contains huge worlds trying to get out. If I am writing a prose poem, I don’t have to worry about line breaks or stanzas or emphasizing certain words all by themselves. The paragraph is a form itself that does all that for me and really allows the poet and the reader to be immersed in a complete experience that justifies poetic experience, the mysteries of language, and saying it without the distraction of manipulating lines and white space.”\u003Cbr />\n \u003Cbr />\nA prolific writer in many genres, González is also the author of a memoir about growing up in the Southwest, \u003Cem>Memory Fever \u003C/em>(1999), and essay collections, including \u003Cem>The Underground Heart: A Return to a Hidden Landscape\u003C/em> (2002), which received the 2003 Carr P. Collins/ Texas Institute of Letters Award for Best Book of Non-fiction, was named one of ten Best Southwest Books of the Year by the Arizona Humanities Commission, named one of the Best Non-fiction Books of the Year by the Rocky Mountain News, named a Minnesota Book Award Finalist in Memoir, and selected as a Book of the Month by the El Paso Public Library. His second collection of essays, \u003Cem>Renaming the Earth: Personal Essays\u003C/em> (2008), González has also written two collections of short stories, \u003Cem>The Ghost of John Wayne\u003C/em> (2001), winner of a 2002 Western Heritage Award for Best Short Story and a 2002 Latino Heritage Award in Literature, and \u003Cem>Circling the Tortilla Dragon\u003C/em> (2002).\u003Cbr />\n \u003Cbr />\nHe is the editor of numerous anthologies, including \u003Cem>No Boundaries: Prose Poems by 24 American Poets\u003C/em> (2002) and \u003Cem>Sudden Fiction Latino \u003C/em>(2010), which he co-edited with Robert Shapard and James Thomson. He has served as Poetry Editor of the \u003Cem>Bloomsbury Review\u003C/em> for twenty-five years and founded LUNA, a poetry journal, in 1998. He received a 2004 Lifetime Achievement Award in Literature from the Border Regional Library Association. He is a professor in the MFA Creative Writing Program at the University of Minnesota-Minneapolis.\u003C/p>","\u003Cp>Ray González is the author of seventeen books of poetry and professor emeritus of literature at the University of Minnesota.\u003C/p>","\u003Cp>Ray González\u003Cspan> is the author of nine books of poetry,\u003C/span>\u003Cspan> served as Poetry Editor of The Bloomsbury Review for twenty-five years, and founded LUNA, a poetry journal, in 1998. He received a 2004 Lifetime Achievement Award in Literature from the Border Regional Library Association. He is Full Professor in the MFA Creative Writing Program at The University of Minnesota in Minneapolis.He has served as Poetry Editor of The Bloomsbury Review for twenty-five years and founded LUNA, a poetry journal, in 1998. He received a 2004 Lifetime Achievement Award in Literature from the Border Regional Library Association. He is Full Professor in the MFA Creative Writing Program at The University of Minnesota in Minneapolis.\u003C/span>\u003C/p>","1952",[3212],{"__typename":25,"id":3213,"uid":3214,"title":3215,"alt":3216,"url":3217,"height":2980,"width":2981,"filename":3218,"caption":7,"copyright":7,"focalPoint":3219},"521347","fe552f41-599f-4fb7-8225-047e7ef223bb","ray-gonzalez.jpg","Ray Gonzalez","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/275c25d41617a82ba1226c4bcd4031451fb4cbd9.jpeg","275c25d41617a82ba1226c4bcd4031451fb4cbd9.jpeg",[3220,3221],0.4376,0.4886,[],[2925,2938,2988],[],[2961],[2999],{"__typename":573,"status":574,"title":2047,"firstName":3228,"middleName":7,"lastName":3229,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3230,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":3231,"image":3232,"authorRegions":3246,"categories":3247,"themes":3256,"parentCategories":3257,"childCategories":3258,"id":2045,"uid":2046,"slug":2048,"uri":2049,"url":2050,"sectionHandle":592,"postDate":2051,"dateUpdated":2052,"level":7},"Urayoán","Noel","\u003Cp>Originally from San Juan, Puerto Rico, Urayoán Noel is the author of the poetry collections \u003Cem>Transversal \u003C/em>(2021), a New York Public Library Book of the Year also longlisted for a PEN award; \u003Cem>Buzzing Hemisphere/Rumor Hemisférico\u003C/em> (2015), a \u003Cem>Library Journal\u003C/em> Top Fall Indie Poetry selection; \u003Cem>Hi-Density Politics\u003C/em> (2010), a National Book Critics Circle Small Press Highlights selection; and \u003Cem>Kool Logic/La L\u003C/em>ó\u003Cem>gica Kool \u003C/em>(2005), an \u003Cem>El Nuevo Día \u003C/em>Book of the Year. He is also the author of several books in Spanish, including \u003Cem>Boringkén\u003C/em> (2008) and the performance text \u003Cem>EnUncIAdOr\u003C/em> (2014). Noel’s other works include the DVD\u003Cem> Kool Logic Sessions\u003C/em> (2005, with composer Monxo López), the artist’s book and web installation \u003Cem>The Edgemere Letters\u003C/em> (2011, with artist Martha Clippinger), and the critical study \u003Cem>In Visible Movement: Nuyorican Poetry from the Sixties to Slam\u003C/em> (2014), winner of the LASA Latina/o Studies Section Book Award and an honorable mention in the MLA Prize in Latina/o and Chicana/o Literary and Cultural Studies.\u003C/p>\n\n\u003Cp>Noel is a contributing editor of \u003Cem>NACLA Report on the Americas\u003C/em> and \u003Cem>Obsidian: Literature & Arts in the African Diaspora\u003C/em>, and a former contributing editor of \u003Cem>Mandorla: New Writing from the Americas.\u003C/em> He has received fellowships from the Ford Foundation, the Bronx Council on the Arts, the Howard Foundation, and CantoMundo. He lives in the Bronx and is an associate professor of English and Spanish at NYU.\u003C/p>","http://urayoannoel.com",[3233],{"__typename":25,"id":3234,"uid":3235,"title":3236,"alt":3237,"url":3238,"height":3239,"width":3240,"filename":3241,"caption":7,"copyright":3242,"focalPoint":3243},"522421","55826c96-cff7-4aba-8aa2-d91674cd49fc","Urayoan Noel.jpg","Headshot of poet Urayoan Noel","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/4f14584a99ca1e7a9744b0c98804e2242a381bfb.jpg",1302,1938,"4f14584a99ca1e7a9744b0c98804e2242a381bfb.jpg","Photo by Tom Sparks.",[3244,3245],0.5405,0.4252,[],[2925,2938,3248],{"__typename":2926,"id":3249,"uid":3250,"title":3251,"slug":3252,"uri":3253,"url":3254,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957,"formattedTitle":3255},"242809","0a5129ea-9324-49d6-97b1-221f895ed1ae","U.S., New England","u-s-new-england","categories/u-s-new-england","https://www.poetryfoundation.org/categories/u-s-new-england","\u003Cp>U.S., New England\u003C/p>",[],[2961],[3259],{"__typename":2926,"parent":2964,"id":3249,"uid":3250,"title":3251,"slug":3252,"uri":3253,"url":3254,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957},{"__typename":573,"status":574,"title":2580,"firstName":3261,"middleName":7,"lastName":3262,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3263,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3264,"authorRegions":3265,"categories":3266,"themes":3276,"parentCategories":3277,"childCategories":3278,"id":2578,"uid":2579,"slug":2581,"uri":2582,"url":2583,"sectionHandle":592,"postDate":652,"dateUpdated":2584,"level":7},"Lidia","Torres","Puerto Rican poet and translator Lidia Torres was born in New York City and earned a BA at Hunter College and an MFA at New York University. In her free verse poetry, Torres often explores the body as a site of change, bearing markers of both diminishment and desire. The Poetry Society of America chose the title poem of her debut collection, \u003Cem>A Weakness for Boleros\u003C/em> (2005), for its \u003Cem>Poetry in Motion\u003C/em> program. Her work has also been included in the anthology \u003Cem>The Wind Shifts: New Latino Poetry\u003C/em> (2007, edited by \u003Ca href=\"/bio/francisco-aragon\">Francisco Aragón\u003C/a>). Torres cotranslated, with poet \u003Ca href=\"/bio/jack-agueros\">Jack Agüeros\u003C/a>, \u003Cem>Come, Come, My Boiling Blood: The Complete \u003C/em>\u003Cem>Poems of José Martí\u003C/em> (2007). She is the recipient of a fellowship from the New York Foundation for the Arts and lives in New York City.",[],[],[2925,2938,3267],{"__typename":2926,"id":3268,"uid":3269,"title":3270,"slug":3271,"uri":3272,"url":3273,"sectionHandle":2933,"postDate":2955,"dateUpdated":3274,"level":2957,"formattedTitle":3275},"242807","553056ea-bb98-4f0c-a8fa-72fca727caf9","U.S., Mid-Atlantic","u-s-mid-atlantic","categories/u-s-mid-atlantic","https://www.poetryfoundation.org/categories/u-s-mid-atlantic","2024-04-12T08:00:13-05:00","\u003Cp>U.S., Mid-Atlantic\u003C/p>",[],[2961],[3279],{"__typename":2926,"parent":2964,"id":3268,"uid":3269,"title":3270,"slug":3271,"uri":3272,"url":3273,"sectionHandle":2933,"postDate":2955,"dateUpdated":3274,"level":2957},[3063],{"__typename":615,"id":3282,"affiliation":7,"externalLinkUrl":3283,"description":7,"title":7,"uri":7,"contentItem":3284},"1291019",[],[3285],{"__typename":2900,"id":3286,"uid":3287,"title":3288,"slug":3289,"uri":3290,"url":3291,"sectionHandle":2907,"postDate":3292,"dateUpdated":3293,"level":7,"excerpt":3294,"body":3295,"formattedTitle":3296,"subtitle":3297,"essayYear":7,"magazineEntries":3298,"image":3299,"authors":3311,"articleType":3330},"28597","a15bfb50-0e3d-418d-8657-74cc8f0ae387","One Little Mortal Body","one-little-mortal-body","articles/147598/one-little-mortal-body","https://www.poetryfoundation.org/articles/147598/one-little-mortal-body","2018-08-20T00:00:00-05:00","2024-06-11T10:00:35-05:00","\u003Cp>In her first four collections, the poet Ada Limón casts an almost metaphysical eye on the body and its will to survive. In “The Echo Sounder,” from \u003Cem>lucky wreck \u003C/em>(2006), she’s interested in both the body’s physicality and its mutability....\u003C/p>","\u003Cp>In her first four collections, the poet \u003Ca href=\"https://www.poetryfoundation.org/poets/ada-limon\">Ada Limón\u003C/a> casts an almost metaphysical eye on the body and its will to survive. In “The Echo Sounder,” from \u003Cem>lucky wreck \u003C/em>(2006), she’s interested in both the body’s physicality and its mutability. She “wants to go on / being an animal, not something that represents / something else, but the original object, the thing / before it is named.” This collection, Limón’s debut, introduces the big themes—grief, illness, belief, desire, creation, language, and art—that recur throughout subsequent books: \u003Cem>this big fake world \u003C/em>(2006), \u003Cem>Sharks in the Rivers \u003C/em>(2010), and the much-lauded \u003Cem>Bright Dead Things \u003C/em>(2015), nominated for a National Book Award and a National Book Critics Circle Award. In her latest collection, \u003Cem>The Carrying \u003C/em>(2018), Limón continues to grapple with the body’s animal nature and its inevitable mortality. She also responds to an America riven by nativism and underscores the ways in which a home can be the source of displacement and alienation.\u003C/p>\r\n\r\n\u003Cp>Limón’s new poems are among her first to offer so intimate a view of the limits and uncertainties she experiences in her own body. She writes of her debilitating vertigo, for example, and of her failed attempts to carry a child to term. Also covered: her fear of flying, her panic attacks, and her existential questions about what undergirds life. It all sounds bleak, but Limón finds whatever cracks of light she can. As she tells me, “I do know that part of my job is to point out the wondrousness of this earth if only to consistently remind myself of a kind of grace and the is-ness of being.”\u003C/p>\r\n\r\n\u003Cp>This approach is evident in “\u003Ca href=\"https://www.poetryfoundation.org/poems/147505/the-leash\">The Leash\u003C/a>,” one of the first poems in \u003Cem>The Carrying,\u003C/em> which opens in the midst of weapons and fear, “that brute sky opening in a slate-metal maw / that swallows only the unsayable in each of us.” The earth is poisoned, a “nowhere river” is made “orange and acidic by a coal mine”; humanity is dangerous. Addressing readers, Limón implores\u003C/p>\r\n\r\n\u003Cblockquote> … I want to\u003Cbr>\r\nsay: \u003Cem>Don’t die.\u003C/em> Even when silvery fish after fish\u003Cbr>\r\ncomes back belly up, and the country plummets\u003Cbr>\r\ninto a crepitating crater of hatred, isn’t there still\u003Cbr>\r\nsomething singing? The truth is: I don’t know.\u003C/blockquote>\r\n\r\n\u003Cp>This uncertainty, often present in Limon’s earlier work in regard to the afterlife, is here more applicable to an ailing planet or an ailing country. For Limón, the question “what sings now?” is as important as any potential answer. Her poetry has long suggested that what is most easily understood is physical—appetites, desires, animals, earth, seeds. What is unknown—human purpose, how the world ends—is ineffable but ever-present, perhaps waiting to be understood just as easily. Until such knowledge arrives, Limón seems content to marvel at her small dog, fond of racing pickup trucks “because she’s sure, without a doubt, that the loud / roaring things will love her back.” At the same time, though, Limón reins in the dog, keeping the animal leashed and safe. The “cold corpse” of winter looms in the poem, a chilling reminder of the seasonality of life. But still:\u003C/p>\r\n\r\n\u003Cblockquote>Perhaps we are always hurtling our body toward\u003Cbr>\r\nthe thing that will obliterate us, begging for love\u003Cbr>\r\nfrom the speeding passage of time, and so maybe,\u003Cbr>\r\nlike the dog obedient at my heels, we can walk together\u003Cbr>\r\npeacefully, at least until the next truck comes.\u003C/blockquote>\r\n\r\n\u003Cp>Limón has seen far too many “nexts,” as evidenced by the illness and grief that permeate her first four collections. Friends and lovers have died. Her parents’ divorce tethered her to bygone streets, homes, and landscapes yet left her unmoored. She nursed her stepmother, Cynthia, who fought and succumbed to cancer. With \u003Cem>The Carrying\u003C/em>, Limón adds infertility and chronic pain to the list of trials that have barreled down her road. Throughout the book, she asks what to make of a body that doesn’t fit into its life? In “Sometimes I Think My Body Leaves a Shape in the Air,” she writes\u003C/p>\r\n\r\n\u003Cblockquote>Imagine the body free of its anchors,\u003Cbr>\r\n the free-swimming,\u003Cbr>\r\na locomotion propelling us, pulse by pulse,\u003Cbr>\r\nbut here I am: the slow caboose of clumsy effort.\u003C/blockquote>\r\n\r\n\u003Cp>For Limón, the body is both mundane and miraculous. As she tells me, “I am always training my eye to see the goodness, to praise the human capacity to hold all the suffering and all the joy in one little mortal body. It’s truly phenomenal how much we can hold within us.”\u003C/p>\r\n\r\n\u003Cp>From her debut on, Limón’s poetry has reckoned with the muck that humanity is forced to bear: disappointment, illness, death, grief. In \u003Cem>lucky wreck\u003C/em>’s “Thirteen Feral Cats,” for example, the titular cats are doing well, but Limón’s world is colored differently in each of the poem’s 13 sections. She compares her body to a cold ship, although she isn’t its captain. Illness steers her (perhaps her stepmother’s cancer), and the worst thing at the hospital is “to be caught feeling / better than anyone else—.” She imagines faith as a room with four walls made “of steady light one can pass through,” and she wonders how a body—here likened to a cage—can hold “things as large as the ocean.” On grief, Limón maintains\u003C/p>\r\n\r\n\u003Cblockquote>… to know that in order to go on,\u003Cbr>\r\n\u003Cbr>\r\n we must accept the cage we are given\u003Cbr>\r\n that someday we will be released,\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\n into the unimaginable\u003Cbr>\r\n\u003Cbr>\r\nand until then, praise the walls\u003Cbr>\r\n and all the parts of us they manage to hold so dearly.\u003C/blockquote>\r\n\r\n\u003Cp>Like so many of Limon’s later poems, “Thirteen Feral Cats” contends that despite the body being a cage, it’s something to honor and trust nevertheless, given that the body is all that stands between us and oblivion.\u003C/p>\r\n\r\n\u003Cp>And, yet, the body also betrays. Many poems in \u003Cem>The Carrying\u003C/em> are about hidden pain—infertility, illness with few outward manifestations, a loved one’s Alzheimer’s—and how this pain imposes on womanhood and artistry, in particular. Consider the opening lines of “The Vulture & the Body:”\u003C/p>\r\n\r\n\u003Cblockquote>On my way to the fertility clinic,\u003Cbr>\r\n I pass five dead animals.\u003C/blockquote>\r\n\r\n\u003Cp>In just two short lines, Limon juxtaposes life’s potential with its inexorable end. A dead raccoon, “all four paws to the sky / like he’s going to catch whatever bullshit load / falls on him next.” A dead coyote. Three dead deer that she thinks must be a family. Limón half prays, half curses at the sight: “how dare we live on this earth.” She wants to talk to her doctor about duality and about “how lately, it’s enough to be reminded that my / body is not just my body, but that I’m made of old stars.” At the clinic, the doctor notes progress on the sonogram and then is off like “quicksilver,” leaving Limón “to pull my panties up like a big girl.” On her drive home, she reflects\u003C/p>\r\n\r\n\u003Cblockquote>the white coat has said I’m ready, and I watch as a vulture\u003Cbr>\r\n crosses over me, heading toward\u003Cbr>\r\n\u003Cbr>\r\nthe carcasses I haven’t properly mourned or even forgiven.\u003Cbr>\r\n What if, instead of carrying\u003Cbr>\r\n\u003Cbr>\r\na child, I am supposed to carry grief?\u003C/blockquote>\r\n\r\n\u003Cp>In these lines, the doctor loses form and becomes only his coat. The vulture wends toward the bodies that have lost their lives, and it’s impossible not to wonder if past miscarriages are really what Limón has yet to mourn.\u003C/p>\r\n\r\n\u003Cp>Or consider “\u003Ca href=\"https://www.poetryfoundation.org/poems/147504/late-summer-after-a-panic-attack\">Late Summer After a Panic Attack\u003C/a>,” in which Limón imagines a tree’s leaves as “an unwanted male gaze on the backside” and suggests that they (the leaves? the male gaze?) both bless and hush her. Wondering if she should “go devil instead” and “bow down to the madness that makes me,” Limón invokes harsh consonants (\u003Cem>d\u003C/em>, \u003Cem>x\u003C/em>, \u003Cem>k\u003C/em>, and \u003Cem>b\u003C/em>) to place readers in the aftermath of her panic, while markers of an idyllic suburban afternoon turn sinister:\u003C/p>\r\n\r\n\u003Cblockquote>… Drone\u003Cbr>\r\nof the neighbor’s mowing, a red mailbox flag\u003Cbr>\r\nerected, a dog’s bark from three houses over,\u003Cbr>\r\nand this is what a day is.\u003C/blockquote>\r\n\r\n\u003Cp>The home that Limón grew to love in her previous collection \u003Cem>Bright Dead Things\u003C/em>—“Then, I think of you, home / with the dog, the field full / of purple pop-ups” from “The Problem with Travel”—is now precarious:\u003C/p>\r\n\r\n\u003Cblockquote>a siren whining high toward town repeating\u003Cbr>\r\nthat the emergency is not here, repeating\u003Cbr>\r\nthat this loud silence is only where you live.\u003C/blockquote>\r\n\r\n\u003Cp>As the sirens recede into the distance, Limón wrestles with how the “silent” noise of her neighborhood doubles as the quiet between life’s emergencies.\u003C/p>\r\n\r\n\u003Cp>Silence, in one form or another, is a motif in this book. Several poems are among Limón’s first to challenge the silence that often accompanies issues such as infertility. “The Light the Living See” depicts Limón and two friends visiting an unnamed writer’s grave. Limón reflects that her companions, both fathers now, can likely count on family to visit their graves in remembrance:\u003C/p>\r\n\r\n\u003Cblockquote>… I imagine\u003Cbr>\r\ntheir old daughters leaving a slice\u003Cbr>\r\n of gas station moon pie,\u003Cbr>\r\n\u003Cbr>\r\nrye, a nickel plated acorn, ladies\u003Cbr>\r\n picnicking in the shade of a pine\u003Cbr>\r\n as immobile as the body’s husk.\u003C/blockquote>\r\n\r\n\u003Cp>Limón struggles with the idea that a childless woman may have no one to mourn her:\u003C/p>\r\n\r\n\u003Cblockquote>(What if no one comes to the cliffside\u003Cbr>\r\n where my skin’s ashes set sail?\u003Cbr>\r\n No mourning kin, no lost hitchhiker.)\u003C/blockquote>\r\n\r\n\u003Cp>Hidden in the subtext is the question of whether admirers of her writing will someday make a pilgrimage to the place where her ashes were spread. Similarly, in “Mastering,” Limón meets up with a friend who talks of old acquaintances, of marriage, of Limón’s upcoming wedding and then tells her, “the real miracle, more than marriage, the thing that makes you / believe there might be a god after all, is the making of a child.” An affirmed nonbeliever, Limón is jolted out of their conversation:\u003C/p>\r\n\r\n\u003Cblockquote>…I want to tell him that’s enough. Isn’t it? Isn’t love\u003Cbr>\r\nthat doesn’t result in a seed, a needy body, another suckling animal,\u003Cbr>\r\n\u003Cbr>\r\nstill love? Isn’t that supernatural? Screw your god.\u003C/blockquote>\r\n\r\n\u003Cp>Both poems end with Limón’s alluding to her own forked tongue. By playing off the duplicitous and devilish connotations of that image, Limón upends the traditional role of a woman as mother and the notion of a childless woman as an aberration. “I want him to notice what he said,” she writes in the latter poem, “how a woman might feel agony, / emptiness, how he’s lucky it’s me he said it to because I won’t / vaporize him.” Here again, Limón is angry and counters the conventions and platitudes surrounding a woman who may or may not be trying to conceive. Should it be so hard to understand that a woman’s body is her own and not meant for public comment? In this regard, silence would perhaps be an all-too-rare gift.\u003C/p>\r\n\r\n\u003Cp>Just as \u003Cem>The Carrying\u003C/em> is perhaps Limón’s most intimate view of the body, it’s also her most external view of America, a country in turmoil. In “Cargo,” she and her friends have begun traveling with passports amid “reports of ICE raids,” a precaution that fractures her idea of home. “All the world is moving,” Limón acknowledges as she reflects on the train that races beyond her yard line and wonders what it might carry. Though she doesn’t mention refugees in her list of possible cargo—“plastic, brick, corn syrup, limestone, fury, alcohol, joy”—they’re surely on her mind, and Limón states in the poem’s final stanza that “I live my life half afraid, and half shouting / at the trains when they thunder by.” This sense of alienation deepens in the subsequent poem, “\u003Ca href=\"https://www.poetryfoundation.org/poems/147503/the-contract-says-we39d-like-the-conversation-to-be-bilingual\">The Contract Says: We’d Like the Conversation to Be Bilingual\u003C/a>,” in which Limón becomes a box to be checked on a grant application. Her family history is somehow not like the history of other Americans despite her California heritage:\u003C/p>\r\n\r\n\u003Cblockquote>Don’t read us the one where you\u003Cbr>\r\nare just like us. Born to a green house,\u003Cbr>\r\n\u003Cbr>\r\ngarden, don’t tell us how you picked\u003Cbr>\r\ntomatoes and ate them in the dirt\u003Cbr>\r\n\u003Cbr>\r\n[…]\u003Cbr>\r\n\u003Cbr>\r\nDon’t mention your father\u003Cbr>\r\n\u003Cbr>\r\nwas a teacher, spoke English, loved\u003Cbr>\r\nmaking beer, loved baseball …\u003C/blockquote>\r\n\r\n\u003Cp>Whereas earlier collections reveal Limón searching for serenity, \u003Cem>The Carrying\u003C/em> introduces a public voice that’s overtly political and feminist. In “\u003Ca href=\"https://www.poetryfoundation.org/poems/147506/a-new-national-anthem\">A New National Anthem\u003C/a>,” she confesses that she never liked “The Star-Spangled Banner,” its verses rife with “war and bombs,” and she imagines an alternative, “the song that says my bones / are your bones, and your bones are my bones.” In “Cannibal Woman,” she recalls a beloved legend that her father told her about a woman “bigger than any monster, or Bigfoot, / or Loch Ness creature— // a woman who was like weather, as enormous as a storm.” The woman was eventually burned to death, but her ash transformed into mosquitos “still all around us / in the dark,” and this is the lesson that unsettles Limón:\u003C/p>\r\n\r\n\u003Cblockquote>I’ve worried my whole life that my father told me this because\u003Cbr>\r\nshe is my anger: first comes this hunger, then abyss, then fire,\u003Cbr>\r\n\u003Cbr>\r\nand then a nearly invisible fly made of ash goes on and on eating mouthful\u003Cbr>\r\nafter mouthful of those I love.\u003C/blockquote>\r\n\r\n\u003Cp>In his foreword to \u003Cem>this big fake world, \u003C/em>the poet Frank X. Gaspar acclaims that collection as “a solid world … a narrative of fracture and repair, that through its art becomes a whole—and a whole new thing.” The book offers hope that a body’s desires can be met and that worlds can be remade for the better. In “He Allows Himself This Much,” the male narrator of \u003Cem>this big fake world \u003C/em>wonders\u003C/p>\r\n\r\n\u003Cblockquote>… does she have that same recurring dream\u003Cbr>\r\nthat he has, where he looks out the window\u003Cbr>\r\nand there’s a big house with everything so\u003Cbr>\r\nbeautiful, no dogs outside, no geese\u003Cbr>\r\nflying over, just this picture of her\u003Cbr>\r\ngetting older and older?\u003C/blockquote>\r\n\r\n\u003Cp>Likewise, \u003Cem>The Carrying\u003C/em> also suggests that healing is possible. While deriving comfort from working the gardens of her Kentucky home, Limón constantly searches out the hidden cracks to repair and make into “a whole new thing.” The title of “Against Belonging” suggests such a fracture (in her home life? in her body?), still visible six years after her move from New York. Whereas Limón once learned the names of plants and animals because it seemed “more important than science, more like / creation,” she gives “names to everything now because it makes / me feel useful.” Playing on the myth of Eve, first mother who gave birth to knowledge, Limón has named the garter snakes in her yard “so no one is tempted to kill them.” Once again calling into question the myth of the devilish woman, she feels the snakes internally, “what cannot be tamed, what shakes off citizenship, / what draws her own signature with her body / in whatever dirt she wants.”\u003C/p>\r\n\r\n\u003Cp>In this moment of cultural disruption and deep political polarization, Limón doesn’t underestimate how important it is to affirm a woman’s right to be untamed and in her own patch of dirt. “\u003Ca href=\"https://www.poetryfoundation.org/poems/147502/wife-5b61e969a97f6\">Wife\u003C/a>,” she asks in a poem so titled, “why does it / sound like a job?” Ready to assume this word as a new name, Limón can’t help but question\u003C/p>\r\n\r\n\u003Cblockquote>A word that could be made\u003Cbr>\r\neasily into maid. A wife that does, fixes,\u003Cbr>\r\nsoothes, honors, obeys. Housewife,\u003Cbr>\r\nfishwife, bad wife, good wife …\u003C/blockquote>\r\n\r\n\u003Cp>Limón notes that she doesn’t fit the traditional image of wifehood. Some mornings, she’s so consumed with grief, she can’t even fix tea. She may be better at writing and suffering than caring for her beloved, afraid because she “doesn’t want to be diminished / by how much she wants to be yours.” Limón may have found her own version of the American dream as envisioned by the narrator of \u003Cem>this big fake world\u003C/em>—a “big house with everything so / beautiful”—but she senses that this myth needs to be renovated in ways that don’t detract from her own spirit, her own body’s needs, or her art.\u003C/p>\r\n\r\n\u003Cp>“Perhaps when we name our own suffering we are shining a little light on to the hard parts so we can all breathe a little easier and be easier on one another,” Limon tells me when asked about finding hope in dark times. “Maybe then we can create and make art that both celebrates the physical body but also goes somehow beyond the body’s constraints.”\u003C/p>\r\n\r\n\u003Cp>Though \u003Cem>The Carrying\u003C/em> indicates an artist at odds with her body, the myths of womanhood, and America at large, Limón nonetheless carries the little lights of the world alongside her pain. In “The Last Thing,” she recalls how the blue jay, the black moth, and the roaring quiet make up her day:\u003C/p>\r\n\r\n\u003Cblockquote>These are the last three things\u003Cbr>\r\nthat happened. Not in the universe,\u003Cbr>\r\nbut here, in the basin of my mind,\u003Cbr>\r\nwhere I’m always making a list\u003Cbr>\r\nfor you …\u003C/blockquote>\r\n\r\n\u003Cp>That \u003Cem>you\u003C/em> may be her lover, a reader, or even a hypothetical child. Limón’s list expands into a tally of small, private moments that become almost like readers’ own memories: “silvery dust mote, pistachio / shell, the dog eating a sugar / snap pea.” If the world is to be repaired, Limón implies, then we should “never get over making everything / such a big deal.”\u003C/p>\r\n\r\n\u003Cp>Estranged by her body’s inability to carry a child to term, Limón challenges the idea that womanhood is tied to making babies. And similarly estranged from her recognizable American home, she marshals ideas on how the country can be remade to better meet its ideal. What Limón carries throughout these poems is intense attention and devotion to art. Her new work suggests that this is an imperfect but nonetheless essential salve to a shaken body and a disordered world.\u003C/p>","\u003Cp>One Little Mortal Body\u003C/p>","Ada Limón’s new poems find estrangement close to home.",[],[3300],{"__typename":25,"id":3301,"uid":3302,"title":3303,"alt":3304,"url":3305,"height":603,"width":604,"filename":3306,"caption":3307,"copyright":3307,"focalPoint":3308},"359876","98b856ef-47cb-4859-942b-1f02b5de892c","Ada-Limon-bw.jpg","Black and white image of Ada Limón.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/d35ef66997f6b4bf4618632a01b5e93cd937284e.jpeg","d35ef66997f6b4bf4618632a01b5e93cd937284e.jpeg","Ada Limón. Photo by Lucas Marquardt.",[3309,3310],0.4963,0.482,[3312],{"__typename":573,"status":574,"title":3313,"firstName":3314,"middleName":7,"lastName":3315,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3316,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3317,"authorRegions":3318,"categories":3319,"themes":3320,"parentCategories":3321,"childCategories":3322,"id":3323,"uid":3324,"slug":3325,"uri":3326,"url":3327,"sectionHandle":592,"postDate":3328,"dateUpdated":3329,"level":7},"Lisa Higgs","Lisa","Higgs","\u003Cp>Lisa Higgs is the poetry editor of \u003Cem>Quiddity International Literary Journal. \u003C/em>She is the author of the chapbook \u003Cem>Earthen Bound\u003C/em> (Red Bird Chapbooks, 2019).\u003C/p>",[],[],[],[],[],[],"40065","82e829ef-18f0-494b-82cf-c2c48985ca3d","lisa-higgs","poets/lisa-higgs","https://www.poetryfoundation.org/poets/lisa-higgs","2018-07-26T00:00:00-05:00","2024-06-11T13:12:01-05:00",[3331],{"__typename":3002,"id":3332,"title":3333,"formattedTitle":3333},"50","Essay",{"__typename":615,"id":3335,"affiliation":7,"externalLinkUrl":3336,"description":7,"title":7,"uri":7,"contentItem":3337},"1291020",[],[3338],{"__typename":2900,"id":3339,"uid":3340,"title":3341,"slug":3342,"uri":3343,"url":3344,"sectionHandle":2907,"postDate":3345,"dateUpdated":3346,"level":7,"excerpt":3347,"body":3348,"formattedTitle":3349,"subtitle":3350,"essayYear":7,"magazineEntries":3351,"image":3352,"authors":3365,"articleType":3394},"28525","e9d21c62-2b2f-4a7b-912e-3aa47d85cb2c","Martín Espada 101","martin-espada-101","articles/146625/martin-espada-101","https://www.poetryfoundation.org/articles/146625/martin-espada-101","2018-05-01T00:00:00-05:00","2024-06-11T10:00:08-05:00","\u003Cp>“For some poets, social class is the triangle in the orchestra, a distant tinkling,” Martín Espada writes in his essay collection \u003Cem>Zapata’s Disciple\u003C/em> (1998). “For me, the matter of social class is the beat itself, an insistent percussion.” In more...\u003C/p>","\u003Cp>“For some poets, social class is the triangle in the orchestra, a distant tinkling,” Martín Espada writes in his essay collection \u003Cem>Zapata’s Disciple\u003C/em> (1998). “For me, the matter of social class is the beat itself, an insistent percussion.” In more than a dozen poetry collections over nearly 40 years, Espada has stayed true to this urgent thrum, making music out of language that’s both resolutely political and unfailingly beautiful. Some of his poems are born out of his own experiences: the son of a community organizer, civil rights activist, and documentary photographer, Espada has worked in factories and as a bouncer, a reporter, a tenant lawyer, an activist, and a teacher. His words often reach far beyond his own life, giving glimpses of lives poetry too often overlooks, relating the stories and histories with humility, humor, and urgency. Espada’s writing has earned him many accolades: he is a Pulitzer Prize finalist, an American Book Award winner, and a National Book Critics Circle nominee. \u003Ca href=\"/poets/sandra-cisneros\">Sandra Cisneros\u003C/a> once called him “the Pablo Neruda of North American authors.” Like \u003Ca href=\"/poets/pablo-neruda\">Neruda\u003C/a>, Espada is both accessible and versatile, writing poetry in which, as he so memorably puts it, “I pay homage, bear witness, act as an advocate, and tell secrets.”\u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poems/57179/who-burns-for-the-perfection-of-paper\">Who Burns for the Perfection of Paper\u003C/a>”\u003Cbr>\r\nIn this early poem, Espada relates his teenage experiences working in a printing plant. The “hidden cuts” on Espada’s own hands serve as a powerful image for how capitalism alienates us from labor, disguising the human costs—the very real suffering—of even our most mundane and disposable objects. The detailed descriptions and emphatic line breaks here offer a kind of corrective to that alienation: they are as painstaking and “exact” as the work they evoke, and they suggest the knowing seriousness with which Espada puts pen to paper. If the poem offers a detailed reply to the title’s query, it’s also a powerful reminder of how often these questions go unasked or hang in the air, unanswered.\u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poems/47873/the-meaning-of-the-shovel\">The Meaning of the Shovel\u003C/a>”\u003Cbr>\r\nIn this poem from \u003Cem>Imagine the Angels of Bread\u003C/em> (1996), Espada brings his considerable powers of witness to bear upon Central America, where he traveled to aid the Sandinistas. Repetition and present-tense narration give the poem an almost physical immediacy, but its catalogic structure also allows Espada to pile up meanings and tones, tying divergent scenes to his digging, which makes this poem a kind of \u003Ca href=\"/learn/glossary-terms/ars-poetica\">ars poetica\u003C/a>. If the list here contains heartbreak and resilience, its concluding lines are ones of purposive fury, challenging inherited ideas about what work we value and why. Its final image—“the passport / in [Espada’s] back pocket [saturated] with dirt”—is particularly pointed, considering US opposition to the left-wing Sandinistas: one can read it not just as an expression of solidarity but also as a rebuke of American imperialism.\u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poems/47868/alabanza-in-praise-of-local-100\">\u003Cem>Alabanza\u003C/em>: In Praise of Local 100\u003C/a>”\u003Cbr>\r\nThe word \u003Cem>alabanza\u003C/em> means “praise” in Spanish, which is indeed what this poem offers as it celebrates an undersung, often invisible group: the immigrant service workers who keep US restaurants, hotels, and skyscrapers running. Espada’s poem eulogizes their deaths in the World Trade Center attack on 9/11 by documenting their lives and the specific textures of their day-to-day: “the kitchen radio” with its “dial clicked / even before the dial on the oven,” the “yellow Pirates cap / worn in the name of Roberto Clemente,” and the “stoves that glowed in the darkness … like a cook’s soul.” Though the poem ends quietly, with its litany giving way, its last stanza enlarges the poem, envisioning a dialogue between “Manhattan and Kabul.” It’s a connection, forged in music and dance, that transcends borders, language, and even death.\u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poems/52211/en-la-calle-san-sebastian\">En la Calle San Sebastián\u003C/a>”\u003Cbr>\r\nEspada writes what \u003Ca href=\"/poets/june-jordan\">June Jordan\u003C/a> called New World poetry, building on the earthy, demotic foundations laid by \u003Ca href=\"/poets/walt-whitman\">Walt Whitman\u003C/a> and later by \u003Ca href=\"/poets/pablo-neruda\">Pablo Neruda\u003C/a>. But this piece from Alabanza (2003) also has a Continental pedigree: it borrows its structure and intensity from “Son de negros en Cuba,” a poem by the visionary Spanish poet \u003Ca href=\"/poets/federico-garcia-lorca\">Federico García Lorca\u003C/a>. Like its surrealist inspiration, Espada’s poem is a praise song of place—Puerto Rico, in this case—and to its multicultural heritage. The insistent repetition and slant rhymes here (cobblestone / arrow, appear / beard) imitate both a heartbeat (that “drums in the chest”) and the beat of the conga drum, whose importance in Latin music is (as the poem reminds us) inextricably bound up in the history of slavery.\u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poems/48821/you-got-a-song-man\">You Got a Song, Man\u003C/a>”\u003Cbr>\r\nEspada’s collection \u003Cem>The Republic of Poetry\u003C/em> (2007), a finalist for the Pulitzer Prize, features numerous poems dedicated to other poets, including this \u003Ca href=\"/learn/glossary-terms/elegy\">elegy\u003C/a> for his friend \u003Ca href=\"/poets/robert-creeley\">Robert Creeley\u003C/a>. Inspired by an actual visit the two poets made to Sleepy Hollow Cemetery, the piece not only quotes Creeley but also channels him, imagining the wily poet alongside \u003Ca href=\"/poets/henry-david-thoreau\">Thoreau\u003C/a>, “loaning [him] a cigarette.” If such a meeting feels whimsical, even comic, it’s also representative of Espada’s fluid sense of history, of how the past and present constantly reshape one another. In Espada’s eyes, we see both Creeley and Thoreau differently, as vagabonds whose political power derived from their “all night conversation with the world.” \u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poems/58738/vivas-to-those-who-have-failed-the-paterson-silk-strike-1913\">Vivas to Those Who Have Failed: The Paterson Silk Strike, 1913\u003C/a>”\u003Cbr>\r\nDrawing on archival materials, this sequence from Espada’s 2016 collection paints vivid (and often visceral) portraits of the “overcome heroes” of a major textile strike in Paterson, New Jersey. They’re woven together not only by a common subject and red imagery but also by a formal \u003Ca href=\"https://www.poetryfoundation.org/learn/glossary-terms/conceit\">conceit\u003C/a>: each section puts the \u003Ca href=\"/learn/glossary-terms/sonnet\">Petrarchan sonnet\u003C/a> through narrative paces, with the \u003Ca href=\"/learn/glossary-terms?query=volta\">volta\u003C/a> marking a climax that the first \u003Ca href=\"/learn/glossary-terms/octave\">octave\u003C/a> sets up and the final \u003Ca href=\"/learn/glossary-terms/sestet\">sestet\u003C/a> comments upon or contextualizes. The final sonnet puts the entire series in perspective, leaping forward in time to a later strike and offering the river as a figure for collectivity, for the history of struggle into which even the smallest actions feed.\u003C/p>\r\n\r\n\u003Cp>“\u003Ca href=\"/poetrymagazine/poems/146049/letter-to-my-father\">Letter to My Father\u003C/a>”\u003Cbr>\r\nEspada’s father, a civil rights activist and documentary photographer, is a highly important figure in the poet’s life and poetic work. In an earlier poem, for example, the elder Espada takes on an almost mythical dimension, dying and then coming back to life (“\u003Ca href=\"/poems/47870/the-sign-in-my-fathers-hands\">The Sign in My Father’s Hands\u003C/a>”). Here, in this powerful 2018 elegy, Espada has no illusions of return or salvation—as his father taught him, there is “no life after life”—but he imagines them anyway, in part to memorialize the man but also to fix attention on the ongoing crisis in Puerto Rico. Hurricane Maria “gutted” the mountains where Frank Espada was born, reducing its towns to a “Camp of the Forgotten,” and in the poem’s final lines, the poet wishes his father could confront President Trump the way he once dealt with neighborhood kids who stole cars. Though the poet’s wishes cannot come true, his poem becomes its own kind of confrontation: an act of defiance that continues a family legacy of both might and mercy, of “swinging machetes” and “open hands.”\u003Cbr>\r\n \u003C/p>","\u003Cp>Martín Espada 101\u003C/p>","A brief guide to his work.",[],[3353],{"__typename":25,"id":3354,"uid":3355,"title":3356,"alt":3357,"url":3358,"height":3359,"width":604,"filename":3360,"caption":7,"copyright":3361,"focalPoint":3362},"359819","38b36771-1602-44d4-8d93-57d65e2fb214","martin-espada-illustration.jpg","Illustration of Martín Espada","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/9449e0247a212a59b86434b272a94ea754b1fb24.jpeg",1297,"9449e0247a212a59b86434b272a94ea754b1fb24.jpeg","Portrait by Sophie Herxheimer",[3363,3364],0.5419,0.494,[3366],{"__typename":573,"status":574,"title":3367,"firstName":3368,"middleName":7,"lastName":3369,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3370,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3371,"authorRegions":3382,"categories":3383,"themes":3384,"parentCategories":3385,"childCategories":3386,"id":3387,"uid":3388,"slug":3389,"uri":3390,"url":3391,"sectionHandle":592,"postDate":3392,"dateUpdated":3393,"level":7},"Benjamin Voigt","Benjamin","Voigt","\u003Cdiv>Benjamin Voigt grew up on a small farm in upstate New York. His poems have appeared (or are forthcoming) in \u003Cem>ZYZZYVA\u003C/em>, \u003Cem>Poetry Northwest\u003C/em>, and \u003Cem>Sycamore Review\u003C/em>. His reviews and interviews have appeared in \u003Cem>Kenyon Review\u003C/em>, \u003Cem>The Rumpus,\u003C/em> and \u003Cem>Pleiades\u003C/em>. He earned an MFA in poetry from the University of Alabama, where he was a Graduate Council Thesis Fellow. In 2015, he was an AWP Intro Journal winner. He has received support from the Sewanee Writers' Conference and tthe Poetry Program at the Community of Writers. He works in academic technology and sometimes teaches creative writing at Macalester College in Saint Paul, Minnesota. \u003C/div>\n\n\u003Cdiv> \u003C/div>",[3372],{"__typename":25,"id":3373,"uid":3374,"title":3375,"alt":7,"url":3376,"height":603,"width":604,"filename":3377,"caption":7,"copyright":3378,"focalPoint":3379},"525181","20481d48-53b9-4d3f-a10f-a00e22aa9767","Benjamin-Voigt.JPG","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/a412bcfe3f5f3494d25f1eafe9ed4ac72ad542df.jpg","a412bcfe3f5f3494d25f1eafe9ed4ac72ad542df.jpg","Photo by Sally Franson",[3380,3381],0.5121,0.5766,[],[],[],[],[],"38329","eb312232-54e0-4a51-a8bf-3bf1c25f5222","benjamin-voigt","poets/benjamin-voigt","https://www.poetryfoundation.org/poets/benjamin-voigt","2015-05-11T00:00:00-05:00","2024-06-11T12:16:17-05:00",[3063],{"__typename":615,"id":3396,"affiliation":7,"externalLinkUrl":3397,"description":7,"title":7,"uri":7,"contentItem":3398},"1291021",[],[3399],{"__typename":2900,"id":3400,"uid":3401,"title":3402,"slug":3403,"uri":3404,"url":3405,"sectionHandle":2907,"postDate":3406,"dateUpdated":3407,"level":7,"excerpt":3408,"body":3409,"formattedTitle":3410,"subtitle":3411,"essayYear":7,"magazineEntries":3412,"image":3413,"authors":3426,"articleType":3456},"27967","01838abe-e768-4627-bd9c-fd0cd39e3fae","Refuge","refuge","articles/144029/refuge","https://www.poetryfoundation.org/articles/144029/refuge","2017-08-21T00:00:00-05:00","2024-06-11T09:57:20-05:00","\u003Cp>For the past 16 years, the Cuban American poet and novelist-in-verse Margarita Engle has helped train search and rescue dogs in her spare time. In practice sessions, volunteer victims must learn how to stay still and watchful, and the dogs...\u003C/p>","\u003Cp>For the past 16 years, the Cuban American poet and novelist-in-verse \u003Ca href=\"/poets/margarita-engle\">Margarita Engle\u003C/a> has helped train search and rescue dogs in her spare time. In practice sessions, volunteer victims must learn how to stay still and watchful, and the dogs must learn how to pay extra attention to even the familiar. Both skills are apt metaphors for Engle’s writing, which traipses geographies watchfully, illuminating what might otherwise go unnoticed or unsaid. \u003C/p>\r\n\r\n\u003Cp>Born in Los Angeles to a Cuban mother and an American father, Engle is the author of more than 20 books, including numerous poetry collections, novels, and a memoir in verse. She is the first Latino to be awarded the Newbery Honor (2009) and be appointed the \u003Ca href=\"/learn/young-peoples-poet-laureate\">Poetry Foundation’s Young People’s Poet Laureate\u003C/a> (June 2017). A trained botanist and agronomist, she lives in Central California with her husband, where she helps train those search and rescue dogs. The following interview was edited and condensed.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Growing up, you divided your time between school years spent in the United States and summers in Cuba, until the 1962 Cuban missile crisis prevented further travel to the island and created very real danger for Cuban Americans. How did those new boundaries affect you and your sense of identity and, later, your calling as a writer?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Losing the right to travel was catastrophic in a surrealistic way. I wasn’t a refugee with clear boundaries between a dangerous past and safety in the present. My exile was mandated by politicians who never thought about the personal effects of their actions. Travel and trade restrictions were cruel. They did not cause the violent rebellion they were recklessly intended to promote. Instead, restrictions simply broke families apart and pushed the Cuban people deeper and deeper into isolation and poverty. During the Cold War, Americans were suspect if they communicated with relatives in Cuba, and Cubans on the island could get in trouble if they kept in touch with us. Both sides were willing to give hatred an official status.\u003C/p>\r\n\r\n\u003Cp>Books were my refuge during that time, and because I wrote a lot of poetry as a child and teen, writing was a safe place for my emotions. I didn’t reclaim my travel rights until 1991. Since then, I have returned to Cuba many times. I wrote my memoir, \u003Cem>Enchanted Air\u003C/em>, as a plea for peace and reconciliation. When President Obama restored diplomatic relations, I felt as if a prayer had been answered. Then the new US regime took office, and now, once again, some of those Cold War era restrictions have been foolishly restored. When it comes to Cuba, the United States needs to learn how to treat neighbors like friends. In the meantime, I hope to use my books to teach peacemaking skills, so future adults will understand the futility of endlessly holding a grudge.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>I’m struck by how many of your books contain more than one perspective. Creating and sustaining just one narrative identity per novel is difficult enough, but switching back and forth must be as challenging for you as it is rewarding for readers. How do you navigate the challenges of imaginatively occupying these identities, and what role does empathy play in both the creation and the outcomes of such work?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>The process of writing a poem feels like a form of daydreaming. That imaginative aspect makes it possible to visit another person’s mind. Of course, detailed research is necessary before beginning, but once I’ve read a lot of first-person narratives from a particular historical situation, I feel empathetic enough to venture into a sort of time travel, asking what living in that era and geographic location felt like. I don’t pretend to offer complete answers. Poetry is a process of questioning. I think one of the most important devices for achieving this time travel approach is the combination of first person and present tense, both so common in verse yet relatively rare in historical prose. Multiple-voice verse novels are wonderful for use as readers theater, and they’re interactive. A teacher can invite students to write in the voices of minor characters who appear in the story but aren’t represented by their own poems. Even in free-verse books that have only one voice, such as my memoir, \u003Cem>Enchanted Air\u003C/em>, someone could plunge in and write poems from the point of view of my sister, a cousin, an adult, or even one of the animals. The possibilities are endless. Poetry belongs to the reader as much as the author.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>There seems to have been a recent sea change in young adult literature, as the difficult topics and subject matter that were once kept away from younger readers are more often being addressed. In your work—I’m thinking specifically of \u003Cem>The Poet Slave of Cuba: A Biography of Juan Francisco Manzano\u003C/em>—you offer a gritty, unadorned look at what slavery must have been like for the young protagonist. What responsibilities do the writers of young adult literature have toward illuminating the past and helping prepare young people for the future? How do you personally decide what to include, what to leave out, and where to draw the line? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>When I was growing up in the fifties and sixties, there were no multicultural young adult books; I read books written for grownups. Chinua Achebe’s \u003Cem>Things Fall Apart\u003C/em> was the first novel I bought with my own money, when I was ten. In seventh grade, I chose \u003Cem>Hiroshima\u003C/em> for a book report. It was the global aspect of literature I craved, not the difficulty of the subjects. I was curious about the whole world, and I retain that curiosity. Though most of the young adult verse novels I write are about Cubans, some have branched out to Panama (\u003Cem>Silver People\u003C/em>) and to a Swedish suffragist\u003Cem> (The Firefly Letters). Jazz\u003C/em> \u003Cem>Owls\u003C/em>, \u003Cem>a Novel of the Zoot Suit Riots\u003C/em> (Atheneum, June 2018) is set in Los Angeles, where I grew up as the only Cuban American in a vast Mexican American community. The violence of history in \u003Cem>Jazz Owls, The Poet Slave of Cuba\u003C/em>, and \u003Cem>The Surrender Tree \u003C/em>is not portrayed for entertainment. It is simply part of the experience of people who lived in particular times and places. To ignore it would be veiling history’s racism beneath a fantasy of benevolence. I think historical verse should be honest, no matter the age of the readers.\u003C/p>\r\n\r\n\u003Cp>I firmly believe that poetry can show some of these complex historical situations in a way that distills them down to their emotional essence, allowing me to omit certain grisly details that might need to be spelled out in a traditional prose nonfiction account. I’m a pacifist, and my goal is to portray the need for peace, so my narratives don’t glorify brutality. I draw the line at hope. I refuse to tell hopeless stories. If a particular historical event offered no chance of survival, I will never choose to write about it.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>As an educator at the university level, I often find that many of my students have been soured by earlier academic experiences in which they were either bored or intimidated by poetry. What advice would you give educators, parents, caregivers, and other well-intentioned adults regarding getting young people involved with, and loving, language, literature, and poetry?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I can’t count the number of times teachers and librarians have walked up to me and said, “I don’t get poetry.” It’s terribly offensive and ridiculously self-centered. I don’t know how to build a cabinet or play the violin, but I appreciate carpenters and musicians. The only things adults need to understand about poetry is that children instinctively love rhymes, and teens crave a safe, rhythmic outlet for emotions. I know with absolute certainty that my verse novels and picture books are straightforward and easy to understand. None of it needs to be analyzed. If you set young people free to enjoy the process of reading and writing poetry, you give them a gift they can treasure for a lifetime and share with their grandchildren far into the future.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>How does the current political environment affect your understanding of your role as the Young People’s Poet Laureate? That is, what are the obstacles—and opportunities—inherent in your tasks as you perceive them over the next two years? What is your goal as you approach undertaking this work?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>The constitutional right to freedom of expression has already been damaged in appalling ways, just within a few months. Journalists are being officially persecuted and directly threatened with violence. This occurs in all repressive regimes, and poets are never far behind journalists as targets. The very fact that it is happening clarifies the nature of this administration’s intentions. We must speak out, but we must also protect children. For instance, teachers should no longer ask students to write autobiographical poems in a way that could reveal family secrets. Latino and Muslim children, in particular, need to be free to tell their stories through metaphors, rather than in a factual form that might cause classmates to report them to racist parents who believe the government should put certain names on a list for deportation or internment. Yes, it really is this serious. I hope to use my two years as Young People’s Poet Laureate to speak out in favor of peacemaking, a process that requires freedom and equality for all, not just for the wealthy, white ruling class. Whenever possible, I will turn the subject of peace/\u003Cem>paz\u003C/em> into a bilingual forum for showing young people how they can change the world with words. Yes, words really are that powerful.\u003C/p>","\u003Cp>Refuge\u003C/p>","Margarita Engle, the new Young People’s Poet Laureate, found her home in books.",[],[3414],{"__typename":25,"id":3415,"uid":3416,"title":3417,"alt":3418,"url":3419,"height":603,"width":604,"filename":3420,"caption":3421,"copyright":3422,"focalPoint":3423},"286229","2fcd6236-a63b-4bf7-a5af-9d23469a0670","margarita-engle.jpg","Poet Margarita Engle poses in a dark blue shirt and pink, wearing a horse necklace.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/71639785e669f9e4fc0ca38ca223f7b674771ba5.jpeg","71639785e669f9e4fc0ca38ca223f7b674771ba5.jpeg","Image of Margarita Engle","Photograph by Cybele Knowles, 2014, courtesy of the University of Arizona Poetry Center. Copyright Arizona Board of Regents.",[3424,3425],0.686,0.3594,[3427],{"__typename":573,"status":574,"title":3428,"firstName":3429,"middleName":3430,"lastName":3431,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3432,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3433,"authorRegions":3444,"categories":3445,"themes":3446,"parentCategories":3447,"childCategories":3448,"id":3449,"uid":3450,"slug":3451,"uri":3452,"url":3453,"sectionHandle":592,"postDate":3454,"dateUpdated":3455,"level":7},"Stacey Lynn Brown","Stacey","Lynn","Brown","Stacey Lynn Brown is a poet, playwright, and essayist from Atlanta, Georgia. She received her MFA in poetry from the University of Oregon. She is the author of the book-length poem \u003Cem>Cradle Song\u003C/em> (C&R Press, 2009) and is the co-editor, with Oliver de la Paz, of \u003Cem>A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry \u003C/em>(University of Akron Press, 2012). She teaches at Indiana University in Bloomington.",[3434],{"__typename":25,"id":3435,"uid":3436,"title":3437,"alt":3438,"url":3439,"height":2980,"width":2981,"filename":3440,"caption":7,"copyright":7,"focalPoint":3441},"524659","edca735d-0406-4a59-9bac-f7f2ae987f81","AuthorPhotoStaceyLynnBrownHighRes-1.jpg","Image of Stacey Lynn Brown","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/7fdd926bf59250d38c89a05b243dd31b47afdddb.jpeg","7fdd926bf59250d38c89a05b243dd31b47afdddb.jpeg",[3442,3443],0.5077,0.5024,[],[],[],[],[],"37719","4170a041-9b55-459f-a80b-dc97df962ac7","stacey-lynn-brown","poets/stacey-lynn-brown","https://www.poetryfoundation.org/poets/stacey-lynn-brown","2013-12-09T00:00:00-06:00","2024-06-11T12:09:58-05:00",[3105],{"__typename":615,"id":3458,"affiliation":7,"externalLinkUrl":3459,"description":7,"title":7,"uri":7,"contentItem":3460},"1291022",[],[3461],{"__typename":2900,"id":3462,"uid":3463,"title":3464,"slug":3465,"uri":3466,"url":3467,"sectionHandle":2907,"postDate":3468,"dateUpdated":3469,"level":7,"excerpt":3470,"body":3471,"formattedTitle":3472,"subtitle":3473,"essayYear":7,"magazineEntries":3474,"image":3475,"authors":3485,"articleType":3515},"26659","4f60676d-c77a-4f6f-abee-cf40a600f94c","Juan Felipe Herrera: Selections","juan-felipe-herrera-selections","articles/70252/juan-felipe-herrera-selections","https://www.poetryfoundation.org/articles/70252/juan-felipe-herrera-selections","2015-08-03T00:00:00-05:00","2024-06-11T09:51:35-05:00","\u003Cp>[Jump to poems by source publication year: 1980s, 1990s, 2000s, 2023]\u003Cbr />For \u003Cstrong>Juan Felipe Herrera\u003C/strong>, a recipient of the 2022 Ruth Lilly Poetry Prize and the first Chicano to be named US poet laureate, migration is both his biography and a...\u003C/p>","\u003Cp>[Jump to poems by source publication year: \u003Ca href=\"#1\">1980s\u003C/a>, \u003Ca href=\"#2\">1990s\u003C/a>, \u003Ca href=\"#3\">2000s\u003C/a>, \u003Ca href=\"#4\">2023\u003C/a>]\u003C/p>\r\n\r\n\u003Cp>For \u003Ca href=\"https://www.poetryfoundation.org/poets/juan-felipe-herrera\">\u003Cstrong>Juan Felipe Herrera\u003C/strong>\u003C/a>, a recipient of the 2022 Ruth Lilly Poetry Prize and the first Chicano to be named US poet laureate, migration is both his biography and a major component of his poetic style. The child of migrant farm workers, Herrera grew up following harvests from San Diego to San Francisco, and his writing has likewise displayed a remarkable range. Over the course of his career, Herrera’s incantatory, distinctly varied poems have consistently innovated, crossing and recrossing the borders between poetry and prose, English and Spanish, activism and art. As critic Francisco A. Lomelí writes, Herrera represents “a one-person vanguard in constant movement” who in each successive book “[blazes] new paths of expression.”\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>A free spirit committed to human rights and social justice, [Herrera] has always resisted being labeled as a particular type of poet or constraining his works within any neatly defined genre. Indeed, his compositions defy traditional modes of analysis, and at times even strict classification as poems.\u003C/p>\r\n\r\n\u003Cp>—from “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/articles/159825/sunrider-on-juan-felipe-herrera\">Sunrider: On Juan Felipe Herrera\u003C/a>,” by Lauro Flores, published in \u003Cem>Poetry,\u003C/em> April 2023\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Chr>\r\n\u003Cp>Juan Felipe Herrera’s selected poems in order of source publication\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>\u003Ca id=\"1\" name=\"1\">1980s\u003C/a>\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/poem/183557\">\u003Cstrong>“War Voyeurs\u003C/strong>\u003C/a>\u003Ca href=\"http://www.poetryfoundation.org/poem/183537\">\u003Cstrong>”\u003C/strong>\u003C/a> (1985)\u003C/p>\r\n\r\n\u003Cblockquote>I do not understand why men make war.\u003C/blockquote>\r\n\r\n\u003Cp>This powerful poem, from \u003Cem>Exiles of Desire\u003C/em>, was written at the height of state-sanctioned killings in El Salvador. As Herrera considers the roots of war, readers begin to wonder if war’s origins are primal (“the wisest hunter”), classical (“the most stoic example”), or modern (“the neutron ray”). Is war motivated by economics, politics or, most chillingly, aesthetics? War is a kind of theater, Herrera suggests, in which actors and audience members both wear “the mascara of bondage” and beauty—that most poetic of values—can support the “calibrated murder” witnessed there.\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>\u003Ca id=\"2\" name=\"2\">1990s\u003C/a>\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"https://www.poetryfoundation.org/poems/52306/iowa-blues-bar-spiritual\">\u003Cstrong>“Iowa Blues Bar Spiritual”\u003C/strong>\u003C/a> (1994)\u003C/p>\r\n\r\n\u003Cblockquote>How long shall we remain as wavy reflections,\u003Cbr>\r\nimitators of our own jacket’s frown? Who shall awaken first?\u003C/blockquote>\r\n\r\n\u003Cp>In many of his poems, Herrera’s first person isn’t terribly personal: his speakers are often costumes he’s trying on, the bearers of philosophical musings, or ecstatic singers of a time or place or culture. But in this poem, selected by Charles Simic for \u003Cem>Best American Poetry \u003C/em>in 1992, Herrera plays himself. Describing one raucous, rainy night at a bar in Iowa (where Herrera earned his MFA in 1990), Herrera paints a fevered picture celebrating a single moment taken, seemingly, straight from the poet’s life. He remembers his friends, calls out to the band, and dreams of opening an ice-cream shop.\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"https://www.poetryfoundation.org/poems/55752/blood-on-the-wheel\">\u003Cstrong>“Blood on the Wheel”\u003C/strong>\u003C/a> (1999)\u003C/p>\r\n\r\n\u003Cblockquote>There is blood, there, he says\u003Cbr>\r\nBlood here too, down here, she says\u003Cbr>\r\nOnly blood, the Blood Mother sings\u003C/blockquote>\r\n\r\n\u003Cp>In this relentless, mesmerizing poem, blood serves as a sonic refrain and a link between injustices ranging from domestic abuse to exploitative labor to American militarism. As critic Stephen Burt observes in his \u003Ca href=\"http://www.poetryfoundation.org/learning/guide/244636#guide\">poem guide\u003C/a>, the poem draws readers into this web of violence, asking near its conclusion, “Could this [blood] be yours?” First published in \u003Cem>Border-Crosser with a Lamborghini Dream\u003C/em>, Herrera also included the poem in his \u003Cem>187 Reasons Mexicanos Can’t Cross the Border\u003C/em>, a collection of “undocuments” that testifies to his 40 years as an activist artist and a community builder.\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/poem/241376\">\u003Cstrong>“Punk Half Panther\u003C/strong>\u003C/a>\u003Ca href=\"http://www.poetryfoundation.org/poem/183537\">\u003Cstrong>”\u003C/strong>\u003C/a> (1999)\u003C/p>\r\n\r\n\u003Cblockquote>Do not expect me\u003Cbr>\r\nto name—this Thing-Against-Itself. Play it. Screw it.\u003Cbr>\r\nHowl up to the Void, the great emptiness,\u003Cbr>\r\nthe original form.\u003C/blockquote>\r\n\r\n\u003Cp>This swaggering ode to California street culture is a perfect example of what poet Sesshu Foster called Herrera’s “rock-and-roll surrealism.” The poem brims with references from Tupac Shakur to \u003Cem>The Terminator\u003C/em> as Herrera pays homage to his “barriohood” by picking up its “day-glo” slang and pan-cultural “froth.” It is also an effervescent literary tribute; dedicated to Allen Ginsberg, whose work Herrera discovered in high school in San Francisco, the poem rumbles with the same wild energy as the beatnik idol’s \u003Cem>Howl\u003C/em>. \u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>\u003Ca id=\"3\" name=\"1\">2000s\u003C/a>\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/poem/183537\">\u003Cstrong>“In the Cannery the Porpoise Soul”\u003C/strong>\u003C/a> (2008)\u003C/p>\r\n\r\n\u003Cblockquote>the mayor is waiting/counting scales\u003C/blockquote>\r\n\r\n\u003Cp>In this early poem, porpoises—longtime casualties of commercial tuna fishing—represent exploited laborers and their spirit of resistance. The poem’s slippery syntax and dreamy imagery work against the oppressive ordering of nets and quotas, canneries and documents. Read \u003Ca href=\"http://www.poetryfoundation.org/learning/glossary-term/allegory\">allegorically\u003C/a>, however, the poem’s ending paints a bleak picture: the porpoise’s soulful struggle does not bear out a “porpoise sea,” acknowledging that “policy” often overpowers “rolled sleeve salt.”\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/poem/183547\">\u003Cstrong>[Let Us Gather in a Flourishing Way]\u003C/strong>\u003C/a> (2008)\u003C/p>\r\n\r\n\u003Cblockquote>let us gather in a flourishing way\u003Cbr>\r\ncontentos llenos de fuerza to vida\u003Cbr>\r\ngiving nacimientos to fragrant ríos\u003C/blockquote>\r\n\r\n\u003Cp>A sharp contrast to “Cannery,” the sinuous lines of this Whitman-esque pastoral from Herrera’s first book celebrate the labor and landscape of Herrera’s youth. Strongly influenced by Alurista, whose 1971 bilingual poetry collection \u003Cem>Floricanto en Aztlán \u003C/em>was a landmark for the Chicano movement, Herrera’s poem moves fluidly between Spanish and English. Herrera also invents his own lingo: in the poem’s penultimate line, he combines \u003Cem>maize\u003C/em> and \u003Cem>Aztlán\u003C/em> to form \u003Cem>maiztlán\u003C/em>, linking, in a single word, the agricultural work of Chicano migrants to Amerindian heritage and folklore. \u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"https://www.poetryfoundation.org/poems/58270/exiles-56d23c7eba08b\">\u003Cstrong>“Exiles”\u003C/strong>\u003C/a> (2008)\u003C/p>\r\n\r\n\u003Cblockquote>and they are not here\u003Cbr>\r\nin America\u003Cbr>\r\nThey are in exile: a slow scream across a yellow bridge\u003C/blockquote>\r\n\r\n\u003Cp>A much different idea of immigrant existence emerges in this poem from Herrera’s second book, \u003Cem>Exiles of Desire\u003C/em>. Borrowing images (as well as words) from the painter of \u003Cem>The Scream\u003C/em>, Herrera depicts a stream of refugees who are not at home in their homelands or in their adopted nations. What’s notable here is not so much Herrera’s evocation of these exiles as his position relative to them: the speaker is not an immigrant but a native, and his final, surprising question bears witness to the complexities of citizenship and belonging. \u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"https://www.poetryfoundation.org/poems/52287/grafik\">\u003Cstrong>“Grafik”\u003C/strong>\u003C/a> (2008)\u003C/p>\r\n\r\n\u003Cblockquote>P / O / T / R / E / R / O\u003Cbr>\r\nGrafiks require precise knives.\u003C/blockquote>\r\n\r\n\u003Cp>Like all the work in Herrera's massive, groundbreaking collection \u003Cem>Akrilica\u003C/em>, “Grafik” was originally composed in Spanish, then translated into English. But this unsettled (and unsettling) poem also plays in the space between two other languages: the literary and the visual arts. Herrera treats the page like a canvas: words spill across it or cohere into lurid portraits. But Herrera, whose work is often \u003Ca href=\"http://www.poetryfoundation.org/learning/glossary-term/ekphrasis\">ekphrastic\u003C/a> or multimedia, also adopts the \u003Ca href=\"http://www.poetryfoundation.org/learning/glossary-term/persona\">persona\u003C/a> of a graphic artist to raise questions about the relationship between ethics and poetics. Who or what deserves to be visible? When is representation “criminal,” a form of violence, and when is it “the only thing that counts”?\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/poem/183567\">\u003Cstrong>“I Am Merely Posing for a Photograph\u003C/strong>\u003C/a>\u003Ca href=\"http://www.poetryfoundation.org/poem/183537\">\u003Cstrong>”\u003C/strong>\u003C/a> (2008)\u003C/p>\r\n\r\n\u003Cblockquote>…“Sirs, he was posing\u003Cbr>\r\nfor my camera, that is all.” . . . yes, that may just work.\u003C/blockquote>\r\n\r\n\u003Cp>Though grounded in Chicano experience, Herrera’s work often takes a global view of politics. This 2008 poem, for example, finds the poet at the beach, considering “the gray-white bells of rubble” that toll across the ocean in Gaza, Israel, and Syria. The titular picture taking is ironic, a ploy to draw readers' attention. “Pretend I came to swim, I am here by accident,” Herrera writes, building a cover story for those powers who would prefer we forget the common struggles that “cut across all borders.”\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/poem/183577\">\u003Cstrong>“Let Me Tell You What a Poem Brings\u003C/strong>\u003C/a>\u003Ca href=\"http://www.poetryfoundation.org/poem/183537\">\u003Cstrong>”\u003C/strong>\u003C/a> (2008)\u003C/p>\r\n\r\n\u003Cblockquote>the mist becomes central to your existence.\u003C/blockquote>\r\n\r\n\u003Cp>This \u003Ca href=\"http://www.poetryfoundation.org/learning/glossary-term/ars%20poetica\">ars poetica\u003C/a> gracefully epitomizes Herrera’s abiding elusiveness. The poem’s opening lines set readers up for something more direct and discursive than the complex, \u003Ca href=\"http://www.poetryfoundation.org/learning/glossary-term/elliptical%20poetry\">elliptical\u003C/a> meditation it ultimately delivers. “There is no poem / to speak of,” Herrera declares, then compares poetry to a “mist,” “the alarming waters” of a storm, and a mall. If poetry, for Herrera, is tricky, indefinite, and evanescent, these qualities also render it an essential place of play and “a way to attain a life without boundaries.”\u003C/p>\r\n\r\n\u003Cp>- Benjamin Voigt\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>From the Ruth Lilly Poetry Prize winner folio in \u003C/strong>\u003Cstrong>\u003Cem>Poetry\u003C/em>\u003C/strong>\u003Cstrong> magazine, April 2023\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>“\u003C/strong>\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/159794/dawn-will-usher-me\">\u003Cstrong>Dawn Will Usher Me\u003C/strong>\u003C/a>\u003Cstrong>” \u003C/strong>\u003Ca id=\"4\" name=\"4\">(2023)\u003C/a>\u003C/p>\r\n\r\n\u003Cblockquote>yesterday & yesterday within yesterday wounded\u003Cbr>\r\nor is it timelessness\u003C/blockquote>\r\n\r\n\u003Cp>Herrera’s poems in the April 2023 issue read like a quartet, each exemplifying the poet’s loping grace with form and his political attentiveness to the world. In “Dawn Will Usher Me,” Herrera is rife with prayer, beginning, “i will kneel there i will embrace glass shards / broken helms i will drift in tawny sails / of Van Gogh stars.” The afterlife rendered and experienced by the speaker is alert to ecological crisis and its aftermath, its cosmos ranging from the “Van Gogh stars” to plankton and barnacles. Midway through the poem, the speaker openly asks, “did we find our way / through the jagged ascensions.” “Dawn Will Usher Me” probes and scales ongoing crises, violences, and griefs—several the subject of Herrera’s poems in the April issue of \u003Cem>Poetry\u003C/em>, such as the war in Ukraine and George Floyd—into this spectacular cosmos, answering the speaker’s earlier question by refashioning the terms of the question. Herrera writes, “it was / always the song & the singing the whirling / & the leaping / the gasping & the bursting,” which are repeated and multiplying trials that offer a way perhaps not out but at least toward the poem’s last scene, where the speaker bows to a “bleeding galaxy.”\u003C/p>\r\n\r\n\u003Cp>- Sarah Ahmad\u003C/p>","\u003Cp>Juan Felipe Herrera: Selections\u003C/p>","\u003Cspan style=\"font-variant:normal;\">Reading the prolific, pioneer Chicano poet committed to human rights and social justice\u003C/span>",[],[3476],{"__typename":25,"id":3477,"uid":3478,"title":3479,"alt":7,"url":3480,"height":603,"width":604,"filename":3481,"caption":7,"copyright":7,"focalPoint":3482},"285442","06c78d8a-7d48-4740-941e-e3a9be086208","5df40926c1d27d3d5c11a8e7bb90a60102aa62d2","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/5df40926c1d27d3d5c11a8e7bb90a60102aa62d2.jpg","5df40926c1d27d3d5c11a8e7bb90a60102aa62d2.jpg",[3483,3484],0.5649,0.4401,[3486,3366],{"__typename":573,"status":574,"title":3487,"firstName":3488,"middleName":7,"lastName":3489,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":7,"galeBio":7,"poetryBio":3490,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":580,"websiteUrl":7,"image":3491,"authorRegions":3503,"categories":3504,"themes":3505,"parentCategories":3506,"childCategories":3507,"id":3508,"uid":3509,"slug":3510,"uri":3511,"url":3512,"sectionHandle":592,"postDate":3513,"dateUpdated":3514,"level":7},"Sarah Ahmad","Sarah","Ahmad","\u003Cp>Sarah Ahmad was born in Delhi and grew up across the Indian subcontinent. She has been a graduate student in the women’s history and writing programs at Sarah Lawrence College, taught in the CUNY Start program, and was the 2018–19 Editorial Fellow at \u003Cem>Poets & Writers\u003C/em>. She is assistant editor at \u003Cem>Guernica\u003C/em> (poetry) and \u003Cem>Conjunctions\u003C/em>, a reader at \u003Cem>Poetry\u003C/em>, and a PhD student in literature at the UMass–Amherst where she works on feminist-queer architextures in contemporary queer-diasporic literature, and writes in-between poem-prose beings.\u003C/p>",[3492],{"__typename":25,"id":3493,"uid":3494,"title":3495,"alt":3496,"url":3497,"height":603,"width":604,"filename":3498,"caption":7,"copyright":3499,"focalPoint":3500},"527975","92e69ece-1bee-4422-a654-aaed499c19ec","Sarah Ahmad_photo for Poetry.jpg","Short haired woman with dark red dress standing in front of a cherry blossom tree","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/b9940b2e869457f0c51b35c12451cb03bf42491b.jpg","b9940b2e869457f0c51b35c12451cb03bf42491b.jpg","Courtesy of the poet",[3501,3502],0.4053,0.3088,[],[],[],[],[],"41863","ca0c8b55-3c16-40ce-9dcf-7444aacd6320","sarah-ahmad","people/sarah-ahmad","https://www.poetryfoundation.org/people/sarah-ahmad","2022-02-09T00:00:00-06:00","2024-06-11T13:29:38-05:00",[3063],{"__typename":615,"id":3517,"affiliation":7,"externalLinkUrl":3518,"description":7,"title":7,"uri":7,"contentItem":3519},"1291023",[],[3520],{"__typename":2900,"id":3521,"uid":3522,"title":3523,"slug":3524,"uri":3525,"url":3526,"sectionHandle":2907,"postDate":3527,"dateUpdated":3528,"level":7,"excerpt":3529,"body":3530,"formattedTitle":3531,"subtitle":3532,"essayYear":7,"magazineEntries":3533,"image":3534,"authors":3544,"articleType":3568},"28725","1004b753-a690-4554-bbd3-c1404f3dd18c","Adding Latinx Poetry to Your Curriculum","adding-latinx-poetry-to-your-curriculum","articles/149191/adding-latinx-poetry-to-your-curriculum","https://www.poetryfoundation.org/articles/149191/adding-latinx-poetry-to-your-curriculum","2019-02-27T00:00:00-06:00","2024-06-11T10:01:09-05:00","\u003Cp>The very landscape of what being Latinx means is in flux. The brown and black bodies that make up this diverse ethnic group—and the centuries of their culture in the Americas—are often overlooked, neglected, or kept out of view. There...\u003C/p>","\u003Cp>The very landscape of what being Latinx means is in flux. The brown and black bodies that make up this diverse ethnic group—and the centuries of their culture in the Americas—are often overlooked, neglected, or kept out of view. There was a recent battle for ethnic studies in Texas, where now Mexican American studies can be taught, but only as an elective, and there’s the newly uncovered history of Esteban Hotesse, a Dominican Tuskegee Airman who served during World War II. Latinx culture exists in countless ways, and every day is an opportunity and challenge to uncover, preserve, and share its history and legacy. \u003C/p>\r\n\r\n\u003Cp>The terms \u003Cem>Latinx\u003C/em> and \u003Cem>Latino/a\u003C/em> have been synonymous with \u003Cem>survivor\u003C/em>, with \u003Cem>adapting\u003C/em>, and with even darker tones: \u003Cem>undesirable\u003C/em>, \u003Cem>alien\u003C/em>. (In some arenas, people still use the labels \u003Cem>Hispanic\u003C/em> and \u003Cem>Latin.\u003C/em>) Latinx people have been part of US history since its beginning, but American literature—like this country’s history books—does not include enough examples of Latinx people or culture. Educators need to correct these omissions and bring more Latinx literature into American classrooms.\u003C/p>\r\n\r\n\u003Cp>Latinx poetry is an enormous part of American poetry. Latinx poetry is the work of ethnic writers and poets of color whose roots are tied to the Americas and their languages, cultures, and geography. The roots of Latinx poetry predate the European colonization of the Americas. Latinx poetry is not just written only in Spanish or Spanglish—it’s also in Portuguese. It’s also Afro-Latinx poetry. It’s the poetry of the United States that can include Nahuatl, Mayan, Huichol, Arawakan, et cetera. It’s Haitian, Mexican, Dominican, Honduran, and any land that connects to both an indigenous identity and a Latin language root. It involves learning about the literature of writers and poets such as \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poets/sor-juana\">Sor Juana In\u003C/a>\u003Ca href=\"https://www.poetryfoundation.org/poets/sor-juana\">é\u003C/a>\u003Ca href=\"https://www.poetryfoundation.org/poets/sor-juana\">s de la Cruz\u003C/a>\u003C/u> and Roque Dalton; Piri Thomas and Sylvia Aguilar-Zéleny, Christina Rossi, and Nicomedes Suárez Araúz. But it is an identity that is still problematic and often neglected in our K-12 classrooms.\u003C/p>\r\n\r\n\u003Cp>This, then, begs an important question: how should teachers approach Latinx writing in classroom settings? Should we create units to cover Latinx People 101? That’s neither realistic nor productive. In my experience, threading Latinx literature through a yearlong curriculum is more effective. Of course, there are many ways (ethnic studies being one format) to create exchanges between Latinx culture and other cultures. One of the most engaging is through poetry. Poems are made to linger in the head and the heart, in the body and the ear well after they are first experienced.\u003C/p>\r\n\r\n\u003Cp>To share what poetry illuminates—the understanding of self and others and what being human means—we should include as many kinds of people as possible. Latinx history spans two continents once erroneously referred to as the New World—North and South America—and its literature spans six centuries. If we don’t present works by Latinx and Latin American writers in our classes, we risk misrepresenting the real range of American literature.\u003C/p>\r\n\r\n\u003Cp>Poetry is a brilliant entry point into Latinx history and culture. Thoughts and feelings are readily accessible in its languages, tones, forms, and techniques. Students may need help understanding what a poem expresses, and the feelings they tap into can be wide ranging and universal. Poetry can illuminate an infinite range of subjects, so it can reach future historians, business people, and budding scientists. With this in mind, let’s take a closer look at some effective ways of exploring Latinx poetry in the classroom.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>If Poetry Isn’t Your Strength: A Multi-Genre Approach\u003C/strong>\u003Cbr>\r\nI won’t assume that poetry is your favorite genre to teach or the one you feel most confident teaching. Perhaps you like essays, memoirs, novels, short stories, or a hybrid of these forms. If poetry is not your strong suit, then think about using multi-genre texts that give you access to a combination of prose, poetry, and memoir—books such as \u003Ca href=\"https://www.poetryfoundation.org/poets/judith-ortiz-cofer\">Judith Ortiz Cofer\u003C/a>’s \u003Cem>Silent Dancing \u003C/em>(1990) and Jasminne Mendez’s \u003Cem>Island of Dreams \u003C/em>(2013). Multi-genre books can provide built-in scaffolds for learning about poetry. They are access points offering something for every kind of reader in your classroom. Most students are unfamiliar with the mix of poetry and prose found in multi-genre works. You can tell your students, “We aren’t going to read the whole book,” and already the kids are in, if only for the idea that they won’t be focusing on the quantity of reading. Multi-genre works give your learners a flexible experience, which might translate into a new kind of feeling of discovery and connection with poetry and prose.\u003C/p>\r\n\r\n\u003Cp>Teachers who have a difficult time drumming up engagement with a work can try tactics such as these:\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Build word walls with images, themes, vocabulary, and words in Spanish.\u003C/li>\r\n\t\u003Cli>Invite students to read aloud in class (with partners or popcorn style).\u003C/li>\r\n\t\u003Cli>Have students create questions about what they are reading.\u003C/li>\r\n\t\u003Cli>Spend time in class and out of class responding to these questions.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>For working with bilingual texts, have your students build dictionaries for themselves, in which they create definitions of translated words and phonetic spellings to help with pronunciation. Then, in paired reading situations, have students read poems aloud to each other so they get comfortable with the tones and meaning of the language. Be prepared to model correct pronunciation or ask bilingual students to serve as models. In time, students become confident enough to read in a group setting—this method shifts the burden away from Spanish speakers to a shared experience that engages all students.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Provide Real-World Connections \u003C/strong>\u003Cbr>\r\nShare poems that speak to the present and to students’ lives. In contemporary Latinx poetry, the connections poets make in their work are often based on the urgent problems people face today: inequality, body image, racism, language, immigration, and so on. Start with poems whose subject matter may be bold enough for your students to access—those that allow for a good discussion and prepare for later explorations of more difficult poems. Try using José Angel Araguz’s “\u003Ca href=\"https://www.poetryfoundation.org/poems/51968/gloves\">Gloves\u003C/a>,” Rodrigo Toscano’s “\u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/56945/at-a-bus-stop-in-el-barrio\">At a Bus Stop in El Barrio\u003C/a>\u003C/u>,” Aracelis Girmay’s “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146241/sister-was-the-wolf\">sister was the wolf\u003C/a>,” or Dan Vera’s “\u003Ca href=\"https://www.poetryfoundation.org/poems/143248/small-shame-blues\">Small Shame Blues\u003C/a>.” These poems address the essence of family, longing, belonging, as well as issues with culture and prejudice in the Latinx community. \u003C/p>\r\n\r\n\u003Cp>There are still other examples: \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poets/javier-zamora\">Javier Zamora’s\u003C/a>\u003C/u> \u003Cem>Unaccompanied\u003C/em> (2017) and \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poets/carmen-tafolla\">Carmen Tafolla’s\u003C/a>\u003C/u> \u003Cem>Curandera\u003C/em> (1983) are ripe for such exploration. You and your students can make brilliant connections among the poems in these collections and what you’re learning in the classroom—as well as the world outside it. Here’s the opening to Zamora’s “\u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/58469/how-i-learned-to-walk\">How I Learned to Walk\u003C/a>\u003C/u>”:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>Calláte. Don’t say it out loud: the color of his hair,\u003Cbr>\r\nthe sour odor of his skin, the way they say\u003Cbr>\r\nhis stomach rose when he slept. I have\u003Cbr>\r\ndone nothing, said nothing. I piss in the corner\u003Cbr>\r\nof the room, the outhouse is far, I think\u003Cbr>\r\norange blossoms call me to eat them. I fling rocks\u003Cbr>\r\nat bats hanging midway up almond trees.\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>These lines capture the turmoil and the necessity of trying to make sense of an early memory—especially when the memory is of a different time, a different place. Zamora’s poem is about the moment a family member leaves home for a while, perhaps beginning the trek to the United States or a distant farming job. The speaker captures a place, a moment of change.\u003C/p>\r\n\r\n\u003Cp>You can connect this poem to other media that cover these themes, such as a documentary about how migrant farmers make a living in and out of the United States. This can help students comprehend the reality Zamora expresses. You can also share articles on urgent issues currently surfacing in the United States: immigration and the fate of unaccompanied children who cross the border.\u003C/p>\r\n\r\n\u003Cp>Working with contemporary poems that interrogate difficult personal and cultural subjects can be a negative trigger for some students. Be ready to listen as they describe what they are getting from the texts—some of this content might be very close to home for them and evoke intense feelings. You may need to seek assistance from counselors to help you and your students process what they are experiencing. Poets intend to create strong emotions in their readers; teachers should be prepared to help students process and manage the emotions engaging with poetry prompts. \u003C/p>\r\n\r\n\u003Cp>This poem and the others in Zamora’s \u003Cem>Unaccompanied\u003C/em> are about the change and upheaval that a journey can initiate. The expressions of longing in this book—as well as the depictions of reunification and the yearning for hope and survival—lend themselves to understanding more than just the immigrant experience.\u003C/p>\r\n\r\n\u003Cp>You can also use poetry to engage with history in an imaginative way. In “\u003Ca href=\"https://www.poetryfoundation.org/poems/56790/voyage-56d2399eaee08\">Voyage\u003C/a>,” from \u003Cem>Curandera\u003C/em>, Carmen Tafolla creates an imaginary history and a form of protest. Here is the first stanza:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp> I was the fourth ship.\u003Cbr>\r\n Behind Niña, Pinta, Santa María,\u003Cbr>\r\n Lost at sea while watching a seagull,\u003Cbr>\r\n Following the wind and sunset skies,\u003Cbr>\r\n While the others set their charts.\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>Here we are asked to imagine that readers explore a poem voiced by a fictional fourth ship that set out with Christopher Columbus in 1492. This boat proceeds quite differently from the others: it does not follow the same course yet is not lost at sea. It abandons its predetermined route and sets out to follow its own path. The poem can be read as a form of resistance to the process of colonization and a way to wonder how history could have been different. In a history or geography lesson, poems that reimagine or reinterpret historical moments offer moments of artistic license and opportunities for synthesis.\u003C/p>\r\n\r\n\u003Cp>What if you are looking for more concrete examples of opportunities to connect Latinx poetry to a more traditional or focused curriculum? Let’s say you’re hoping to find poems related to recent history and life-changing events. Check out \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poets/martin-espada\">Martín Espada\u003C/a>\u003C/u>'s “\u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/47868/alabanza-in-praise-of-local-100\">Alabanza: In Praise of Local 100\u003C/a>,\u003C/u>” a powerful piece that explores a historic moment—in this case, September 11, 2001—through the eyes of locals. Espada’s epigraph serves as the poem’s dedication:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>\u003Cem>for the 43 members of Hotel Employees and Restaurant Employees Local l00, working at the Windows on the World restaurant, who lost their lives in the attack on the World Trade Center\u003C/em>\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>Here are a few stanzas from the poem itself:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>Praise Manhattan from a hundred and seven flights up,\u003Cbr>\r\nlike Atlantis glimpsed through the windows of an ancient aquarium.\u003Cbr>\r\nPraise the great windows where immigrants from the kitchen\u003Cbr>\r\ncould squint and almost see their world, hear the chant of nations:\u003Cbr>\r\n\u003Cem>Ecuador, México, Republica Dominicana,\u003C/em>\u003Cbr>\r\n\u003Cem>Haiti, Yemen, Ghana, Bangladesh.\u003C/em>\u003Cbr>\r\n\u003Cem>Alabanza.\u003C/em>Praise the kitchen in the morning, \u003Cbr>\r\nwhere the gas burned blue on every stove\u003Cbr>\r\nand exhaust fans fired their diminutive propellers,\u003Cbr>\r\nhands cracked eggs with quick thumbs \u003Cbr>\r\nor sliced open cartons to build an altar of cans.\u003Cbr>\r\n\u003Cem>Alabanza\u003C/em>. Praise the busboy’s music, the \u003Cem>chime-chime\u003C/em>\u003Cbr>\r\nof his dishes and silverware in the tub.\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp>\u003Cem>Alabanza\u003C/em>. Praise the dish-dog, the dishwasher\u003Cbr>\r\nwho worked that morning because another dishwasher\u003Cbr>\r\ncould not stop coughing, or because he needed overtime\u003Cbr>\r\nto pile the sacks of rice and beans for a family\u003Cbr>\r\nfloating away on some Caribbean island plagued by frogs.\u003Cbr>\r\n\u003Cem>Alabanza\u003C/em>. Praise the waitress who heard the radio in the kitchen\u003Cbr>\r\nand sang to herself about a man gone. \u003Cem>Alabanza\u003C/em>.\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>This complex poem suggests a number of avenues for discussion, such as the role immigrants play in every aspect of American life, including tragedy. Here is a range of possible questions to ask your students:\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>What images tell readers about the occupations and heritage of the employees?\u003C/li>\r\n\t\u003Cli>Why write a poem about these specific individuals?\u003C/li>\r\n\t\u003Cli>What is the significance of the listing of countries in the first stanza?\u003C/li>\r\n\t\u003Cli>Who sees themselves represented in this poem?\u003C/li>\r\n\t\u003Cli>How does this poem change the narrative behind September 11?\u003C/li>\r\n\t\u003Cli>What other poems offer a different (or similar) perspective of this important date?\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Teachers can link Espada's poem to the historical and political ramifications of 9/11—including the highly topical issues of immigration policy and national security policy. You can extend students’ engagement with the poem through research projects—have students look up all the current TSA and FAA rules for air travel, read about survivors of the attacks and what life was like in the aftermath, or find some of the news footage of the attack as it happened. Engaging with the poem can bring up all those connections.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Build the Context\u003C/strong>\u003Cbr>\r\nRemember, analyzing poetry is not just what literary critics say it is. It is also connecting poems to communities, to history, and to other works. Teachers can help students understand a poem’s political and historical context by providing that background before or after they read. Draw upon the life of the poet if it provides meaningful context to the poem you share. Let’s say you want to talk about the relationship between social marginalization and mental health issues or addiction or the role religion plays in family life—look to \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poets/natalie-diaz\">Natalie Diaz\u003C/a>\u003C/u>’s poem “\u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/56355/my-brother-at-3-am\">My Brother at 3 A.M.\u003C/a>\u003C/u>”:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>He sat cross-legged, weeping on the steps\u003Cbr>\r\nwhen Mom unlocked and opened the front door.\u003Cbr>\r\n\u003Cem> O God, \u003C/em>he said. \u003Cem>O God.\u003C/em>\u003Cbr>\r\n\u003Cem> He wants to kill me, Mom.\u003C/em>\u003C/p>\r\n\r\n\u003Cp>When Mom unlocked and opened the front door\u003Cbr>\r\nat 3 a.m., she was in her nightgown, Dad was asleep.\u003Cbr>\r\n\u003Cem> He wants to kill me\u003C/em>, he told her,\u003Cbr>\r\n\u003Cem> \u003C/em> looking over his shoulder.\u003C/p>\r\n\r\n\u003Cp>3 a.m. and in her nightgown, Dad asleep,\u003Cbr>\r\n\u003Cem>\u003Cem>What's going on? \u003C/em>she asked. \u003Cem>Who wants to kill you? \u003C/em>\u003C/em>\u003Cbr>\r\n He looked over his shoulder.\u003Cbr>\r\n\u003Cem> The devil does. Look at him, over there.\u003C/em>\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>This powerful poem gives us access to personal family issues, which Diaz isn’t shy about confronting. A basic internet search offers a multitude of interviews with poets and writers, both in print and in recorded audio/video. You can find an interview with Diaz talking about her family’s reaction to the work in her book, When My Brother Was an Aztec. Sometimes including portions of these interviews in your teaching can help engage students and can help them learn the many reasons why poets write.\u003C/p>\r\n\r\n\u003Cp>After reading “My Brother at 3 A.M.” closely, teachers can help her students navigate the story. There is a young man and a mother and a conversation between the two. There is a macabre element in these lines. The scene is initially familiar, yet there’s an unknown haunting figure, part devil incarnate, part story by campfire. Teachers can suggest an added, alluded-to element: perhaps this young man is hallucinating and is in conversation with the mother about what he is experiencing. There is enough here artistically to unpack for more than a day or two, whether in an art class, a lit class, or an AP psych class. The poem could spark a mini unit exploring what may be happening to this young man. Teachers can help build that knowledge by asking questions along these lines:\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>What effect does the repetition in Diaz’s poem have on the story? Does it build a haunting tension, or does it drag out the suspense?\u003C/li>\r\n\t\u003Cli>Do readers need to know what this devil looks like?\u003C/li>\r\n\t\u003Cli>Draw this moment of the mother and the son speaking on this porch. What is present in your sketch?\u003C/li>\r\n\t\u003Cli>Talk to your elders, such as your grandparents: do they have stories involving encounters with the supernatural?\u003C/li>\r\n\t\u003Cli>Consider your local community: do urban legends or stories of the supernatural exist here?\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>If you are teaching literary terms and techniques, you can explore the delicate braiding of the lines here in the form of a pantoum (a poem in which the second and fourth lines of each quatrain are repeated in the following quatrain as the first and the third lines). Sometimes teachers reach for older, more classic poems as examples of poetic forms, such as the sonnet, villanelle, and sestina, but these lessons are opportunities to showcase how these forms are alive and well in contemporary Latinx poetry. You could use \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/148198/682\">M\u003C/a>\u003Ca href=\"https://www.poetryfoundation.org/poems/148198/682\">ó\u003C/a>\u003Ca href=\"https://www.poetryfoundation.org/poems/148198/682\">nica De La Torre’s “$6.82”\u003C/a>\u003C/u>, \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/147880/zapotec-crossers-or-haiku-i-write-post-ptsd-nightmares\">Alan Pelaez Lopez’s “Zapotec Crossers (or Haiku I Write Post-PTSD Nightmares)\u003C/a>\u003C/u>,” \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/147235/sonnet-for-1950\">“Sonnet for 1950” by Jack Agüeros\u003C/a>\u003C/u>, or \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/53867/a-ride-in-the-rain\">Blas Falconer’s “A Ride in the Rain”\u003C/a>,\u003C/u> to name just a few. You can initiate a conversation about the way the poems’ forms and narratives inform each other. Students need to know that Latinx poets play with form in a multitude of ways—engaging oral histories and theology, the supernatural, history and the literary tradition—just as non-Latinx poets sometimes do.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Make Meaningful Connections\u003C/strong>\u003Cbr>\r\nNo matter what grade level and/or subject you teach, you can find poems that complement what you’re exploring in the classroom. Many poems actively engage with history, politics, philosophy, anthropology, theology, and other subjects. Don’t be afraid to begin or end a lesson with a poem; it might be a new way to help that lesson resonate with your students.\u003C/p>\r\n\r\n\u003Cp>One of the easiest tools a teacher can use is right here on the Poetry Foundation website. The search bar at the top offers easy access to the website’s vast collection of poems, articles, biographies, and audio recordings. You can research and read the poets and poems you think will best fit your classroom needs. You can also use the \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/browse#page=1&sort_by=recently_added\">Explore Poems page\u003C/a>\u003C/u>, where you can browse poems by topic, form, poetic school or period, or a poet’s region. Be sure to research outside of the site as well. Just because a writer has a Spanish-sounding name does not necessarily mean he or she is Latinx. Similarly, don’t be surprised to find bilingual work from those with very English-sounding names.\u003Cbr>\r\n\u003Cbr>\r\nIn addition, look for connections between the subject you teach and other school subjects. See if you can build connections with fellow teachers—perhaps those who teach history, art, political science, speech, or debate—to make the content stick. Some possible sources include the politically relevant work of Ruben Quesada’s “\u003Ca href=\"https://www.poetryfoundation.org/poems/147050/last-photograph-of-my-parents\">Last Photograph of My Parents\u003C/a>” and Raina J. León’s “\u003Ca href=\"https://www.poetryfoundation.org/poems/147343/addict\">Addict\u003C/a>,” the familial thought in Roy G. Guzmán’s “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/143915/those-seventy-two-bodies-belong-to-us\">Those Seventy-Two Bodies Belong to Us\u003C/a>,” and the cross-cultural voice and performance poetry of John Murillo’s “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/58805/upon-reading-that-eric-dolphy-transcribed-even-the-calls-of-certain-species-of-birds\">Upon Reading That Eric Dolphy Transcribed Even the Calls of Certain Species of Birds\u003C/a>.” These are just a few possibilities. Let’s also look at some other works in action.\u003C/p>\r\n\r\n\u003Cp>Let’s say you are a teacher giving a music lesson or the instructor in a dance class. You might draw on \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poets/elizabeth-acevedo-5aa950f8df1c6\">Elizabeth Acevedo\u003C/a>\u003C/u>’s “\u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146255/hearing-that-joe-arroyo-song-at-ibiza-nightclub-2008\">Hearing That Joe Arroyo Song at Ibiza Nightclub, 2008\u003C/a>\u003C/u>.” You can enhance the lessons you teach in percussion, salsa dancing technique, or the history of salsa music by beginning or ending with this kind of short narrative. Here are a few lines from the poem:\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>A boy I did not marry taught me to dance salsa on 2 placed\u003Cbr>\r\nthe fingers of his left hand on my untutored spine; you know\u003Cbr>\r\n what\u003Cbr>\r\nit’s like to become someone’s clave\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp> when I \u003Cem>1, 2, 3 5, 6, 7\u003C/em> in front of my mirror\u003Cbr>\r\nI was always la negra defended in the lyric and you can \u003Cbr>\r\n forgive\u003Cbr>\r\nsearching hands when a mouth swells the biggest ache of your body\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp> into song\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>Here the speaker is an Afro-Latinx woman articulating the entrancing effect of being involved with another dancer. This short poem paints a deeply sensual scene and sentiment. A teacher in a music class could draw connections between Joe Arroyo songs and the poem, asking students to examine the tempo and rhythm in his music and answer questions such as “which Joe Arroyo song were those dancers dancing to?,” “what are some of the instruments that make up a salsa band?,” or “can a salsa song make a person feel an emotion? If so, what are some examples?”\u003C/p>\r\n\r\n\u003Cp>The dance teacher can simply cement the idea that the “1,2,3” and the “5,6,7,” which are the basic steps in salsa dancing, have a home in poetry. The music history teacher can have students research the image of \u003Cem>la negra\u003C/em>—the figure of black womanhood that lives in many songs, even those songs outside the salsa music genre.\u003C/p>\r\n\r\n\u003Cp>Students make connections between poems and the rest of their curriculum based on the contexts their teachers build. If school is a rock wall that students must learn to climb, then poems can be the climbing holds they grab onto. Imagine the red ones being all the Latinx poems you could use.\u003C/p>\r\n\r\n\u003Cp>Sometimes we as teachers forget that when students explore the connections (direct or indirect) created in poems, they not only learn about a subject but also engage with literary pieces of art. Many students approach poetry the way they do topics in science and math classes: they think only about the one skill or topic in the one class, believe it’s something they can forget after an exam or a paper, and fail to see how what they have learned connects to other subjects and to their lives. It’s up to teachers to build that framework for meaningful connections and help students see that poetry is in everything. This is true of all kinds of poetry, but Latinx poetry regularly engages the language choices, the cultural references, and the complex histories that inform students’ daily lives and the larger political landscape. Here are some ways to find more poems:\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Explore the \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/poems/browse#page=1&sort_by=recently_added\">Poetry Foundation’s archive\u003C/a>\u003C/u> of more than 40,000 poems.\u003C/li>\r\n\t\u003Cli>Sign up for a \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/newsletter\">Poem of the Day email\u003C/a> newsletter\u003C/u>.\u003C/li>\r\n\t\u003Cli>Subscribe to literary podcasts (\u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/podcasts?show=Poetry%20Off%20the%20Shelf\">Poetry Off the Shelf\u003C/a>\u003C/u>, \u003Cu>\u003Ca href=\"https://www.poetryfoundation.org/podcasts/series/142241/vs-podcast\">V\u003C/a>\u003Ca href=\"https://www.poetryfoundation.org/podcasts/series/142241/vs-podcast\">S\u003C/a>\u003C/u>, Poetry Gods, Ink Well, etc.).\u003C/li>\r\n\t\u003Cli>Take a look at \u003Ca href=\"https://www.latinobookreview.com/\">Latino Book Review\u003C/a>, Alejandra Oliva's \u003Ca href=\"http://remezcla.com/author/alejandra-oliva/\">\u003Cem>Remezcla\u003C/em> articles\u003C/a>, and \u003Ca href=\"https://www.huffingtonpost.com/entry/spoken-word-poets-who-speak-to-diverse-latino-experiences_us_560ee95ee4b0768127020f40\">these examples of spoken word artists\u003C/a>.\u003C/li>\r\n\t\u003Cli>Ask your school or community librarian to direct you to collections of Latinx poetry. If school or community libraries don’t have what you need, offer book suggestions to the librarians.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>\u003Cstrong>Give Kids Access to Books\u003C/strong>\u003Cbr>\r\nOnce you and your students make meaningful connections with poetry, you can help them become poetry lovers through their own discoveries of works that speak to them. For students who are totally hooked, it’s a good idea to have a range of other poetry books available to explore–let their curiosity lead the way. Build your own classroom library by checking out books from your school library. Even better, bring in some books from your personal collection. You can have students borrow a book, take a snapshot of the cover for later investigation (think cellphones), or let them look at a book while in class. After all, Latinx poetry isn’t always easy to find in bookstores. Ask your students for feedback about the book(s), ask them what they experienced in the reading—this builds even deeper connections, showing students that you are invested in their lives as readers and lovers of poetry. You are showing them how to love poetry too, a gift they won’t soon forget. The connections students map for themselves are long lasting and wholly relevant to the ever-changing world they navigate. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>\u003Cem>Y Colorín, Colorado—Este Cuento se Acabado\u003C/em>—and They Lived Happily Ever After\u003C/strong>\u003Cbr>\r\nAs I write this article in my home on the southwest side of Houston, change is on the horizon: Latinx people are projected to represent the largest population group in Texas by 2022. Change is already present: in public schools in Texas are currently 51 percent Latinx. To engage these diverse classrooms, it’s not enough to teach the classics—teachers must revamp the lists of the authors we teach. We should make sure that we fully integrate Latinx poets, past and present, into our curricula. I offer these suggestions as possibilities of how to begin. There is still so much more teachers can do. Once we begin this work, we can find ways to connect Latinx and Latin American poets. We can use poems to talk about code-switching. We can explore poems written in indigenous languages and in Spanish. We can approach bilingual students in an inclusive manner—they can try to translate poems and then write, discuss, and speak to their choices. \u003C/p>\r\n\r\n\u003Cp>The best way to help students engage with these writings is to continue to be students ourselves: we need to learn more about Latinx culture and new and different Latinx poetry and continue to explore Latinx counter narratives. In serving students who will need to navigate a rapidly changing world, we also serve ourselves.\u003C/p>","\u003Cp>Adding Latinx Poetry to Your Curriculum\u003C/p>","Using poems to discuss more than poetry in the classroom.",[],[3535],{"__typename":25,"id":3536,"uid":3537,"title":3538,"alt":3539,"url":3540,"height":603,"width":604,"filename":3541,"caption":7,"copyright":3542,"focalPoint":3543},"359981","7fc6e619-d04b-4a58-aa5b-e69e91a865a3","America Map.jpg","Image map of the Americas","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/adb337294503ebbd0929667e634fe6e805c36de2.jpeg","adb337294503ebbd0929667e634fe6e805c36de2.jpeg","“Colorful map of America” by marina_ua, courtesy of Shutterstock.",[33,33],[3545],{"__typename":573,"status":574,"title":1898,"firstName":3546,"middleName":7,"lastName":3547,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3548,"galeBio":7,"poetryBio":3549,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":3550,"image":3551,"authorRegions":3563,"categories":3564,"themes":3565,"parentCategories":3566,"childCategories":3567,"id":1896,"uid":1897,"slug":1899,"uri":1900,"url":1901,"sectionHandle":592,"postDate":1902,"dateUpdated":1903,"level":7},"Lupe","Mendez","\u003Cp>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">Originally from Galveston, Texas, Lupe Mendez (writer/educator/activist) is the author of \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Why I Am Like Tequila\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\"> (Willow Books, 2019), winner of the 2019 John A. Robertson Award for Best First Book of Poetry from the Texas Institute of Letters. Mendez is one of the founders of the Librotraficante Movement and of Tintero Projects, a Texas-based organization that works with emerging Latinx writers and other writers of color within the Gulf Coast Region, with Houston as its hub.\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/p>\n\n\u003Cp>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">Mendez earned his MFA in poetry from the University of Texas at El Paso. His work has appeared in the \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Kenyon Review\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">, \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Gulf Coast Journal\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">, the \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Texas Review\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">, the \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Los Angeles Review of Books\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">, \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Split This Rock\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">, \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Poetry\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\"> magazine, and \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cem>\u003Cspan style=\"text-decoration:none;\">Poem-a-Day\u003C/span>\u003C/em>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\"> from the Academy of American Poets, among others. He has received fellowships from CantoMundo, Macondo, and the Crescendo Literary/Poetry Foundation poetry incubator. \u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/p>\n\n\u003Cp>\u003Cspan style=\"white-space:pre-wrap;\">\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan>\u003Cspan style=\"text-decoration:none;\">Mendez is the 2022–2023 Texas poet laureate. He lives in Houston, where he has worked as an educator for the last 22 years.\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/span>\u003C/p>","\u003Cp>Lupe Mendez is the author of \u003Cem>Why I Am Like Tequila\u003C/em> (Willow Books, 2019).\u003C/p>","http://thepoetmendez.org",[3552],{"__typename":25,"id":3553,"uid":3554,"title":3555,"alt":3556,"url":3557,"height":603,"width":604,"filename":3558,"caption":7,"copyright":3559,"focalPoint":3560},"526718","b5e40424-8f83-4c24-a7b0-8d0359f0b762","IMG_0103.JPG","Image of Lupe Mendez","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/b606c527262e6e727d8d323a970cea2be5920fbc.jpeg","b606c527262e6e727d8d323a970cea2be5920fbc.jpeg","Photo courtesy of the poet",[3561,3562],0.5676,0.4297,[],[2925,2938,2988],[],[2961],[2999],[3569],{"__typename":3002,"id":3570,"title":3571,"formattedTitle":3571},"67","Article for Teachers",{"__typename":615,"id":3573,"affiliation":7,"externalLinkUrl":3574,"description":7,"title":7,"uri":7,"contentItem":3575},"1291024",[],[3576],{"__typename":2900,"id":3577,"uid":3578,"title":3579,"slug":3580,"uri":3581,"url":3582,"sectionHandle":2907,"postDate":3583,"dateUpdated":3584,"level":7,"excerpt":3585,"body":3586,"formattedTitle":3587,"subtitle":3588,"essayYear":7,"magazineEntries":3589,"image":3590,"authors":3602,"articleType":3658},"28621","d24a8714-02a5-43ef-a8ff-d59361b64901","Praise Songs","praise-songs","articles/147822/praise-songs","https://www.poetryfoundation.org/articles/147822/praise-songs","2018-09-10T00:00:00-05:00","2024-06-11T10:00:41-05:00","\u003Cp>I first met Britteney Black Rose Kapri when we were teenagers at the Louder Than A Bomb Poetry Festival in 2006. I was from suburban Calumet City, Illinois, and Britteney was from the Uptown neighborhood in Chicago. We might as...\u003C/p>","\u003Cp>I first met \u003Ca href=\"https://www.poetryfoundation.org/poets/britteney-black-rose-kapri\">Britteney Black Rose Kapri\u003C/a> when we were teenagers at the Louder Than A Bomb Poetry Festival in 2006. I was from suburban Calumet City, Illinois, and Britteney was from the Uptown neighborhood in Chicago. We might as well have been from neighboring planets. I can confidently say that if it wasn’t for Louder Than A Bomb, Britteney and I never would have met. In the years since that first meeting, we’ve become close friends. We’ve survived horrible first-year college experiences, we’ve lived together, we’ve worked together, and this month, we each released our debut poetry collections. Britteney’s book is titled \u003Cem>Black Queer Hoe\u003C/em>, and mine is titled \u003Cem>Citizen Illegal. \u003C/em>\u003C/p>\r\n\r\n\u003Cp>We spoke to each other via Slack while sitting in our respective offices at Young Chicago Authors. The following interview was edited and condensed. — \u003Cem>Jos\u003C/em>\u003Cem>é\u003C/em>\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>\u003Ca href=\"https://www.poetryfoundation.org/poets/jose-olivarez\">José Olivarez\u003C/a>\u003C/strong>: Bee, your new book is called \u003Cem>Black Queer Hoe\u003C/em>, and it’s fantastic. I saw that someone online posted a photo of your book with a new vibrator. How do you feel as you’re getting ready to make the book public?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Britteney Black Rose Kapri: \u003C/strong>My place in the poetry world is strange. I’ve won an award, I’ve done some slams, and I’ve been published, but I’m not consistent. Most people who are “fans” of mine are fans of my social media presence, or one of their friends told them I wasn’t a fuckboy. I’m worried that releasing \u003Cem>Black Queer Hoe\u003C/em> will affirm my imposter syndrome—that I was the wrong one to give the Rona Jaffe Award to, or that people will regret that I’m teaching their kids [as the Teaching Artist Fellow at Young Chicago Authors]. Mostly, I’m scared about how my body of work will live in folks’ mouths without me around to explain. But I’m excited about going on this book tour and meeting all the people I’ve fallen in love with around the nation through Twitter and Facebook.\u003C/p>\r\n\r\n\u003Cp>In \u003Cem>Citizen Illegal\u003C/em>, you talk a lot about your family and your partner. Did you have conversations with them prior to the book? Or are you just going to hit them with the \u003Cem>surprise motherfucka\u003C/em>!?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>There’s only one poem dedicated to my partner, contrary to my reputation as a cake ass person. I let my brother Pedro read the first draft, and he gave me a bunch of notes that made it into the book. I was worried that maybe I misremembered something, or that I misrepresented something about my family. I wouldn’t purposely misrepresent them, but memory is tricky. For the longest time, I thought that I got my middle name, Guadalupe, because the doctors told my mom there was a chance I was going to be born dead, and my mom prayed to la Virgen de Guadalupe on my behalf, and that’s how I got my name. I asked my mom a few years ago and she told me the doctors said \u003Cem>deaf.\u003C/em> I was almost born deaf, not dead.\u003C/p>\r\n\r\n\u003Cp>What is \u003Cem>Black Queer Hoe \u003C/em>about?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>\u003Cem>Black Queer Hoe\u003C/em> is a collection of poems about my identity and about intersectionality. Often I find myself at odds with Black men or white women because both are always asking me to sacrifice a part of myself for their liberation. And no one ever wants to include queer folk. And I realized I am the only one fighting for the whole of me, and \u003Cem>Black Queer Hoe \u003C/em>is a praise song for the whole of me. I’m most excited for young Black girls to see themselves in these poems and to see I love them in these poems.\u003C/p>\r\n\r\n\u003Cp>What would you say \u003Cem>Citizen Illegal\u003C/em> is a praise song to?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>I don’t know what \u003Cem>Citizen Illegal\u003C/em> is a praise song to. There are praise songs for the phrase “hecky naw,” and praise songs for Scottie Pippen, and praise songs for the work my parents do, praise songs for bad immigrant children, and praise songs for the ultimate Mexican home remedy: VapoRub. I’m drawn to the parts of life and culture that some people might call unremarkable. I’m talking about working-class culture, and I’m talking about the everyday. I knew from an early age that I was supposed to be ashamed of being poor and Mexican. Mostly, I think of \u003Cem>Citizen Illegal\u003C/em> as being against shame and about reveling in all of life. The shitty parts. The grief. The joy. The laughter.\u003C/p>\r\n\r\n\u003Cp>I’m excited to add to the writing by Latinx Midwesterners. Shout out \u003Ca href=\"https://www.poetryfoundation.org/poets/jacob-saenz\">Jacob Saenz\u003C/a>. Shout out \u003Ca href=\"https://www.poetryfoundation.org/poets/sandra-cisneros\">Sandra Cisneros\u003C/a>. Shout out \u003Ca href=\"https://www.poetryfoundation.org/poets/erika-l-sanchez\">Erika L. Sánchez\u003C/a>. Shout out Julian Randall. Shout out \u003Ca href=\"https://www.poetryfoundation.org/poets/mayda-del-valle\">Mayda Del Valle\u003C/a>. There are so many Latinx people in the Midwest, and yet so much of the conversation about Latinx people prioritizes the coastal experience.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>“I’m drawn to the parts of life and culture that some people might call unremarkable” makes me so happy. I have this mantra I say to myself: \u003Cem>I found God in all the small things\u003C/em>. When I’m having a particularly bad day, I make a list of the mundane or little or unremarkable things that recently brought me joy, even if only briefly.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>That’s exactly it. I found God in the small things. I want to know about the style of your book. There are so many punch lines in it, and such a clear voice. Your poems are simple in the best way, but it’s hard work to make poems look so effortless. How did you craft this book?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>A lot of the poems are running jokes I have on my social media. “incomplete list” is one of the more well-known ones. I typically write everything in block or prose form at first. And then once the writing is down, I have to yell at myself to actually move it around on the page. I think my poems are usually very conversational, or close to storytelling, so prose always seems best. But it’s not always best. A lot of the poems in the books are broken forms. A broken \u003Ca href=\"https://www.poetryfoundation.org/learn/glossary-terms/sonnet\">sonnet\u003C/a> or a broken \u003Ca href=\"https://www.poetryfoundation.org/learn/glossary-terms/ghazal\">ghazal\u003C/a>. I like breaking things.\u003C/p>\r\n\r\n\u003Cp>I didn’t have a vision of how I wanted the poems to look. My only concern is: How do my poems live when my voice isn’t there to accompany them? I write as I talk (I think a lot more people should try that—no shade, just tea), so I needed my voice to break through past the form and make sure the audience gets the full of me when reading.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>I love the broken ghazals and sonnets. I read “before they can use it against you” a few times before I realized it was a ghazal. It’s so good. As we move forward with our books, it’s inevitable that people will want to know what we think of today’s political climate and whether these poems are a response. For me, a major breakthrough in writing my book was realizing that I didn’t have to—and didn’t \u003Cem>want\u003C/em> to—write poems in response to every violence and microaggression I experience. Like, my life is not a response to the white supremacist capitalist patriarchy. I don’t sit there and wait for white people to act, so I know how to act in response. I don’t live my life in response.\u003C/p>\r\n\r\n\u003Cp>Do you think about your book as a response to MAGA and Brexit and all that?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>Hell naw. Fuck them.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>That’s what I was trying to say, but you said it way better.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>People want to act like bigotry started with Trump. Whites been whiting since the beginning of whites. I’ve been \u003Cem>telling\u003C/em> these stories. Been \u003Cem>needing\u003C/em> these stories. Been \u003Cem>living\u003C/em> these stories long before this current news cycle.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>That’s perfect.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>I feel like I should let folks know that you and I turned in our manuscripts about four months after signing our book contracts instead of the usual year that normal people who love themselves take. I thought it would be OK since I had already been working on the book. False as fuck! I overextended the shit out of myself. I was so scared of being a ghost in the lives of people I cared for that I agreed to everything and really sacrificed my health in this process. I would wake up in the middle of the night in panic and work on the book because I planned too much for my waking hours. I tried so hard to be an attentive mentor and supportive friend and available partner and reliable coworker all at once that I became none of it. Halfway through I had to be honest and take a step back and focus on me and my needs.\u003C/p>\r\n\r\n\u003Cp>I know that you’re in bed by 10:30 p.m. every night if you can. Having a routine is necessary for you to feel grounded and present in your many overlapping lives. Did writing this book take you out of that practice or strengthen it?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>Writing this book made me dig into my routines even further. Let me first say that your process was a lot like mine. When I signed my contract with Haymarket, I had like 60 percent of the book finished and ready to go, and I knew what the book was going to be. I could see the shape of it. But a month later, I had made no progress on the book. I was failing at my job at YCA. I was probably failing as a friend and as a partner. (My therapist would tell me to clarify that I \u003Cem>felt\u003C/em> like I was failing but was probably doing better than I give myself credit for.) The best thing that happened to me was vacation. I took a one-week trip with my partner, Erika, to Paris in early October. I ate croissants and hella cheese, and I relaxed. I didn’t write shit. When I came back from that trip, I was jet-lagged and waking up at 4:30 a.m. Instead of trying to reset my body, I stole the hours between 4:30 a.m. and 9 a.m. for myself. In those four and a half hours, I wrote and went to the gym. I was in bed by 9 p.m. I don’t know if that’s healthy, but that’s the way I was able to finish my book while working two jobs, working out, being a present partner, a good friend, and a passable son/sibling.\u003C/p>\r\n\r\n\u003Cp>One of the things that fascinates me about you is that you don’t love poetry. Like, I offer to read you my favorite \u003Ca href=\"https://www.poetryfoundation.org/poets/vievee-francis\">Vievee Francis\u003C/a> poem in a bar and you threaten to punch me in the throat. Why do you keep writing poetry and what brings you to this art form?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>I don’t hate poems, just poets. And I like throat punching people.\u003C/p>\r\n\r\n\u003Cp>Honestly, the rate at which you consume poetry gives me anxiety. I used to think I was a lesser artist than you for not eating, sleeping, and shitting poems, but then I realized we don’t have to be the same. Good poems, \u003Cem>really\u003C/em> good poems, consume me emotionally in the best way, and I love that. And reading is a personal and sacred experience for me. My whole life reading has always been an escape. When our lights went out I still read, when people picked on me I read, when I wanted to hurt myself I read. So now when I find a collection of poems I love, I’m usually curled up in my bed or on my toilet or someplace that feels safe for me. When I am at a slam or a reading and something captures me, everyone in the room disappears and it’s just me and that poet on stage. So whenever we’re in the office or in public or a place where I feel like I have to have my guard up, where I can’t offer up the full spectrum of my emotions and you offer to read me a poem, it’s not for me, it’s for you.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>I think it’s true that when I offer to read you a poem in public, it’s for me. Damn. I feel exposed. For the record, I’ve never thought of you as the lesser artist for not reading the way I do. I wish I could read a lot more, honestly. I haven’t read enough by poets who were writing before I was born, and I feel insecure about my inability to quote \u003Ca href=\"https://www.poetryfoundation.org/poets/adrienne-rich\">Adrienne Rich\u003C/a> (here, my therapist would offer some consolation about imposter syndrome or something).\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>I just think we show love differently. Speaking of love, you are one of the softest (and I say that as a compliment) folks I know. You love \u003Cem>love\u003C/em>—the idea of love, rom-coms, love poems, weddings, all that jazz. What are the ways in which you love yourself when your poems may not be doing that for you? Or how do you love yourself when you’re writing that poem that you know you have to write but you’re not ready to write?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>This is a great question. Sometimes, the best way I can love myself is by stepping away from poetry. I used to feel more guilty about not reading or writing enough. Back when we used to live together, I tried to write every day, and I often failed, and I felt terrible about that. That didn’t seem to help my writing or my living. When I’m writing the poem that I need to write, but I’m not ready to write, I stop. I put it away. I go ride my bike. I play video games. I watch \u003Cem>The Flash\u003C/em>. I go read. Eventually, I’ll be able to write the poem (or maybe not), but I’m not willing to traumatize myself or potentially traumatize my readers for the sake of writing the hard poem.\u003C/p>\r\n\r\n\u003Cp>You and I both work with a lot of ambitious and genius young people who are willing to write whatever poems they need to write in order to achieve a particular type of fame, or prestige, or recognition—I don’t know what the word is. I think about them a lot because that type of pressure can be an unfair burden. What advice do you give to young people who are 17 or 18 years old and already know that they want to write poems and teach for the rest of their lives?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>To breathe. And then breathe some more. There is literally no one path to success in this field or another. If someone doesn’t open the door for you, then you kick that shit down. But your focus shouldn’t be on the person, it should be on the door. Or the window you got to bust to get in. Focus on what you can do, not what others aren’t doing \u003Cem>for\u003C/em> you.\u003C/p>\r\n\r\n\u003Cp>How do you deal with imposter syndrome?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>I go to therapy. I don’t know. That’s something that will probably never go away. I could write 20 books and I’ll be looking at book 21 like, what if I’ve run out of words? What if I’m no good at this and everyone is just being nice? Sometimes I win and sometimes I lose. I’ve gotten better at not letting the losses get me down as much.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>BK: \u003C/strong>I’d like to know what you’re most excited about in regards to your book and your upcoming tour?\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>JO: \u003C/strong>I’m excited to talk to readers and to hear what they think. I’m excited to meet young writers and to see what they write. I’ve already heard a couple of writers say that they’ve used “Mexican Heaven” in workshops. That’s dope. I’m excited to read a lot more now that I’m finished writing this particular project, and I’m excited about whatever the next book is.\u003C/p>","\u003Cp>Praise Songs\u003C/p>","Two Chicago poets talk about their debuts.",[],[3591],{"__typename":25,"id":3592,"uid":3593,"title":3594,"alt":3595,"url":3596,"height":603,"width":604,"filename":3597,"caption":3598,"copyright":3598,"focalPoint":3599},"359896","9eab7c25-4ca7-490b-9787-bd973101578d","Kapri-Olivarez.jpg","Image of Britteney Black Rose Kapri and José Olivarez.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/80bfcce7bb52631ae4da0eab2ee6f9926cc3cb5b.jpeg","80bfcce7bb52631ae4da0eab2ee6f9926cc3cb5b.jpeg","Courtesy of Britteney Black Rose Kapri and José Olivarez.",[3600,3601],0.6846,0.6086,[3603,3634],{"__typename":573,"status":574,"title":3604,"firstName":3605,"middleName":3606,"lastName":3607,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3608,"galeBio":7,"poetryBio":3609,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3610,"authorRegions":3622,"categories":3623,"themes":3624,"parentCategories":3625,"childCategories":3626,"id":3627,"uid":3628,"slug":3629,"uri":3630,"url":3631,"sectionHandle":592,"postDate":3632,"dateUpdated":3633,"level":7},"Britteney Black Rose Kapri","Britteney","Black Rose","Kapri","\u003Cp>Britteney Black Rose Kapri is a teaching artist, writer, performance poet, and playwright. She is the author of \u003Cem>Black Queer Hoe\u003C/em> (Haymarket Books, 2018). Her writing has been published in \u003Cem>Poetry\u003C/em> magazine, \u003Cem>Vinyl\u003C/em>, \u003Cem>Day One\u003C/em>, \u003Cem>Seven\u003C/em> \u003Cem>Scribes\u003C/em>, and \u003Cem>Kinfolks Quarterly\u003C/em>. She is an alumna turned teaching artist fellow at Young Chicago Authors. Kapri is also a staff member and writer for Black Nerd Problems, and a former Rona Jaffe Writers Award recipient. She lives in Chicago.\u003C/p>","\u003Cp>Britteney Black Rose Kapri’s first chapbook is \u003Cem>Winona and Winthrop\u003C/em> (New School Poetics, 2014).\u003C/p>",[3611],{"__typename":25,"id":3612,"uid":3613,"title":3614,"alt":3615,"url":3616,"height":2980,"width":2981,"filename":3617,"caption":7,"copyright":3618,"focalPoint":3619},"525131","8445a088-a6c6-4579-850a-3443c238e506","Kapri_Britteney_Black_Rose(c-Laurie-and-Charles-Kay-Photography).jpg","Image of Britteney Black Rose Kapri","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/d98225b5a2fcd181f8d45b367c5be9ce2937dc56.jpeg","d98225b5a2fcd181f8d45b367c5be9ce2937dc56.jpeg","Laurie and Charles Kay Photography",[3620,3621],0.4866,0.3025,[],[],[],[],[],"38269","6dc52e5d-e07d-4ff1-8b47-d68e00d0ea32","britteney-black-rose-kapri","poets/britteney-black-rose-kapri","https://www.poetryfoundation.org/poets/britteney-black-rose-kapri","2015-03-06T00:00:00-06:00","2024-06-11T12:15:36-05:00",{"__typename":573,"status":574,"title":2072,"firstName":3635,"middleName":7,"lastName":3636,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3637,"galeBio":7,"poetryBio":3638,"polBio":3639,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":3640,"image":3641,"authorRegions":3653,"categories":3654,"themes":3655,"parentCategories":3656,"childCategories":3657,"id":2070,"uid":2071,"slug":2073,"uri":2074,"url":2075,"sectionHandle":592,"postDate":2076,"dateUpdated":2077,"level":7},"José","Olivarez","\u003Cp>José Olivarez is the son of Mexican immigrants, the author of \u003Cem>Citizen Illegal\u003C/em> (2018), the co-author of \u003Cem>Home Court \u003C/em>(2014), and the co-host of the poetry podcast \u003Cem>The Poetry Gods\u003C/em>. His work has been published in the \u003Cem>BreakBeat Poets\u003C/em>, the \u003Cem>Adroit Journal\u003C/em>, the \u003Cem>Rumpus\u003C/em>, and \u003Cem>Hyperallergic\u003C/em>, among other places. He earned a BA from Harvard University, and he is the recipient of fellowships from CantoMundo, Poets House, the Bronx Council on the Arts, the Poetry Foundation, and the Conversation Literary Festival. In 2019 he was awarded a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation. His work has been featured in the \u003Cem>New York Times\u003C/em>, the \u003Cem>Paris Review\u003C/em>, and elsewhere. In 2018, Olivarez was awarded the first annual Author and Artist in Justice Award from the Phillips Brooks House Association and named a Debut Poet of 2018 by \u003Cem>Poets & Writers.\u003C/em> He is a coeditor of \u003Cem>BreakBeat Poets 4: LatiNEXT \u003C/em>(Haymarket Books, forthcoming 2020). Olivarez lives in New York.\u003C/p>","\u003Cp>José Olivarez is the son of Mexican immigrants. \u003Cem>Citizen Illegal\u003C/em> (Haymarket Books, 2018) was a finalist for the PEN/Jean Stein Award and a winner of the Chicago Review of Books Poetry Prize. He is an editor of The \u003Cem>BreakBeat Poets Vol. 4: LatiNEXT\u003C/em> (Haymarket Books, 2020).\u003C/p>","\u003Cp>José Olivarez is the son of Mexican immigrants, the author of \u003Cem>Citizen Illegal\u003C/em> (2018), the co-author of \u003Cem>Home Court \u003C/em>(2014), and the co-host of the poetry podcast \u003Cem>The Poetry Gods\u003C/em>. In 2018, Olivarez was awarded the first annual Author and Artist in Justice Award from the Phillips Brooks House Association and named a Debut Poet of 2018 by \u003Cem>Poets & Writers.\u003C/em> He is a coeditor of \u003Cem>BreakBeat Poets 4: LatiNEXT \u003C/em>(Haymarket Books). Olivarez lives in New York.\u003C/p>","https://joseolivarez.com",[3642],{"__typename":25,"id":3643,"uid":3644,"title":3645,"alt":3646,"url":3647,"height":603,"width":604,"filename":3648,"caption":7,"copyright":3649,"focalPoint":3650},"526547","e5c3be41-2f93-455f-9133-c4a17e2a7e49","Olivarez_José(cMarcos Vasquez)-edit.jpg","Image of José Olivarez","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/f1253936bcb8953767e798c493be82be8d6d77e6.jpeg","f1253936bcb8953767e798c493be82be8d6d77e6.jpeg","Photo by Marcos Vasquez.",[3651,3652],0.4944,0.2242,[],[],[],[],[],[3105],{"__typename":615,"id":3660,"affiliation":7,"externalLinkUrl":3661,"description":7,"title":7,"uri":7,"contentItem":3662},"1291025",[],[3663],{"__typename":2900,"id":3664,"uid":3665,"title":3666,"slug":3667,"uri":3668,"url":3669,"sectionHandle":2907,"postDate":3670,"dateUpdated":3671,"level":7,"excerpt":3672,"body":3673,"formattedTitle":3674,"subtitle":3675,"essayYear":7,"magazineEntries":3676,"image":3679,"authors":3680,"articleType":3718},"26697","1949b43b-77fc-4e28-80bc-0b844d743617","Introduction","introduction-56d24a0bbeeed","poetrymagazine/articles/70272/introduction-56d24a0bbeeed","https://www.poetryfoundation.org/poetrymagazine/articles/70272/introduction-56d24a0bbeeed","2015-11-02T00:00:00-06:00","2024-06-11T09:51:54-05:00","\u003Cp>A member of the New York School—part of a second-generation group around Frank O’Hara and Kenneth Koch — Frank Lima (1939–2013) is a major Latino American poet. Yet Lima rejected both labels in relation to his poetry, and this is one reason...\u003C/p>","\u003Cp>A member of the \u003Ca href=\"/learning/glossary-term/new%20york%20school\">New York School\u003C/a>—part of a second-generation group around \u003Ca href=\"/bio/frank-ohara\">Frank O’Hara\u003C/a> and \u003Ca href=\"/bio/kenneth-koch\">Kenneth Koch\u003C/a> — \u003Ca href=\"/bio/frank-lima\">Frank Lima\u003C/a> (1939–2013) is a major Latino American poet. Yet Lima rejected both labels in relation to his poetry, and this is one reason why his work remains little known. Even the recent retrospective \u003Cem>New York School Painters & Poets: Neon in Daylight\u003C/em> by \u003Ca href=\"/bio/jenni-quilter\">Jenni Quilter\u003C/a> barely mentions him, though his presence is unavoidable: there he is in Alex Katz’s painting \u003Cem>The Cocktail Party \u003C/em>(1965); there again in William T. Wood’s photograph from the New York City Writers Conference, behind O’Hara and \u003Ca href=\"/bio/bill-berkson\">Bill Berkson\u003C/a>; and yet again on a Living Theatre handbill, alongside \u003Ca href=\"/bio/david-shapiro\">David Shapiro\u003C/a> and \u003Ca href=\"/bio/joseph-ceravolo\">Joseph Ceravolo\u003C/a>. Though not in the book, Wynn Chamberlain’s double portrait of \u003Cem>Poets Dressed and Undressed \u003C/em>(1964) features Lima standing behind the seated trio of O’Hara, \u003Ca href=\"/bio/joe-brainard\">Joe Brainard\u003C/a>, and Joe LeSueur. That same year, Lima published his first volume, \u003Cem>Inventory: Poems\u003C/em>, with Tibor de Nagy and he would also appear in the two New York School anthologies, \u003Cem>The Poets of the New York School \u003C/em>(1969) and \u003Cem>An Anthology of New York Poets\u003C/em> (1970). Though he told Guillermo Parra in an interview that he “d[id] not align [his] lifestyle or work with the second generation New York School,” it would be difficult to assemble more evidence of someone being a New York School poet than we can in the case of Frank Lima.\u003C/p>\r\n\u003Cdiv style=\"border-top: 2px solid #cccccc; margin: 0pt 10px 0pt 0pt; padding: 20px; background: none repeat scroll 0% 0% #d5ecdc; font-family: verdana,Arial,Helvetica,sans-serif; font-size: 11px; float: left; clear: left; width: 180px;\">\u003Cspan style=\"font-weight: bold; font-family: verdana,Arial,Helvetica,sans-serif; font-size: 11px;\">Related Poems:\u003Cbr>From November 2015 \u003Cem>Poetry\u003C/em>\u003C/span> \u003Cbr> \u003Ca href=\"/poetrymagazine/poem/251246\">Epicedium to Potter’s Field\u003C/a>\u003Cbr> \u003Ca href=\"/poetrymagazine/poem/251244\">Incidents of Travel in Poetry\u003C/a> \u003Cbr> \u003Ca href=\"/poetrymagazine/poem/251250\">Byron\u003C/a>\u003Cbr>\u003Ca href=\"/poetrymagazine/poem/251248\">Juarez\u003C/a>\u003Cbr>\u003Ca href=\"/poetrymagazine/poem/251252\">Heckyll & Jeckyll\u003C/a>\u003Cbr>\u003Ca href=\"/poetrymagazine/poem/251254\">Felonies and Arias of the Heart\u003C/a>\u003Cbr>\u003Ca href=\"/poetrymagazine/poem/251256\">Bright Blue Self-Portrait\u003C/a>\u003C/div>\r\n\u003Cp>Though New York School poets tended to be white, highly educated, and middle- to upper-class, Lima was born into poverty in Spanish Harlem on December 27, 1939, the oldest of three sons of a Mexican father, Phillip Lima, and a Puerto Rican mother, Anita Flores Lima. A prodigious alcoholic, Phillip was a hotel cook, and by age eleven Frank was working in kitchens alongside him. His mother, also alcoholic, was more educated and is listed as a registered nurse in the entry on Frank in the reference book \u003Cem>Contemporary Authors\u003C/em>. The marriage was troubled and ended when Lima was twelve; the family threw Phillip out of the apartment after he slashed Anita’s face with a razor. Homeless and unable to keep a job, Phillip would die of alcoholism in Central Park not long after.\u003C/p>\r\n\u003Cp>The young Lima was subjected to multiple forms of sexual abuse. As an altar boy, he was molested by a priest, who he refers to in his autobiographical “Scattered Vignettes” as Father Archangel. In the same poem, he records the inappropriate behavior of his father, who, drunk, would don Anita’s makeup, bra, and nightgown and crawl into his sons’ beds “to roughhouse with us.” But the greatest trauma stemmed from Anita herself, who, after her husband’s death, began having sex with Frank. It would be difficult to overstate how central to Lima’s life and his art this incestuous relationship with his mother is. On the one hand, it sent him into a spiral of self-destruction whose consequences would have lasting effects. On the other hand, this spiral indirectly led him into the world of contemporary poetry, and the experience of his mother’s abuse would form the subject matter of his best-known early poem, “Mom I’m All Screwed Up”:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cblockquote class=\"poem\">With popping antennae ringlets\u003Cbr> you looked like\u003Cbr> a praying mantis\u003Cbr> cold cream & turban\u003Cbr> science fiction gleam\u003Cbr> as real\u003Cbr> as cancer\u003Cbr> spreading\u003Cbr> stuffed-tits-and-rag-guts\u003Cbr> yawning\u003Cbr> brillo-crotch\u003Cbr> that stunk\u003Cbr> all over me\u003Cbr> playing\u003Cbr> Johnny-on-the-pony\u003Cbr> on me\u003Cbr> indoors\u003C/blockquote>\r\n\u003C/blockquote>\r\n\u003Cp>Such a portrayal seems remote from the stereotypical image of New York School poetry, yet it isn’t hard to see why those poets appreciated Lima’s work. As Koch writes in the preface to \u003Cem>Inventory: Poems\u003C/em>, “In [Lima’s] poems there is no moral, and no romantic exaggeration.” Later, in the introduction to \u003Cem>Inventory: New & Selected Poems\u003C/em>, Shapiro would write of Lima’s “amazing lack of self-pity,” and the matter-of-fact dissociation from this depiction of his mother’s aging body and his own intimacy with it distances Lima’s early work from the confessional poetry of the time. Shapiro characterizes Lima’s early poetry in terms of “the snapshot aesthetic of Robert Frank” and, in their depiction of an impoverished urban landscape, Lima’s poems evoke a Beat sensibility; \u003Ca href=\"/bio/allen-ginsberg\">Allen Ginsberg\u003C/a> was an early admirer and Lima counted both Ginsberg and \u003Ca href=\"/bio/gregory-corso\">Gregory Corso\u003C/a> as influences.\u003C/p>\r\n\u003Cp>Yet Lima was critical of the Beat Generation’s exaltation of street life, and his refusal to romanticize his difficult origins seems intimately related to his rejection of ethnic identity in relation to poetry. The assumption of identity politics is that the poet typifies a shared cultural experience to which he or she gives voice. But, as \u003Ca href=\"/bio/urayoan-noel\">Urayoán Noel\u003C/a> writes,\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cp>Lima’s work mostly eschews the social voice of the diaspora poet.... If there is a political aspect to Lima’s work, it has to do with the politics of experience, and with the poet as cataloger of experiences both transcendent and mundane.\u003C/p>\r\n\u003C/blockquote>\r\n\u003Cp>In an interview, Lima told Guillermo Parra that “the sources I draw on for ‘inspiration’ are universal”:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cp>I do not want to be a “Latino” poet.... I do not feel I have to pontificate to any one of my origins and roots.... I do not want to be limited to screaming and bombast for the sake of being heard. That is esthetic colonialism and just too fuck’en [sic] easy to do. Our culture is richer and classier than glorifying El Barrio.... We’re not just “Latinos.” To me, the theater is much bigger than that. It’s history and heritage, and a magnificent language that is almost half Arabic. I know this of my own blood, half Mexican and half Puerto Rican that I am. This is my culture, not one or the other.\u003C/p>\r\n\u003C/blockquote>\r\n\u003Cp>Lima’s disinclination to be labeled a Latino poet is thus nuanced. He deconstructs the category, pointing out he’s from “two Latino cultures,” while he broadens the meaning of “Latino culture” by invoking the Arabic influence on the formation of Spanish, through the Moorish conquest of Spain. One senses too, in the disavowal of “screaming and bombast,” the estrangement Lima felt from the performance-oriented writers of the Nuyorican Poets Café in the seventies; in the interview with Parra, he speaks of the “terribly high” price he paid in his exclusion “from New York P[uerto ]R[ican] anthologies and other events celebrating our culture.” But as Parra suggests, it may be that Lima “was simply way ahead of his time,” given Pedro López Adorno’s contention that Lima is “an important precursor” to “younger Nuyorican poets ... the major framework of [whose] poetic \u2028endeavor centers on the individual and his/her search for a liberating identity articulated from the social, historical, political, and \u2028economic displacements the respective subjects have had to endure.”\u003C/p>\r\n\u003Cp>At age fourteen, Lima dropped out of school and, by 1956, when he was seventeen, his gun arrests and heroin addiction landed him in a juvenile drug rehabilitation program, which he would be in and out of until 1960, when he aged out of it. Though it failed to keep him off heroin, the program proved to be Lima’s salvation in the form of his encounter with the painter Sherman Drexler. Drexler was teaching art at North Brother Island when he first met the young Frank Lima. According to Drexler, Lima “was influenced by \u003Ca href=\"/bio/john-keats\">Keats\u003C/a> and \u003Ca href=\"/bio/percy-bysshe-shelley\">Shelley\u003C/a> and had not yet found his real voice. I lent him books by \u003Ca href=\"/poetrymagazine/browse/76/5#!/20591312\">Tristan Corbière\u003C/a>, \u003Ca href=\"/bio/francois-villon\">François Villon\u003C/a>, and \u003Ca href=\"/bio/william-carlos-williams\">William Carlos Williams\u003C/a>.” That Drexler perceived Lima to already have poetic influences contrasts with Lima’s own recollection, which implies that he only began writing after their encounter. As he told \u003Ca href=\"/bio/bob-holman\">Bob Holman\u003C/a> in \u003Cem>Poets & Writers\u003C/em>:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cp>One day he came in with \u003Cem>Life Studies\u003C/em> / by \u003Ca href=\"/bio/robert-lowell\">Robert Lowell\u003C/a>, when it first came out. / I was amazed — I thought, I’d like to write / like that, and I told Sherman. He said, / Why don’t you write, then? / I was flabbergasted that he’d ask / such a question. I told him quite frankly / I didn’t know anything about writing, / in fact, and I remember telling him this / exactly, I don’t even know the English / language. Sherman looked at me, // I’ll never forget it, and said, “Well, you can talk, / can’t you? Why don’t you write like you talk?”\u003C/p>\r\n\u003C/blockquote>\r\n\u003Cp>Whether or not Lima had written poetry prior to meeting Drexler, their encounter galvanized the young poet; Drexler’s epiphanic advice to “write like you talk” led to Lima’s earliest mature work, which the painter promptly shared with his poet friends, including Lowell himself, as well as Koch and O’Hara. These poets responded with enthusiasm and sent Lima books; among the other poets he recalled reading at this time are Ginsberg, Corso, \u003Ca href=\"/bio/guillaume-apollinaire\">Apollinaire\u003C/a>, and \u003Ca href=\"/bio/charles-baudelaire\">Baudelaire\u003C/a>.\u003C/p>\r\n\u003Cp>Lima met O’Hara and Koch at the New York City Writers Conference at Wagner College, on Staten Island, in August 1962. There he would also meet two of his lifelong friends, Joeseph Ceravolo and then-teenaged David Shapiro. His new friends helped Lima land his first publication, in the \u003Cem>Evergreen Review\u003C/em>, in 1962. Unlike Koch, who imposed a professorial distance, O’Hara offered drinking and companionship, bringing Lima everywhere from the symphony to the Cedar Tavern. O’Hara took an interest in Lima’s personal well-being, allowing him, during a period of relapse and homelessness, to sleep on the couch at the East Ninth Street apartment the older poet shared with Joe LeSueur. O’Hara went as far as organizing an art sale through Tibor de Nagy to raise money for Lima to see a psychotherapist. The two Franks also collaborated on a play, \u003Cem>Love on the Hoof\u003C/em>, intended for an unrealized Andy Warhol film project called “Messy Lives.”\u003C/p>\r\n\u003Cp>Like many, Lima was deeply affected by O’Hara’s 1966 death. Because O’Hara personally constituted a social nexus for so many artists and writers, his death brought a premature end to a major phase of the New York School. Some of Lima’s distance from the scene also resulted from his continuing struggle with heroin. When \u003Ca href=\"/bio/ron-padgett\">Ron Padgett\u003C/a> and Shapiro began preparing the \u003Cem>New York Poets\u003C/em> anthology in 1967, Lima was the only contributor unable to supply an author \u2028photo, because he was in jail. In the following decade, Lima published two books, \u003Cem>Underground with the Oriole \u003C/em>and \u003Cem>Angel: New Poems\u003C/em>, and received an MFA, despite his lack of even a high school diploma, from Columbia University (that he was able to enroll was undoubtedly due to the influence of Koch, who served as Lima’s advisor). But even as he received this academic and professional validation, Lima began to withdraw from the poetry scene because of familial obligations, embarking on a series of high-end executive chef positions in Manhattan. Achieving sobriety for the first time in his adult life also drove Lima further away from the poetry world; not only did he need to avoid the hard-drinking atmosphere of places like the Cedar Tavern, but he had difficulty writing in the absence of drugs and alcohol. As the eighties began, Lima’s life as a poet had seemingly ended.\u003C/p>\r\n\u003Cp>Had Lima never resumed writing, he might rate as an extraordinary but minor poet, one of several colorful footnotes of New York School poetry. But his silence was not to last. “In the late ’80s,” he told Bob Holman, “I was clean, / unhappily married, and desperate. / I started to write again as the marriage / ended.” While Lima’s earlier poems increasingly incorporated a surrealist tendency, the later work might be seen as the full realization of this impulse:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cblockquote class=\"poem\">I found the words in a box and became recklessly enamored with\u003Cbr>Them. As I watched, they blew smoke rings into my sacramental\u003Cbr>Face. I was a blind old man, unzipping my life before them and\u003Cbr>Trembling at the touch of cold marble. My fingers were once wild\u003Cbr>\u003Cbr>Pigeons perched on the statues and I would sacrifice my soul for the\u003Cbr>Erotic stillness of yesterday. The words would arrive through the nail\u003Cbr>Holes in the century wearing the flickering faces of the past. I fit myself\u003Cbr>Into anyone that will have me, who will shoot at me with the hours of a\u003Cbr>\u003Cbr>Wheelchair. When will I stop looking over my shoulder in the subway?\u003Cbr>I collected the tickets at the door, and made it perfectly clear that \u003Cbr>Writing is as lonely as a pile of discarded shoes. Heaven is wingless and\u003Cbr>Far away and there are no books that mention your name or mine.\u003C/blockquote>\r\n\u003C/blockquote>\r\n\u003Cp>This poem, “01.03.2000,” is typical of later Lima. Frequently untethered to any recognizable scenario, even as they often seem to \u2028deliberate on the act of writing itself, the poems move effortlessly from assertion to assertion, with no sense of logical development. Yet they seem the opposite of random phrasemaking, instead motivated by an inner emotional necessity. Intriguingly, in light of his more open field-like compositions of the sixties, quatrains — sometimes varied as tercets or quintains — predominate. Filip Marinovich, who attended Lima’s workshops at the Poetry Project around 2000, offers insight into Lima’s compositional process:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cp>It’s not like he would write quatrains. He would just freewrite. He even had these Xeroxes of Peter Elbow’s freewriting manual from the ’70s or ’80s ... And he would just freewrite and divide it up into quatrains.... And there was something about that new form that allowed him to write poetry where he felt like he couldn’t write poetry before because it was part of the whole vortex of addictions.\u003C/p>\r\n\u003C/blockquote>\r\n\u003Cp>Any distinction here between freewriting and automatic writing is probably academic, and it’s clear that the use of Peter Elbow’s \u2028techniques resulted in a form of automatism that liberated Lima’s imagination in the absence of mind-altering substances.\u003C/p>\r\n\u003Cp>In 1997, Lima was drawn back to the poetry world when Hard Press published his \u003Cem>Inventory: New & Selected Poems\u003C/em>, edited by Shapiro. Over the next few years he would find himself featured in such places as the \u003Cem>American Poetry Review\u003C/em> and the Poetry Society of America, and even on the cover of \u003Cem>Poets & Writers\u003C/em>. Much of this was preparatory to a new collection, \u003Cem>The Beatitudes\u003C/em>, an incendiary volume of invectives against the Judeo-Christian tradition. The book was announced, scheduled for publication in 2000, and even typeset, but ultimately never appeared due to upheaval at Hard Press. This was a source of great bitterness to Lima, destroying the momentum of his comeback in the poetry world.\u003C/p>\r\n\u003Cp>Despite this, the last two decades of Lima’s life were probably his happiest. Lima became more prolific after an encounter with Koch before the latter’s 2002 death. Lima’s wife, Helen, recalls Lima visiting Koch in the hospital:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cp>Kenneth told Frank that you have to write every single day. When you write, it’s not like someone doing a job. This has to come from you.... Frank tried really, really hard to write a poem every day.\u003C/p>\r\n\u003C/blockquote>\r\n\u003Cp>As a result, there are hundreds of pages of work from the last decade of his life, and the bulk of Lima’s poetry remains unpublished. But it is with this late work that we can ultimately support the claim that he is a major poet. For here Lima developed a distinctive mode that accommodated everything from the quotidian to the literary and historical to the most exalted displays of surrealist imagination.\u003C/p>\r\n\u003Cp>Only in the last year of his life, which was beset with health problems, did Lima’s output diminish. He died on Monday, October 21, 2013. “He struggled so hard; he wanted to get better,” Helen Lima said. “The day he passed away, that Sunday, he woke up in the morning and it came right off his lips. ‘Helen, when are we gonna go to Cancún again? I still want to take you to Cancún.’” It’s an expression of both romantic longing and the will to live characteristic of a poet for whom poetry represented an escape from suffering and a means of survival.\u003C/p>","\u003Cp>Introduction\u003C/p>","The lives of Frank Lima",[3677],{"__typename":520,"id":3678},"256838",[],[3681],{"__typename":573,"status":574,"title":3682,"firstName":3683,"middleName":7,"lastName":3684,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3685,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3686,"authorRegions":3697,"categories":3698,"themes":3707,"parentCategories":3708,"childCategories":3709,"id":3711,"uid":3712,"slug":3713,"uri":3714,"url":3715,"sectionHandle":592,"postDate":3716,"dateUpdated":3717,"level":7},"Garrett Caples","Garrett","Caples","\u003Cp>Garrett Caples is the author of \u003Cem>Lovers of Today\u003C/em> (2021), \u003Cem>Power Ballads\u003C/em> (2016), \u003Cem>Retrievals\u003C/em> (2014), \u003Cem>Quintessence of the Minor: Symbolist Poetry in English\u003C/em> (2010), \u003Cem>Complications\u003C/em> (2007), and \u003Cem>The Garrett Caples Reader \u003C/em> (1999). He is an editor at City Lights Books, where he curates the Spotlight poetry series. Caples was also a contributing writer to the \u003Cem>San Francisco Bay Guardian\u003C/em> and has coedited the \u003Cem>Collected Poems of Philip Lamantia\u003C/em> (2013), \u003Cem>Particulars of Place \u003C/em>(2015) by Richard O. Moore, and \u003Cem>Incidents of Travel in Poetry: New and Selected Poems \u003C/em>(2016) by Frank Lima. He lives in San Francisco.\u003C/p>\n\n\u003Cp>In May and June 2011, Caples was a \u003Ca href=\"https://www.poetryfoundation.org/harriet/author/gcaples/%20\">featured writer\u003C/a> on \u003Cem>Harriet.\u003C/em>\u003C/p>",[3687],{"__typename":25,"id":3688,"uid":3689,"title":3690,"alt":3691,"url":3692,"height":2980,"width":2981,"filename":3693,"caption":7,"copyright":7,"focalPoint":3694},"522598","59b060ee-b913-4921-870b-814662ca70b6","Caples_Garrett(c-Brian-Lucas.).jpg","Color photograph of writer Garrett Caples sitting in a backyard surrounded by flowers","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/c13ce7978e154fb19caa1c9cb330413a66188e7d.jpeg","c13ce7978e154fb19caa1c9cb330413a66188e7d.jpeg",[3695,3696],0.7873,0.2151,[],[2925,2938,3699],{"__typename":2926,"id":3700,"uid":3701,"title":3702,"slug":3703,"uri":3704,"url":3705,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957,"formattedTitle":3706},"242813","51d0ec30-cbc5-4883-8470-637a3cf0c9f2","U.S., Western","u-s-western","categories/u-s-western","https://www.poetryfoundation.org/categories/u-s-western","\u003Cp>U.S., Western\u003C/p>",[],[2961],[3710],{"__typename":2926,"parent":2964,"id":3700,"uid":3701,"title":3702,"slug":3703,"uri":3704,"url":3705,"sectionHandle":2933,"postDate":2955,"dateUpdated":2956,"level":2957},"34953","1cb9ac09-97a9-4114-94d8-446de198c4cc","garrett-caples","poets/garrett-caples","https://www.poetryfoundation.org/poets/garrett-caples","2011-11-09T00:00:00-06:00","2024-06-11T11:43:29-05:00",[3001],{"__typename":615,"id":3720,"affiliation":7,"externalLinkUrl":3721,"description":7,"title":7,"uri":7,"contentItem":3722},"1291026",[],[3070],{"__typename":615,"id":3724,"affiliation":7,"externalLinkUrl":3725,"description":7,"title":7,"uri":7,"contentItem":3726},"1291027",[],[3727],{"__typename":2900,"id":3728,"uid":3729,"title":3730,"slug":3731,"uri":3732,"url":3733,"sectionHandle":2907,"postDate":3734,"dateUpdated":3735,"level":7,"excerpt":3736,"body":3737,"formattedTitle":3738,"subtitle":3739,"essayYear":7,"magazineEntries":3740,"image":3741,"authors":3742,"articleType":3743},"24011","29d5de48-abc7-404e-81fa-3b9cf37130fe","Tropicalizing Anglo-American Culture","tropicalizing-anglo-american-culture","articles/68856/tropicalizing-anglo-american-culture","https://www.poetryfoundation.org/articles/68856/tropicalizing-anglo-american-culture","2007-04-13T00:00:00-05:00","2024-06-11T09:35:39-05:00","\u003Cp>Victor Hernández Cruz has published nine books, including his most recent collection, this year’s \u003Ci>The Mountain in the Sea\u003C/i> (Coffee House Press), and currently divides his time between Morocco and Puerto Rico. The following interview touches on the interests most...\u003C/p>","\u003Cp>Victor Hernández Cruz has published nine books, including his most recent collection, this year’s \u003Ci>The Mountain in the Sea\u003C/i> (Coffee House Press), and currently divides his time between Morocco and Puerto Rico. The following interview touches on the interests most vital to the poet—the history of the Caribbean, stories of migration, and encounters between cultures.\r\u003Cbr>\r\u003Cbr>\u003Cb>Francisco Aragón: Can you talk about your beginnings in Aguas Buenas, Puerto Rico?\u003C/b> \r\u003Cbr>Victor Hernández Cruz: I was born in this region of the Caribbean around 1949. There was no such thing as a hospital. In many of the rural areas of Cuba, Puerto Rico, and Santo Domingo, people were born inside their homes and a \u003Ci>curandera\u003C/i>—a midwife—would come and deliver you, and that’s how I was born. \r\u003Cbr>\r\u003Cbr>\u003Cb>How long were you in Aguas Buenas? \u003C/b>\r\u003Cbr>I was there about five years. My family took the road of migration, which a lot of Puerto Ricans were doing at the time because of the devastated economic situation.\r\u003Cbr>\r\u003Cbr>I went to New York by airplane; it took eight hours in one of these propeller-planes that barely made it. We got there in the middle of winter; to go from a tropical country into this cold region of a northern city was another shock. I remember the smell of the air, this cold air that smelled like . . . cold metals, cold steel. I had been in a world that had a whole different aroma: the smell of tobacco and local vegetation. \r\u003Cbr>\r\u003Cbr>\u003Cb>What part of New York did you settle in? \u003C/b>\r\u003Cbr>We went to the Lower East Side of Manhattan.\r\u003Cbr>\r\u003Cbr>\u003Cb>Did you learn English in New York? Did you know any before you came? \u003C/b>\r\u003Cbr>I didn’t really learn English until we got a television some two years after I was in the States. I didn’t go to school till I was seven and a half or eight years old. My mother didn’t know there was such a thing as kindergarten. I lived in a Puerto Rican neighborhood; most of the people were immigrants. \r\u003Cbr>\r\u003Cbr>\u003Cb>Did you continue speaking Spanish after you learned English? \u003C/b>\r\u003Cbr>Oh yeah, I’ve never stopped speaking Spanish, I was able to keep both Spanish and English, whereas a lot of New York City Puerto Ricans and Hispanics who grow up in the U.S. lose their Spanish as they learn English.\r\u003Cbr>\r\u003Cbr>\u003Cb>What kind of books did you read during your high school years in Spanish Harlem? \u003C/b>\r\u003Cbr>You still didn’t have that big movement toward finding relevant literature in black and Puerto Rican communities. We just read the regular poetry and stuff that was offered to the generation before us. We read [Walt] Whitman, Robert Frost, Carl Sandburg. I mostly read on my own, all that I could get my hands on. I read Kafka, I read some of the Beat poets as a teenager. I read Ginsberg, Amiri Baraka—LeRoi Jones—I read Kerouac, \u003Ci>On the Road,\u003C/i> things of that sort. \r\u003Cbr>\r\u003Cbr>\u003Cb>I’d like to ask you about the title of your third book. How did you arrive at \u003Ci>Tropicalization?\u003C/i> \u003C/b>\r\u003Cbr>That came out of a sense of me trying to tropicalize this Anglo–North American culture, to put a little heat on it, a little spice on it, to warm it up a little bit. Of course, now the greenhouse effect is probably doing that naturally (\u003Ci>laughter\u003C/i>).\r\u003Cbr>\r\u003Cbr>\u003Cb>One of your poems is titled “Don Arturo says:”, and it’s about dance. But what I wanted to ask you is, Who is Don Arturo? He appears, if I’m not mistaken, in all of your books. \u003C/b>\r\u003Cbr>Yeah, he does. He was a real guy. Don Arturo was like my spiritual grandfather. I dedicated \u003Ci>By Lingual Wholes\u003C/i> to him. His name was Arturo Vincench. He was a Cuban guy who’d been in New York many years and was good friends with an aunt of mine. She was some years younger than him. I think they had a little secret thing going on for years, and he was always part of the family. He was a street musician; he’d play music at Macy’s and Gimbels. He had these puppets and a special whistle, and he put a tambourine on his foot and a harmonica attached to a thing he had like this [\u003Ci>demonstrates an imaginary harmonica mounting for hands-free playing\u003C/i>]. He’d sell whistles, puppets—people would give him money, and he made a living. He also played the guitar, he had his house full of mandolins, and he liked classical stuff: he would play classical music in the hallway of the tenement building I was in. \r\u003Cbr>\r\u003Cbr>\u003Cb>In a lot of your poems, you bring in historical events. One that comes to mind is “Borinkins in Hawaii,” the journey of those Puerto Rican people who think they’re coming to North America but end up in Hawaii. For a poem of this nature, did you do any research?\u003C/b>\r\u003Cbr>Yeah, I did both book research and I did a lot of interviews with the Puerto Rican Hawaiians when I was there. So it’s like an oral history that I put in print. I believe a poem should be half your own thoughts and half something you have historically researched. \r\u003Cbr>\r\u003Cbr>\u003Cb>Could the same be said of “Geography of the Trinity Corona”? I read the poem, and it seems like you’re trying to embrace various ethnicities. \u003C/b>\r\u003Cbr>When I was writing and researching this poem, I saw societies in people, not as an historian, but as a poet or a painter. So I saw Puerto Ricans who looked Ethiopian, Puerto Ricans who looked German, Puerto Ricans who looked Gypsy, Puerto Ricans who looked Nigerian, and that’s what I wrote about in the poem: the suggestions that they made to me. And since I’m not an historian, I went ahead and allowed those suggestions to live. \r\u003Cbr>\r\u003Cbr>\u003Cb>What draws you to the historical, given that the lyric seems to be the dominant mode in American poetry today? \u003C/b>\r\u003Cbr>It’s a personal obsession with me to study the history of cultures, my culture, the history of the Caribbean, how the Caribbean formed. To me that’s all very exciting, and I have to find a way to make the personal historical. I have to touch history through my personal life. So if I eat a plate of food and I see green bananas, and I see some rice, and I see some \u003Ci>bacalao\u003C/i> [dried salted cod], then I already see an historical situation there. \r\u003Cbr>\r\u003Cbr>\u003Cb>Right on your plate? \u003C/b>\r\u003Cbr>Right on my plate, because if I’m going to eat this food, I’d like to know how it was composed. They weren’t eating green bananas in Spain, because green bananas come from Guinea, from Africa; and \u003Ci>bacalao\u003C/i> is from—the Spanish and the Portuguese cultivated that way of cooking it; the ways of putting other things in it were developed in the Caribbean . . . so I see right away the Caribbean, slavery, the Taino Indians and what happened to them, the interchange of cultures, and the shifts of the whole exploration era. This happens when I look at food or when I listen to music—I see a Spanish melody going to an African rhythm with indigenous instruments. \r\u003Cbr>\r\u003Cbr>\u003Cb>What can you tell me about the poem “Root of Three,” which begins\u003Cblockquote>I walk in New York with a mountain\r\u003Cbr> in my pocket\r\u003Cbr> I walked in Puerto Rico with a guitar\r\u003Cbr> in my belly\r\u003Cbr> I walked in Spain with Mecca\r\u003Cbr> in my sandals. \u003C/blockquote>\u003C/b>The Arabs were in Spain 800 years. They contributed greatly to the culture, and they themselves had a great civilization and culture there—Córdoba, Sevilla—you had streets, fountains, orange groves, 400 or 500 mosques; they had great scholars, it was the center of translation from Greek to Arabic, and from there to other languages. They revived the Greek classics, they had doctors writing books, they had great music. \r\u003Cbr>\r\u003Cbr>\u003Cb>Has your way of composing poems evolved over the years? Looking back at Snaps, which you wrote in your teens, was composition more spontaneous and less controlled then than it is now? \u003C/b>\r\u003Cbr>They were much more spontaneous than they are now.\r\u003Cbr>\r\u003Cbr>\u003Cb>Did you revise the poems in Snaps? \u003C/b>\r\u003Cbr>Most of those, I just wrote them out and rolled them out.\r\u003Cbr>\r\u003Cbr>\u003Cb>When did you begin to revise your poems? \u003C/b>\r\u003Cbr>I did much revising for \u003Ci>Mainland.\u003C/i> I wrote some of those two, three times; I was very concerned with effect, especially with the Puerto Rican pieces. \r\u003Cbr>\r\u003Cbr>\u003Cb>And you still revise? \u003C/b>\r\u003Cbr>Now I revise. The thing about revision, though, is that you have to watch out because you don’t want to lose that flow and spontaneity. You could do too much revision and destroy the poem. And if you don’t do any, the poem will not be as strong as it should be. You have to somehow find that balance between the immediate moment when you produced the poem, and what you can bring to it by going back and fixing it up, or adding things to it that come to mind later. \r\u003Cbr>\r\u003Cbr>\u003Cb>How do you know when a poem has been revised enough and should be left alone? Do you ever send your poems out to friends to ask them what they think? \u003C/b>\r\u003Cbr>No, because I can pretty much determine what I want to say, and if it’s what I want to say, it’s gotta be how I want to say it. And once I achieve those two things, then I don’t have to send it to anybody else. They know less about what it is I want to say. \r\u003Cbr>\r\u003Cbr>\u003Cb>But when you write your poem, you don’t have an objective perspective. You have too much invested in the poem. If you sent them to someone for some feedback, they might say something like “The first two stanzas are great, but you lose me a bit in the third; you might want to drop that line, et cetera.” You’ve never done anything like this? \u003C/b>\r\u003Cbr>I’ve never done that because this is not like eye surgery or brain surgery; you can make a few mistakes in this scene (\u003Ci>laughter\u003C/i>). I mean, how can you determine what’s perfect? These aren’t blueprints for a children’s hospital; this is poetry, and if it wasn’t fully the delivery that I wanted, then I’ll keep trying. There is never a perfect poem; life is never perfect—life is of constant change. A poem can always have been written differently, no matter what that poem was. You have to, at some point, just let it go and drop it. \r\u003Cbr>\r\u003Cbr>\u003Cb>When do you let your poem “drop”? Do you put it in a drawer and let it sit there for a few months? \u003C/b>\r\u003Cbr>I have notebooks. And I fill them up, and then, at a certain point, I go back and say, “What can I use from these notebooks?” Because not everything that I write gets published, just like everything you think shouldn’t be said (\u003Ci>laughter\u003C/i>), or you’d be in a lot of trouble. So you have to edit your stuff, and you have to write the stuff out, too: you have to write a lot of junk. I’ve written a lot of junk; I’ve got my notebooks full of stuff: things I’ve written on the streets, nightclubs, cars, trips I’ve taken. . . . Out of ten pages, for example, I might extract five lines that I can use or invest in another poem that could come later.\r\u003Cbr>\r\u003Cbr>\u003Cb>Do you carry a notebook with you wherever you go? \u003C/b>\r\u003Cbr>Just about. Or I make it a point to write things out at night about different things that happened; so I keep somewhat of a diary, and also some poems that I write all the time. But I don’t use those poems at that point. I just save them; then I can go back to them, hook them up with some thoughts I’m having now, or find some other notes that I have taken—poem notes—and hook them up. . . . And then that can become one poem. \r\u003Cbr>\r\u003Cbr>\u003Cb>So you don’t know whether something you’ve written is valuable or not unless you let it sit? \u003C/b>\r\u003Cbr>It has to hook up with one of my concerns; that’s how I know if it’s valuable. There are certain concerns that I have; I’m obsessed with the history of the Caribbean because I come from the Caribbean. \r\u003Cbr>\r\u003Cbr>\u003Cb>What are some of your other major concerns? \u003C/b>\r\u003Cbr>The history of immigration in a worldwide sense; the idea of civilizations coming into other civilizations; what happened when the Spaniards opened up the oceans and began to explore the Americas and thought they were in Asia, mistook Cuba for Japan, and then thought they were in India. To me all of this is very fascinating, and because I am a product of that combination of cultures and races, to me it’s an obsession to study those things—to study how the Spanish did when they first gave them pineapple. I read somewhere that when the Indians gave them this sweet delicious pineapple, the Spanish ran to the bushes to vomit. That should have been a sign of things to come, because they started sawing everybody down. So anybody who doesn’t like pineapple, you know is going to end up killing you (\u003Ci>laughter\u003C/i>).\r\u003Cbr>\r\u003Cbr>\u003Cb>You don’t write what many would call autobiographical lyric poems. Was this a conscious decision? \u003C/b>\r\u003Cbr>Well, the poetry’s not really mine. The poetry’s not really about myself, it’s all about my culture. I’m not writing about my person and what I do. \r\u003Cbr>\r\u003Cbr>\u003Cb>So you use poetry as a way to get away from your personality? \u003C/b>\r\u003Cbr>One person is not very important on the planet Earth. I mean one person in the history of time. . . . We’re alive 80 years; that could be like a second on the cosmic clock. And so my personal life could just bore somebody if I told them what I did every day. There are things I can extract from my personal life, but I use them as stepping-stones or a springboard toward other things. \r\u003Cbr>\r\u003Cbr>\u003Cb>Do you think it’s possible to write a good poem about anything? A doorknob . . . a sewer system . . . anything? \u003C/b>\r\u003Cbr>Yeah, but I kind of stop writing about things that just kind of pop out at random. The mind has to be edited—as we said before—so that you don’t just blab everything you’re thinking about. \r\u003Cbr>\r\u003Cbr>\u003Cb>Yeah, I understand, but what I mean is, Is there any subject that should be taboo from poetry, that should not be touched? For example, some would place politics in this category, or even some forms of violence. \u003C/b>\r\u003Cbr>Literature has everything in it because literature is about life; it’s got to be about everything that’s within life, and nothing can be edited out of it. You can have a poem about shoestrings, or you can have a poem about Venus. Something very small and something very big, and in between, everything. Now, it’s up to the individual poet to use some discernment, some judgment, to be selective; and you begin to see how each poet and each writer has an area of concern. Another poet that I like, Ed Dorn, has an obsession with the West and the settlement of America, or a pioneer sense that comes out in his poetry. Or let’s say Gary Snyder: his concern with Buddhism, Zen, meditation.\r\u003Cbr>\r\u003Cbr>\u003Cb>I’d like to talk about your punctuation, or rather, your lack of it. Are you ever concerned that your lack of punctuation will confuse your reader? \u003C/b>\r\u003Cbr>Well, if they read English, they can read one English word and the next one that follows. They’re going to set their own rhythms to it. So it’s best that they see the poem in print, because if they see me read it, I’m going to force my rhythms on them. But if they can just see the poem disassociated from me, they don’t have to give it a gender, a time, or a rhythm. They can just add that as they wish, because the poem is an idea that came through me and that’s independent of me. There’s no one right way to read the poem. Everybody can make use of the poem as they wish.\u003C/p>","\u003Cp>Tropicalizing Anglo-American Culture\u003C/p>","An interview with Victor Hernández Cruz.",[],[],[3026],[3105],{"__typename":615,"id":3745,"affiliation":7,"externalLinkUrl":3746,"description":7,"title":7,"uri":7,"contentItem":3747},"1291028",[],[3748],{"__typename":2900,"id":3749,"uid":3750,"title":3751,"slug":3752,"uri":3753,"url":3754,"sectionHandle":2907,"postDate":3345,"dateUpdated":3755,"level":7,"excerpt":3756,"body":3757,"formattedTitle":3758,"subtitle":3759,"essayYear":7,"magazineEntries":3760,"image":3761,"authors":3773,"articleType":3792},"28523","b8bfd240-8287-4fc8-a8a5-4031ed6ba24c","Against Oblivion","against-oblivion","articles/146621/against-oblivion","https://www.poetryfoundation.org/articles/146621/against-oblivion","2024-06-11T10:00:07-05:00","\u003Cp>I was a tenant organizer in Brooklyn in the early 2000s when I first read “Imagine the Angels of Bread,” Martín Espada’s stirring poem of radical optimism. Much of my time was spent in housing court, a perch from which...\u003C/p>","\u003Cp>I was a tenant organizer in Brooklyn in the early 2000s when I first read “Imagine the Angels of Bread,” \u003Ca href=\"/poets/martin-espada\">Martín Espada\u003C/a>’s stirring poem of radical optimism. Much of my time was spent in housing court, a perch from which I watched entire neighborhoods swept away in the name of progress. The poem’s first lines hooked me: “This is the year that squatters evict / landlords, / gazing like admirals from the rail / of the roofdeck.” I started to take Espada’s book, also titled \u003Cem>Imagine the Angels of Bread \u003C/em>(1996), into housing court—where there was a lot of waiting around—and to share his poems with tenants. I learned that he had been a tenant lawyer and had grown up in the East New York neighborhood of Brooklyn, not far from where I worked. At some point, I emailed Espada to ask if we could print “Imagine the Angels of Bread” in our newsletter, which he graciously allowed. The following week, tenant leaders read the poem—in Spanish and in English—at our community meeting, which sparked a lengthy discussion. All of this is to say his poems are beautiful, but they are not just to be admired. \u003C/p>\r\n\r\n\u003Cp>Espada has written more than a dozen poetry collections and several books of essays; his most recent collection of poems is \u003Cem>Vivas to Those Who Have Failed\u003C/em> (2016). He is the recipient of numerous prizes, including 2018 \u003Ca href=\"/foundation/prizes-lilly\">Ruth Lilly Poetry Prize\u003C/a>. We spoke by phone from Espada’s home in Leverett, Massachusetts, just outside Amherst, where he is a professor in the Department of English at the University of Massachusetts Amherst. The following interview was edited and condensed.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>In the preface to \u003Cem>Leaves of Grass\u003C/em>, \u003Ca href=\"https://www.poetryfoundation.org/poets/walt-whitman\">Walt Whitman\u003C/a> writes, “The attitude of great poets is to cheer up slaves and horrify despots.” Those are words you’ve taken to heart. Part of your project seems to be to recall the forgotten histories and possibilities that surround us. \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>That is a pattern—you might call it an obsession—present in my work. I’ve been influenced by people who not only envisioned a different history but also made that history. It starts with my father, Frank Espada, a photographer and community organizer in the East New York section of Brooklyn. He imagined a different world and set about to create it. That began when he was arrested for refusing to go to the back of the bus. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Your poem “Sleeping on the Bus” is about that.\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>That’s right. In 1949, my father was stationed at Lackland Air Force Base in San Antonio. He boarded a Trailways Bus to spend Christmas furlough with his family in New York City. In Biloxi, Mississippi, a new driver boarded the bus and told my father to sit at the back. My father uttered an obscenity, pushed his cap over his eyes, and went back to sleep. The driver returned with two state troopers, who escorted him to jail. The following day, the judge asked, “Boy, how many days you got on that furlough?” My father told him, “Seven.” And the judge said, “I hereby sentence you to seven days in the county jail.” My father said it was the best week of his life because he figured out what to do with the rest of it. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>At the same time, it can be hard to remember forgotten moments of heroism. In “Sleeping on the Bus,” you write, “How he told me / And still I forget.” It’s so easy to forget, to be overwhelmed, to feel hopeless. \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Yes, and sometimes the forgetting is accidental, and sometimes it’s deliberate. There is the quotidian form of forgetting, where we forget simply because we are bombarded with the realities of being alive. We are overwhelmed. I’m overwhelmed right now. \u003C/p>\r\n\r\n\u003Cp>There’s also the deliberate form of forgetting, the willful obscuring of history. There’s a great poem by \u003Ca href=\"/poets/sterling-a-brown\">Sterling Brown\u003C/a> called “Remembering Nat Turner.” It's really about forgetting Nat Turner. Brown goes to Virginia and discovers that the local African American tenant farmers have taken a marker that indicated the place where the uprising occurred and split it up for kindling. It’s absolutely devastating. There’s also an elderly white woman in the poem, a racist who misremembers and buries the real history of Nat Turner. Brown drives away knowing that there is no shrine or monument or marker. So the poem becomes the monument. If Sterling Brown did not remember Nat Turner, at that moment in history, no one else would. One of my projects as a poet is to rescue the dead from oblivion.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Your most recent book, \u003Cem>Vivas to Those Who Have Failed\u003C/em>, rescues a particular strike from oblivion, in Paterson, New Jersey.\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Oftentimes I write poems on deadline or for occasions. Or I may write a poem when someone says, “Write a poem about Paterson.” \u003C/p>\r\n\r\n\u003Cp>In Paterson, back in 1913, the strikers lost, so we forgot about that strike. But it was a major part of the struggle for the eight-hour day that we now take for granted. It was Whitman who wrote, “Vivas to those who have failed.” Whitman wants to redefine failure. He wants to redefine history. This is when poetry becomes an antidote to despair.\u003C/p>\r\n\r\n\u003Cp>Poetry isn’t just about history, of course. It’s also about whatever we need to address right \u003Cem>now\u003C/em>. My most recent poem is “\u003Ca href=\"/poetrymagazine/poems/146049/letter-to-my-father\">A Letter to My Father\u003C/a>,” about the devastation of Hurricane Maria in Puerto Rico and the aftermath of the hurricane, followed by more devastation in the form of government neglect, fueled by a racist, colonial mentality. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Have you been to Puerto Rico since Hurricane Maria?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>No. What I wrote arose from a sense of utter frustration and heartbreak. I began seeing images of the hurricane, and I noticed that image after image came from the town of Utuado. Jon Lee Anderson wrote in the \u003Cem>New Yorker\u003C/em> that “the municipality of Utuado…has become a byword for the island’s devastation.” This was chilling because my father was born in Utuado in 1930. My grandmother was born there. My great-grandfather was the mayor. This was the cradle of my family. I saw it washed away and then abandoned, utterly. \u003C/p>\r\n\r\n\u003Cp>Donald Trump is a New Yorker born in 1946, raised with the stereotypes of Puerto Ricans endemic in the generation that followed World War II. The primary stereotype was the myth of Puerto Ricans on welfare. I grew up with the same stereotypes, at the same time, in the same city. The difference is that he internalized the stereotypes, and I saw them refuted everywhere, including in my own activist household. When he tweeted that Puerto Ricans want everything done for them, this is what he meant. Now, however, this stereotype has lethal consequences.\u003C/p>\r\n\r\n\u003Cp>That is all motivation for the poem. Trump makes his appearance in the poem, tossing paper towels into a crowd of hurricane survivors. A poem has to start with something in your hands, something you can taste or see, touch or smell. That poem begins with me talking to my father’s ashes. The response is political, of course, but the response is also deeply personal. It doesn’t get much more intimate than talking to your father’s ashes. That’s a roundabout way of saying that this is where poems come from.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Many places.\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I've compared it to a bird feathering a nest. A bird will get twigs from here, cellophane from a cigarette there. Poetry is the same way. There are always poems wandering around in my head, bumping into my skull. Sometimes I have time for them, and I say, “Sit down, poem.” Other times, I just have to let them go. There is a constant clamor. \u003C/p>\r\n\r\n\u003Cp>Last night, I was talking with my partner, the poet Lauren Marie Schmidt. She teaches high school in Springfield, Massachusetts, a hardscrabble city about 50 minutes away. She’s constantly dealing with students in crisis. One particular student has been through hell this year. She had an abortion, was thrown out of the house, ended up homeless for a time. Then her ex-boyfriend tried to reach her at 2 a.m., and she refused to pick up. He was murdered an hour later. She told Lauren that she couldn’t sleep for days because of the terrible guilt. \u003C/p>\r\n\r\n\u003Cp>Lauren handed her a journal. On the cover of the journal was the word \u003Cem>Dream\u003C/em>. Lauren said, “Open this book. Write in it. You don’t have to show me. You don’t have to show anyone. Write about this and see how you feel.” The student sat down and wrote all day. She stayed at Lauren’s desk; she didn’t go to any classes. And then Lauren looked over and the student was passed out, face down, in the pages of the journal: Asleep at last. That’s a poem. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Wow, that is a poem. Let me jump back a bit. You were raised in East New York and at 13 moved to an all-white suburb on Long Island. How did those two places shape you? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>East New York is where my political awareness began. At the 1964 World’s Fair, in New York City, my father took part in a protest against Schaefer Beer, one of the corporate sponsors who refused to engage in fair hiring practices. My father and his friends, affiliated with Brooklyn CORE [Congress of Racial Equality], figured out how to get inside the Schaefer pavilion and decided this would be an excellent opportunity to raise hell. They were arrested, of course. My father disappeared, and my mother had no idea of his whereabouts. I knew even less, being seven years old, and drew the conclusion that my father must be dead. I sat there with his picture. I cried every morning before I went to school. I cried every afternoon when I came back. I was engaged in this ritual one day when he walked through the door. I said, “I thought you were dead.” He laughed. He must have realized, then, that he had to explain himself in terms that a seven-year-old might understand. He tried to do that. I understood whatever I could and came to understand more with time. What I understood, above all, was that this was something I needed to understand. I wanted \u003Cem>more\u003C/em>. I sometimes accompanied my father to meetings and drew on the backs of leaflets announcing some demonstration somewhere. Ultimately, we ended up leaving East New York and moving to Valley Stream, Long Island. Valley Stream was not interested in receiving Puerto Ricans with open arms, nor African Americans. When the first African Americans moved there later, crosses were burned. I heard the word \u003Cem>spic\u003C/em> more than my own name. I recall some of this in a poem called “Beloved Spic.” The word was spray-painted on my locker, even written in the icing on a cake. I had my head shoved into a water fountain as I bent over it, which resulted in a cracked tooth. I was dealing with people who fled Brooklyn to get away from the likes of me. I didn't know that. Neither did my parents. Surprise! \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>At what point did you start writing poetry?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>It was in tenth grade. I was sitting at the back of the room, trying not to be noticed, with all the other young thugs. My teacher, Mr. Velleca, said, “Young thugs, I have an assignment for you.” He held up a copy of the \u003Cem>New Yorker\u003C/em> and announced, “I want you to make your own edition of this magazine.”\u003C/p>\r\n\r\n\u003Cp>Thus, the \u003Cem>New Yorker\u003C/em> went hand-to-hand down the hierarchy of thuggery. I was last, and the only thing unclaimed was a poem, so I sat by the window and wrote a poem. It was raining that day, so I wrote a poem about rain. I remember one line: “Tiny silver hammers pounding the earth.” I was 15 years old and had just invented my first metaphor. I didn’t know what a metaphor was. Somebody told me, and I went swaggering down the hallway.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>A thug with a metaphor. (laughs)\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I swaggered down that hallway: \u003Cem>I made a metaphor\u003C/em>, \u003Cem>I'm bad\u003C/em>. That discovery stayed with me: I loved words. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>You’ve also worked a lot of jobs while writing poetry. \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>In high school, I worked at a printing plant in Silver Springs, Maryland. We made legal pads by hand. I would slice my hands with paper cuts, and then the glue would get into the cuts and sting like hell. Ten years later, I ended up in law school, surrounded by legal pads—and by people who had no idea how the legal pads had been made. I wrote a poem called “\u003Ca href=\"/poems/57179/who-burns-for-the-perfection-of-paper\">Who Burns for the Perfection of Paper\u003C/a>.” Work has been a theme for me. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Your experience as a tenant lawyer certainly shows up in your poetry. Did you at one point think you were going to be a lawyer your whole life?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I had some choices to make when I graduated from the University of Wisconsin. I thought of law school as a way of honoring a commitment to my community. I was also writing poetry at a rapid clip. My intention was to be a poet-lawyer. I always identified it that way: poet dash lawyer. The poet came first. \u003C/p>\r\n\r\n\u003Cp>I ended up serving as a supervisor at Su Clínica Legal, a legal services program for low-income, Spanish-speaking tenants in Chelsea, Massachusetts. It’s a gateway city, a city of immigrants. Many were refugees from war. Some were undocumented. We didn’t ask about status. I represented them in housing cases and trained law students to do the same: eviction defense, no heat, rats and roaches, crazy landlords, on and on. I did that for six years. \u003C/p>\r\n\r\n\u003Cp>I was “discovered” by the local media. They focused on this strange creature, the poet-lawyer, like something out of Greek mythology. “Poet-lawyer” was considered a contradiction in terms. I tried to explain that in both roles I was an advocate. \u003C/p>\r\n\r\n\u003Cp>I also taught while practicing law—at a middle school, at a jail, at adjunct jobs. In 1993, because of funding cuts, my position was consolidated with that of another lawyer, Nelson Azócar, who was from Chile. He had come here, following the Pinochet coup, after he had talked his way out of being shot by a firing squad. Anybody who that can do that has the gift of gab; he should be a lawyer. By happenstance, at that time I noticed a listing for a position at the University of Massachusetts Amherst, and they hired me. I still think like a lawyer. That training never leaves you. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>When students come in to poetry classes, are there common misconceptions, from your perspective, of what poetry is? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>If their previous instructor was enamored of poets who sling word salad as a form of self-expression, then the students will write that way. My response to poems that are not intended to communicate is to make it clear that I don’t understand them. I might say, “I don’t get it; tell me again.” At other times, students come into the classroom with a story yet don't understand the essential elements of narrative. \u003C/p>\r\n\r\n\u003Cp>What I stress is that the poems should be grounded in the senses, in the image. It doesn't have to be a linear narrative; it could be surreal or dreamlike, as long as the images are startling and arresting. I don't need to necessarily grasp everything. I encourage students to take chances, emotionally or aesthetically. We’re a community, all trying to accomplish the same thing. We’re rooting for each other. It’s important to convince people that their lives are the stuff of poetry. It’s not something that happens to somebody else. It’s something that happens to you, your family and friends and community. It’s all worthy of poetry. Once people figure that out, it’s like finding the right combination on the lock. \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>You’ve had a long and winding career, and I mean that in the best sense. What does receiving this prize mean to you?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>When I got the call, I basically felt numb. I realized this was a life-changing event. It’s recognition for all those years spent scribbling in a corner somewhere on a train, in a bus station, sitting on the steps of the courthouse waiting for my cases to be called. It’s not a first-book award or an award based on promise or even an award given at mid-career. It’s a lifetime achievement award, so that makes me, of course, thankful and grateful—and also contemplative. \u003C/p>\r\n\r\n\u003Cp>It makes me think of all the poets who have come and gone without ever catching a break. A whole generation of poets was lost to us because of McCarthyism and the Cold War, poets who were blacklisted. I think about them. I think about the African American poets or Mexican American poets or Puerto Rican poets who never got their shot. I’m standing on their shoulders. It’s a moment of reflection. I am a poet of advocacy, a poet who speaks for those who haven't had an opportunity to speak for themselves. In my voice, there are many voices. In my history, there are many histories. That’s who this award recognizes. \u003C/p>","\u003Cp>Against Oblivion\u003C/p>","Martín Espada on his life in poetry.",[],[3762],{"__typename":25,"id":3763,"uid":3764,"title":3765,"alt":3766,"url":3767,"height":603,"width":604,"filename":3768,"caption":3769,"copyright":3769,"focalPoint":3770},"359816","b7657cbc-8e07-4a8a-acf6-5adf20b499f6","martin-espada.jpg","Black and white photo of the poet Martín Espada.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/941b9161d7a06cfcc24a9a6229f31afdb68b8a93.jpeg","941b9161d7a06cfcc24a9a6229f31afdb68b8a93.jpeg","Photo copyright by David González.",[3771,3772],0.5374,0.5185,[3774],{"__typename":573,"status":574,"title":3775,"firstName":3776,"middleName":7,"lastName":3777,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3778,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":580,"websiteUrl":7,"image":3779,"authorRegions":3780,"categories":3781,"themes":3782,"parentCategories":3783,"childCategories":3784,"id":3785,"uid":3786,"slug":3787,"uri":3788,"url":3789,"sectionHandle":592,"postDate":3790,"dateUpdated":3791,"level":7},"Gabriel Thompson","Gabriel","Thompson","\u003Cp>Gabriel Thompson has written for the \u003Cem>New York Times, Mother Jones, Harper's, New York\u003C/em>, and the \u003Cem>Nation\u003C/em>. He is the recipient of the Richard J. Margolis Award, the Studs Terkel Media Award, and a Sidney Award. His most recent book is \u003Cem>Chasing the Harvest: Migrant Farmworkers in California Agriculture\u003C/em>.\u003C/p>",[],[],[],[],[],[],"39943","632bcb7d-9674-49a9-8540-4c5864935f6a","gabriel-thompson","people/gabriel-thompson","https://www.poetryfoundation.org/people/gabriel-thompson","2018-04-24T00:00:00-05:00","2024-06-11T13:11:03-05:00",[3105],{"__typename":615,"id":3794,"affiliation":7,"externalLinkUrl":3795,"description":7,"title":7,"uri":7,"contentItem":3796},"1291029",[],[3797],{"__typename":2900,"id":3798,"uid":3799,"title":3800,"slug":3801,"uri":3802,"url":3803,"sectionHandle":2907,"postDate":3804,"dateUpdated":3805,"level":7,"excerpt":3806,"body":3807,"formattedTitle":3808,"subtitle":3809,"essayYear":7,"magazineEntries":3810,"image":3811,"authors":3812,"articleType":3831},"24915","08562ab0-ab1e-4ef4-853d-b60f0a2b19bc","Lives of the Poets: Rodrigo Toscano","lives-of-the-poets-rodrigo-toscano","articles/69333/lives-of-the-poets-rodrigo-toscano","https://www.poetryfoundation.org/articles/69333/lives-of-the-poets-rodrigo-toscano","2009-08-19T00:00:00-05:00","2024-06-11T09:41:40-05:00","\u003Cp>Courtesy of Fence Books.\u003Cbr />\u003Cbr />Rodrigo Toscano—untucked dress shirt flapping over dark cargo shorts—stands outside the offices of the Labor Institute in downtown Manhattan. The nondescript building is a few blocks south of Union Square Park. The place where, in 2004, 500,000...\u003C/p>","\u003Cdiv style=\"background: #cccccc none repeat scroll 0% 0%; font-size: 0.85em; width: 460px; color: #000000;\">\u003Cimg src=\"/images/features/RodrigoToscano_CollapsiblePoetics460.jpg\" border=\"0\" alt=\"Rodrigo Toscano Collapsible Poetics\">\r\n\u003Cdiv style=\" border=\">Courtesy of Fence Books.\u003C/div>\r\n\u003C/div>\r\n\u003Cp>\u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=99444\">Rodrigo Toscano\u003C/a>—untucked dress shirt flapping over dark cargo shorts—stands outside the offices of the Labor Institute in downtown Manhattan. The nondescript building is a few blocks south of Union Square Park. The place where, in 2004, 500,000 protesters began their march against the Republican National Convention.\u003C/p>\r\n\u003Cp>Five years later, it’s a cloudy day in June, and the wiry poet recalls the 2004 crowd’s shape with precise hand gestures carving the humid air. He explains in a rapid-fire style his problem with the massive protest: “It was a corralling of energies . . . a fake allowance of letting a trickle of people move through an area; it was authority allowing a small, fake stream of liberality moving through its tight spaces to give the illusion that it was a civic democracy.”\u003C/p>\r\n\u003Cp>His voice drops into a conspiratorial murmur: “I wanted to blow that up.”\u003C/p>\r\n\u003Cp>Toscano, as a labor activist and as a poet is a highly combustible presence. He’s a radical in an older tradition—restless and fiery, much more \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=7665\">Louis Zukofsky\u003C/a> than \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=2547\">Allen Ginsberg\u003C/a>—but he shows up for work every day, too, which makes him something else altogether.\u003C/p>\r\n\u003Cp>Toscano’s office offers no clues that a poet works there—no ink-stained manuscripts or half-empty bottles of absinthe. Instead, it’s bare white walls and stacks of papers. A boxy PC monitor dominates his desk. The poet spends his days here at the nerve center of the labor organization, contacting other Institute employees around the country, and fielding questions from activists and workers in a wide range of disciplines.\u003C/p>\r\n\u003Cp>It wasn’t always clear to Toscano that he would have such a stable life, doing what he loves. \u003C/p>\r\n\u003Cp>He grew up in San Diego and quickly veered off the common poetry path—the one that leads from a university to an MFA program to an academic job. “I felt tracked pretty early . . . to be non-university,” he says. “I did not do well in elementary school, junior high, and high school. I was a C and D student, always in trouble. But on my own, I was always reading philosophy or poetry or politics or history.”\u003C/p>\r\n\u003Cp>Frustrated by his formal education, Toscano skipped college altogether, moving to San Francisco in the early 1990s. There, poetry and activism became intimately intertwined in his adult life. Toscano’s self-made syllabus sampled a wide range of poets—\u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98064\">Leslie Scalapino\u003C/a>, \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=3298\">Fanny Howe\u003C/a>, \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=82738\">Bob Perelman\u003C/a>, \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=81894\">Lyn Hejinian\u003C/a>, and \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=82410\">Charles Bernstein\u003C/a>—as well as political thinkers such as Karl Marx, Louis Althusser, and Herbert Marcuse. In the mid-1990s, he helped organize the Labor Party in San Francisco and published his first collection, \u003Cem>Arbiter\u003C/em> (Parenthesis, 1995).\u003C/p>\r\n\u003Cp>From there, Toscano’s life as an activist and poet took off. Within a few short years, he organized with the Service Employees International Union in Los Angeles, published \u003Cem>Partisans \u003C/em>(O Books, 1999), and protested NAFTA and worldwide privatization at the Western Hemisphere Workers’ Conference in San Francisco.\u003C/p>\r\n\u003Cp>These were heady days spent fighting what seemed like an impossible battle against the forces of hypercapitalism. “Now, that economic ‘philosophy’ has totally been shown to be bankrupt,” Toscano writes in an e-mail, “but back then, it took \u003Cem>work\u003C/em> to struggle against it.”\u003C/p>\r\n\u003Cp>Alan Benjamin, a member of the San Francisco Labor Council’s executive committee, worked closely with Toscano throughout the 1990s. Together they edited the Golden Gate Labor Party newsletter. Benjamin recalls the young poet: “He had precise demands, precise formulas. He said, ‘People are being affected and we need to speak to them directly on the issues, not just pie-in-the-sky ideas. We need a platform that speaks to the needs of the working people.’”\u003C/p>\r\n\u003Cp>By the end of the decade, Toscano was forced to reconcile his time-consuming political passion and his literary career. In 1999 he left California for the Labor Institute in Manhattan, hoping to “recoup my literary-political trajectory,” he says.\u003C/p>\r\n\u003Cp>“From that point on, my activism within organized labor began to decline, so I had this glut, and I’m talking an absolute glut, of experience, organizational experience, languages, attitude, perspective on labor justice issues,” he explains.\u003C/p>\r\n\u003Cp>As Toscano the activist stepped away from the front lines of the labor movement, Toscano the poet emerged in a flurry of politically minded experimental work. Within a few years he published \u003Cem>The Disparities\u003C/em> (Green Integer Books, 2002) and \u003Cem>Platform\u003C/em> (Atelos, 2003).\u003C/p>\r\n\u003Cp>“All that [experience] was dammed up and spilled like a broken dam into \u003Cem>Platform\u003C/em>,” he says. “So much material came out of that particular period that I could have written a book twice the length.”\u003C/p>\r\n\u003Cp>For two years during this pivotal time Toscano traveled around the country, helping educate workers about their workplaces for the institute. In New York City, he taught steam and electrical plant accident prevention with a utility workers’ union; in Chicago, he worked with bookbinders; in Nashville, he helped the Paper, Allied-Industrial and Energy Workers Union map chemical processing dangers in the workplace.\u003C/p>\r\n\u003Cp>Though the work was immensely rewarding, the long hours began to interfere with Toscano’s writing. Fortunately, the Labor Institute provides a certain flexibility for artists and gave him a more peaceful administrative post in the New York City office.\u003C/p>\r\n\u003Cp>Now that he keeps office hours, Toscano maintains a rigorous writing program in his free time. During his most intensely creative periods, he writes from 6:00 to 10:00 a.m., then heads to work. After leaving the office, he keeps a strict exercise schedule—either running or swimming. In the evening, he edits his writing from the morning, often showing final drafts to his partner, the poet Laura Elrick, for feedback.\u003C/p>\r\n\u003Cp>It’s a full life, and one he’s clearly grateful for. He dedicated his most recent collection of work,\u003Cem> Collapsible Poetics Theater\u003C/em> (Fence Books, 2008), to his colleagues at the Labor Institute. In an e-mail, he explains the gesture: “They all—together, have made my workplace an artistically amenable place to be in. Many employers in the U.S. are not that poet-friendly.”\u003C/p>\r\n\u003Cp>Toscano’s fellow employees have included a number of artists and authors, including the poets \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=98053\">Lisa Jarnot\u003C/a> and \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=111132\">Erica Hunt\u003C/a>. In addition, the institute has employed the avant-garde choreographer Sally Silvers as well as dancers, performers, designers, and cartoonists. Currently, the writer Les Leopold directs the institute.\u003C/p>\r\n\u003Cp>As Toscano moved away from his training responsibilities at work, his poetry became more instructional. But he doesn’t often exhort the reader, as did \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=5725\">Rilke\u003C/a>, to change her life—it’s a little more complicated than that. \u003C/p>\r\n\u003Cp>In fact, \u003Cem>Collapsible Poetics Theater\u003C/em> (\u003Cem>CPT\u003C/em>) reads like an avant-garde training manual, crammed with diagrams, numbered instructions, commands, and surgically precise language. In “Clock, Deck, and Movement,” Toscano orders his players to follow a technically complex set of rules, teaching his reader to channel five “different embedded voices” in each stanza.\u003C/p>\r\n\u003Cp>Toscano’s performance poem “Spine” opens with a player struggling under the weight of a vertical beam, spouting a disorienting, fragmented poem:\u003C/p>\r\n\u003Cblockquote>\r\n\u003Cp>It’s . . . not . . . the main . . . thing . . . this . . . it’s . . . the extensions . . . above . . . and away . . . far . . . each . . . dangling . . . reaching . . . vine . . . each . . . fruit . . . emotion\u003Cbr> . . . thought . . . sound . . . fading . . . slightly . . . slightly . . . expiring . . .\u003C/p>\r\n\u003Cp>The light!\u003C/p>\r\n\u003Cp> Coming down!\u003C/p>\r\n\u003Cp> A waterfall!\u003C/p>\r\n\u003C/blockquote>\r\n\u003Cp>Before every \u003Cem>CPT\u003C/em> performance—the most recent was at Schweinfurth Memorial Art Center in Auburn, New York, in April—Toscano spends from 48 to 72 hours training his players for the experience. He calls this the “Contact Zone,” an experience analogous to the poet’s technical training with workers around the country.\u003C/p>\r\n\u003Cp>Frequent collaborator Tom Orange describes it: “The prep period is intense: we usually go through at least three or four rehearsal sessions before a given performance. It’s an organic process, beginning with close collaborative study of the text, getting down elements of delivery like pacing, intonation, and inflection.”\u003C/p>\r\n\u003Cp>“I imagine that editorial work took place more between poet and performer,” explains Rebecca Wolff, the editor and publisher at Fence Books. “Some books come to us seeming to be finalized,” she adds. “Rodrigo’s been publishing books for a long time; he’s got a really strong sense of his desires and aims. The sections have thorough notes to the audience and stage directions—it was a complete concept.”\u003C/p>\r\n\u003Cp>As his \u003Cem>CPT\u003C/em> work has evolved, Toscano has enjoyed residencies at Bard College, the Evergreen State College and the Kootenay School of Writing, indicating that the academy has learned to appreciate this stubborn outsider. \u003Cem>CPT\u003C/em> was selected to be part of the prestigious National Poetry Series in 2007, a measure of mainstream recognition for a poet outside the walls of the university.\u003C/p>\r\n\u003Cp>“Even though it won the National Poetry Series, I don’t think [\u003Cem>CPT\u003C/em>] should be read,” says Natalie Knight, a poet and \u003Cem>CPT\u003C/em> player. “It should be acted—because it’s theater.” Along with many other \u003Cem>CPT\u003C/em> clips, Toscano has posted a video excerpt of a 2007 San Francisco performance of the poem “Clock, Deck, and Movement” on YouTube.\u003C/p>\r\n\u003Cp> \u003C/p>\r\n\u003Cp>\r\n\u003Cobject width=\"425\" height=\"344\">\r\n\u003Cparam name=\"movie\" value=\"http://www.youtube.com/v/gW9txrq0JCg&hl=en&fs=1&\">\r\n\u003Cparam name=\"allowFullScreen\" value=\"true\">\r\n\u003Cparam name=\"allowscriptaccess\" value=\"always\">\u003Cembed type=\"application/x-shockwave-flash\" width=\"425\" height=\"344\" src=\"http://www.youtube.com/v/gW9txrq0JCg&hl=en&fs=1&\" allowscriptaccess=\"always\" allowfullscreen=\"true\">\u003C/embed>\r\n\u003C/object>\r\n\u003C/p>\r\n\u003Cp>It opens with three untrained actors sitting at a table with microphones, like members of a surreal press conference staged by \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=433\">Samuel Beckett\u003C/a>. Music pumps over the sound system. A female narrator reads a staccato stanza over the action (“it’s nobody’s fault we don’t live in radical times, \u003Cem>it’s your fault man\u003C/em>”) as the players flip the table upside down.\u003C/p>\r\n\u003Cp>The players proceed to slide the table back and forth in an awkward battle for control, literally embodying the futile protest Toscano saw at the RNC march in 2004.\u003C/p>\r\n\u003Cp>“Volumes of articles have been written . . . about globalization,” he explains. “Everybody has been fighting over a conference table that’s been upside down, legs up, dead as a bug. Back and forth, back and forth, always ceding responsibility.”\u003C/p>\r\n\u003Cp>That image represents two seemingly contradictory sides of his life: years spent focused on teaching and activism in the workplace, while simultaneously writing esoteric poetry outside the office. Remembering Toscano’s early days as an activist, Alan Benjamin explains: “Rodrigo was very central to developing the Labor Party platform. He always wanted a very concrete platform. As a poet some of his work may seem very abstract, but in his activist work he was very committed to precision.”\u003C/p>\r\n\u003Cp>A few blocks away from the institute, Toscano reveals how this precision affects \u003Cem>CPT\u003C/em> performers: “I like more surgical kinds of poetic investigations. Perhaps at the cost, sometimes, of immediate graspable comprehension—something you can put in your vest pocket and walk away.”\u003C/p>\r\n\u003Cp>He flashes a smile.\u003C/p>\r\n\u003Cp>“I would even go so far as to say that some people are transformed.”\u003C/p>","\u003Cp>Lives of the Poets: Rodrigo Toscano\u003C/p>","Meet the radical.",[],[],[3813],{"__typename":573,"status":574,"title":3814,"firstName":3815,"middleName":7,"lastName":3816,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3817,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3818,"authorRegions":3819,"categories":3820,"themes":3821,"parentCategories":3822,"childCategories":3823,"id":3824,"uid":3825,"slug":3826,"uri":3827,"url":3828,"sectionHandle":592,"postDate":3829,"dateUpdated":3830,"level":7},"Jason Boog","Jason","Boog","\u003Cp>Jason Boog is an editor at mediabistro.com's publishing website, GalleyCat. His work has appeared in the \u003Cem>Believer\u003C/em>, \u003Cem>Granta\u003C/em>, \u003Cem>Salon.com\u003C/em>, the \u003Cem>Revealer\u003C/em>, and Peace Corps Writers. He recently finished a novel about a journalist who uncovers a sinister military-toy-industrial complex. He teaches journalism at NYU, and archives work on his personal website. (\u003Ca href=\"http://jasonboog.com\" target=\"_blank\" rel=\"noreferrer noopener\">http://jasonboog.com\u003C/a>).\u003C/p>",[],[],[],[],[],[],"35787","0915e5f5-0881-4900-8fee-78ab15352f50","jason-boog","poets/jason-boog","https://www.poetryfoundation.org/poets/jason-boog","2009-05-26T00:00:00-05:00","2024-06-11T11:51:30-05:00",[3145],{"__typename":615,"id":3833,"affiliation":7,"externalLinkUrl":3834,"description":7,"title":7,"uri":7,"contentItem":3835},"1291030",[],[3836],{"__typename":2900,"id":3837,"uid":3838,"title":3839,"slug":3840,"uri":3841,"url":3842,"sectionHandle":2907,"postDate":3843,"dateUpdated":3844,"level":7,"excerpt":3845,"body":3846,"formattedTitle":3847,"subtitle":3848,"essayYear":7,"magazineEntries":3849,"image":3850,"authors":3862,"articleType":3898},"25927","6db4eb30-6324-4150-8d0e-22f1a8f08a11","Juan Felipe Herrera: “Blood on the Wheel”","juan-felipe-herrera-blood-on-the-wheel","articles/69864/juan-felipe-herrera-blood-on-the-wheel","https://www.poetryfoundation.org/articles/69864/juan-felipe-herrera-blood-on-the-wheel","2012-09-25T00:00:00-05:00","2024-06-11T09:47:11-05:00","\u003Cp>“Blood on the Wheel,” Juan Felipe Herrera’s effusive, energetic catalog of violent extremes, may sound almost improvised; the poem passionately leaps from scene to scene, phrase to phrase, reacting against the pervasive injustice that Herrera notices and envisions in the...\u003C/p>","\u003Cp>“\u003Ca href=\"/poem/244498\">Blood on the Wheel\u003C/a>,” \u003Ca href=\"/bio/juan-felipe-herrera\">Juan Felipe Herrera\u003C/a>’s effusive, energetic catalog of violent extremes, may sound almost improvised; the poem passionately leaps from scene to scene, phrase to phrase, reacting against the pervasive injustice that Herrera notices and envisions in the United States and beyond. And yet the same poem evokes puzzles and mysteries, working both to see, and to see beyond, the grounds for outrage in a day’s or a year’s headline news. Like much of Herrera’s work, it shows roots in West Coast Chicano/a experience even while it exults in crossing national, regional, social, and linguistic boundaries. “Blood on the Wheel” uses its unruly textures and its array of rhetorical effects (some of them linked strongly to oral performance) to become at once public and hermetic, collective and yet idiosyncratic: the poem ends up on fire with a mission that we can follow but may never entirely grasp.\u003C/p>\r\n\r\n\u003Cp>Now the poet laureate of California, and the author of two dozen books of verse and prose, Herrera began as a writer and performer who worked both in Spanish and in English, sometimes within the same piece. Amid the West Coast Chicano/a movement of the early 1970s, Herrera joined “street theater groups,” as he has said in interviews, “that worked with musicians to do performance poetry.” That early work inflects his later verse. The live energy of performance infuses the couplets and lists of “Blood on the Wheel,” propelled as it is by repetitions, catalogs, and syntax (or the absence of syntax) that lets listeners stay in the moment. The poem invites us to acknowledge the many ways in which it can be heard—as performance, as incantation, as sermonlike denunciation, and also as a series of riffs and anti-realist takes on the interconnection of Detroit and Texas, poet and society, “the Groove Shopping Center” and the mysterious “Macho Hat.” On the one hand, it sprawls in many directions, all over its imagined map; on the other, it holds itself together around the many implications of one complicated word.\u003C/p>\r\n\r\n\u003Cp>That word, of course, is “blood,” which comes to represent (among other things) violence, guilt (as in “blood on our hands”), life itself, vigor, a common humanity, and familial or communal loyalty (“blood ties”). Blood connects everything to everything, every body to every other body: we American readers (Anglo, Chicano, or otherwise) might be connected by our culpable ignorance, by an outrageous and especially American devotion to violence, and by a kind of loyalty to one another that—if it does not destroy us—might save us instead.\u003C/p>\r\n\r\n\u003Cp>Much of the poem makes sense as an exploration, a rapid-fire list, of all the meanings blood can hold. At first it means danger, pollution, and destruction, linked obscurely to “night soil” (feces) and then to “tattoos hidden,” perhaps in prison, perhaps by ex-gang members and ex-cons. Blood appears on the Virgin Mary in the third stanza, perhaps as a sign of modern American sin, perhaps instead as a promise of salvation; next, a nameless city runs with “the blood of the worker rat” or “the clone governor” or a maid, because all human blood, to the naked eye, looks the same. Like almost any liquid, blood once shed is no respecter of straight lines—it can run rightward or leftways, in s’s or in z’s. Herrera goes on to find blood-guilt in gangster rap, “blackened and whitened in news,” blood in the rape culture that blurs the lines between violence and sex, blood in the necessarily grueling struggle of agricultural workers (such as the lettuce pickers organized by Cesar Chavez) for better conditions and a living wage. There is blood, guilt, inescapable and sinful violence in an America that rewards action movies such as \u003Cem>The Terminator\u003C/em>, a “box office smash hit”; that acquits O.J. Simpson; that generates the terrorist Timothy McVeigh, who blew up a federal office building in Oklahoma City in 1995. Such figures are our vicious, inverted nobility: we may as well call them, if we call anyone, “sir.”\u003C/p>\r\n\r\n\u003Cp>Herrera’s quick changes of scene—and his consistent central symbol—let him flip back and forth between two apparently incompatible goals: first, the openness of political protest (which requires some clarity, so that we know who denounces what, for whom); second, the dreamlike depths of European and Latin American Surrealism, where the dominant images must defeat prose sense. Why is there “blood on the couch” in the fifth stanza? Is the “screen” a TV screen, or the screen in a confessional? What is “his whitish blood ring”? Why “dog blood… through my sheets”? We are not to know; we may never know.\u003C/p>\r\n\r\n\u003Cp>Yet Herrera cannot stay away from characters, nor from ethical imperatives, for very long. “Blood from a kitchen fresco” extends the poem from prisons and televisions, symptoms of troubled nations, into a space where a family might feel at home; that family might include a grandmother, a daughter, and a father. It might also include “alligator jacket teen boy Juan,” who sheds blood, or whose blood is shed, perhaps in a bowling alley: “Mercy Lanes #9.”\u003C/p>\r\n\r\n\u003Cp>Such attacks on an American culture of violence, on American machismo and American capitalism, could be monotonous in other hands, but Herrera avoids monotony by flipping through scene after scene, mixing vividly unambiguous phrases with sites where we might not know what exactly he wants us to see. Consistent deployments of poetic form—in particular, anaphora, where phrases and words repeat at the outset of lines—also serve to hold the poem together. These moments where symbols fly out of the grasp of semantics, where the poet’s prophetic, denunciatory energy has propelled him away from the world of material things, retain our attention even as they tease, or repel, our interpretive skills.\u003C/p>\r\n\r\n\u003Cp>“Blood” occurs most often as the first word in a line, the start of a repeated phrase: “Blood on the night … Blood on the sullen chair … Blood in the tin … Blood driving … Blood driving … Blood in the border web.” Such initial repetitions give the poem an organization that is easy to follow, especially out loud. Anaphora in American English poetry has strong associations with Walt Whitman and with the young Allen Ginsberg, both precursors for Herrera’s visionary-radical program. Anaphora also encourages lines, and whole poems, to stretch out rather than to drive toward a predetermined end. Working against that expansion, towards closure, are moments of syntax, completed sentences, or—more often—of questions: these moments help Herrera make the poem seem open-ended, without letting it fall apart. Herrera also uses epistrophe and mesostrophe, repetition at the end and in the middle of successive lines. Such devices keep the poem organized as music is organized, invoking the call-and-response modes of gospel songs and spirituals, such as the song Herrera quotes for the poem’s epigraph, “Ezekiel Saw the Wheel.”\u003C/p>\r\n\r\n\u003Cp>That song and its words have many versions. Some (such as Woody Guthrie’s) attack corporations and profits in explicit terms; the oldest and most familiar versions of the song, however, describe Israelites “dressed in white” transported from Egypt, slaves delivered from bondage, and in the chorus (drawn from Ezekiel 1:14–28) a great divine wheel that turns as God has willed it, “way up in the middle of the air.” This wheel—like capitalism, blood, or human nature—connects everything to everything else. And unlike capitalism this wheel suggests a divine plan: in the Biblical source, the floating wheel signifies “the likeness of the glory of the Lord.”\u003C/p>\r\n\r\n\u003Cp>Yet Ezekiel’s vision—like Jeremiah’s, like Herrera’s—rebukes a “rebellious nation” (Ezekiel 2:1) even while it foresees eventual redemption. The Americans in Herrera’s poem, like the Israelites in Ezekiel, appear to have conquered themselves, to have succumbed to their own sinful, violent aspects: they also go out of their way to subjugate border-crossers, to mistreat “African Blood Tribes” and indigenous (e.g. “Mayan”) peoples. Herrera has said that Mexican heritage “is always connected to the indigenous history of the Americas”; those connections, which Anglos often ignore, provided an ideology for the Chicano movement of the 1970s, with its vision of Aztlán, the once and future, indigenous and Mexican, continent.\u003C/p>\r\n\r\n\u003Cp>Herrera grew up in a Spanish-dominant household, and he has continued to mix English and Spanish within as well as between poems. Though “Blood on the Wheel” does not use very much Spanish, what Spanish it does use is crucial. \u003Cem>Maquila\u003C/em>, short for \u003Cem>maquiladora,\u003C/em> refers in Mexican Spanish to a factory producing goods for export, and can connote “sweatshop”; a \u003Cem>maquila oración\u003C/em> would be a factory (or sweatshop) prayer. Such prayers might ascend from “my Mexican hoodlum blood,” or from the “bilingual yard,” or for that matter from “the Groove Shopping Center”: in Herrera’s Americas, where borders are for crossing, anybody can end up almost anywhere.\u003C/p>\r\n\r\n\u003Cp>The distinguished critic Lauro Flores writes that Herrera’s work crosses and challenges the borders not only of nations but of genres, playing a “game of interaction with other artistic forms (music, painting and theater)” while exceeding “limits imposed by the traditional notion of ‘poetry.’” Visions of excess and of interconnection, both shameful and saving, reach out across “Blood on the Wheel,” across maps of the United States, Mexico and other countries, as they reach out beyond this poem into the rest of the book where it first appeared. In \u003Cem>Border-Crosser with a Lamborghini Dream\u003C/em> (1999), “Blood on the Wheel” inaugurates a series of shorter texts with “blood” in their titles, all about blood ties and the shedding of blood: the fierce “blood gang call” (“Calling all tomato pickers, the ones wearing death frowns instead of jackets”), the comic “blood mouse manifesto,” “2pac blood,” “aztec blood sample,” and “ezekiel’s blood,” inspired by the vision of resurrection in Ezekiel 37: 1–14: “in that burial we found each other. We picked up/ the bones.”\u003C/p>\r\n\r\n\u003Cp>In this particular poem, though, the resurrection has yet to come: the litany of sometimes fatal dangers runs from the exploitation of agricultural workers in Iowa and California to the breakup of Yugoslavia in the 1990s to domestic violence to an apparent infanticide “in a Greyhound bus.” Could all these sins have a common root, a common modern character? As Herrera writes near the end of the poem, “Could this be yours? Could this item belong to you? / Could this ticket be what you ordered, could it?”\u003C/p>\r\n\r\n\u003Cp>Those crucial late lines make up just one of two couplets in the poem without the word “blood.” Indeed, they ask whether the poem’s “blood” belongs to “you.” And it may: by participating in American consumer society, drinking the coffee we buy, eating foods made from soybeans, accepting the protection of the state police and the “Army ventricle Marines,” many of the people most likely to read this poem must have some blood on our hands, even if we carry some Mayan blood too. Herrera’s vision of blood in circulation, of symphonic interdependence and interconnection, is also a vision of guilt and of contagion, “in the Groove Virus Machine.” We readers must be at once oppressor and oppressed, infected vectors of a culture that plays like one big “mob orchestra”: the crowd of the poem, the crowd that chants the poem, participates in its own indictment, in the indictment of a system we serve.\u003C/p>\r\n\r\n\u003Cp>Can life, on either side of any border, become less harsh, get back on track? Herrera suggests that it can, but only if we attend to still more meanings for complex, common words. “Fast” equals “speedy” but also “durable,” that is, hard to break or counteract. Thus “Blood be fast,” in the final sentence of the poem, means not only that blood runs rapidly (when it is shed, as in action movies) but that blood should give us durable connections to one another, as through extended families and family histories, past national borders. Blood links grandmother to daughter, can link farmers or workers in Iowa to their counterparts in California, and if our imaginations can become as capacious as Herrera’s expansive poem attempts to make them, “blood” guilt can even do the work of “blood” inheritance. If we can feel our share in what goes wrong, in the damage our civilization can do, if we can envision those interconnections, we might work together to make it less wrong. It is a quick hope, but better than none at all.\u003C/p>","\u003Cp>Juan Felipe Herrera: “Blood on the Wheel”\u003C/p>","Tracing the many conflicting meanings of the word \"blood.\"",[],[3851],{"__typename":25,"id":3852,"uid":3853,"title":3854,"alt":3855,"url":3856,"height":603,"width":604,"filename":3857,"caption":7,"copyright":3858,"focalPoint":3859},"284925","fa6df3a2-ee7e-4a17-a70e-588ec1bc41b8","Juan-Felipe-Herrera.jpg","Image of Juan Felipe Herrera","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/84e2059811e68e090c5a68c07f5478ef4a73565f.jpeg","84e2059811e68e090c5a68c07f5478ef4a73565f.jpeg","© Carlos Puma/UC Riverside. Courtesy of Blue Flower Arts.",[3860,3861],0.3533,0.6186,[3863],{"__typename":573,"status":574,"title":3864,"firstName":3865,"middleName":7,"lastName":3866,"prefix":7,"suffix":7,"pseudonyms":3867,"primaryBio":578,"foundationBio":3868,"galeBio":7,"poetryBio":3869,"polBio":3870,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":3871,"image":3872,"authorRegions":3886,"categories":3887,"themes":3888,"parentCategories":3889,"childCategories":3890,"id":3891,"uid":3892,"slug":3893,"uri":3894,"url":3895,"sectionHandle":592,"postDate":3896,"dateUpdated":3897,"level":7},"Stephanie Burt","Stephanie","Burt","Stephen Burt\nSteph Burt","\u003Cp>Stephanie (also Steph; formerly Stephen) Burt is a poet, literary critic, and professor. In 2012, the \u003Cem>New York Times \u003C/em>called Burt “one of the most influential poetry critics of [her] generation.” Burt grew up around Washington, DC and earned a BA from Harvard and PhD from Yale. Burt’s books include \u003Cem>We Are Mermaids\u003C/em> (2022), \u003Cem>After Callimachus\u003C/em> (2020), \u003Cem>Advice from the Lights \u003C/em>(2017), \u003Cem>Belmont\u003C/em> (2013), \u003Cem>Parallel Play\u003C/em> (2006), and \u003Cem>Popular Music\u003C/em> (1999).\u003Cbr />\n\u003Cbr />\nBurt’s works of criticism include \u003Cem>The Poem is You: 60 Contemporary American Poems and How to Read Them \u003C/em>(2016); \u003Cem>Close Calls with Nonsense: Reading New Poetry \u003C/em>(2009), which was a finalist for the National Book Critics Circle Award; \u003Cem>The Art of the Sonnet, \u003C/em>written with \u003Ca href=\"http://www.poetryfoundation.org/archive/poet.html?id=111636\">David Mikics\u003C/a> (2010); \u003Cem>The Forms of Youth: 20th-Century Poetry and Adolescence\u003C/em> (2007);\u003Cem> \u003Cem>Randall Jarrell on W.H. Auden\u003C/em> \u003C/em>(2005), with \u003Ca href=\"/bio/hannah-brooks-motl\">Hannah Brooks-Motl\u003C/a>;\u003Cem> \u003C/em>and \u003Cem>Randall Jarrell and His Age \u003C/em>(2002).\u003Cbr />\n\u003Cbr />\nBurt has taught at Macalester College and is now Professor of English at Harvard University. She lives in the suburbs of Boston with her spouse, Jessie Bennett, and their two children.\u003C/p>","\u003Cp>Stephanie Burt’s books include \u003Cem>We Are Mermaids\u003C/em> (Graywolf Press, 2022) and \u003Cem>After Callimachus\u003C/em> (Princeton University Press, 2020).\u003C/p>","\u003Cp>\u003Cspan>Stephanie Burt is a poet, literary critic, and professor. Burt has taught at Macalester College and is now Professor of English at Harvard University. She lives in the suburbs of Boston with her spouse, Jessie Bennett, and their two children.\u003C/span>\u003C/p>","http://www.closecallswithnonsense.com",[3873],{"__typename":25,"id":3874,"uid":3875,"title":3876,"alt":3877,"url":3878,"height":3879,"width":3880,"filename":3881,"caption":3882,"copyright":3882,"focalPoint":3883},"261317","277e6185-9edb-45f9-a84e-073f04a84df9","stephanie-burt.jpg","Image of the poet and critic Stephanie Burt.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/f5167f452904ad020deb60d72215faa52d9c8348.jpeg",383,575,"f5167f452904ad020deb60d72215faa52d9c8348.jpeg","Photo by Jessica Bennett.",[3884,3885],0.5222,0.4784,[],[2925,2938,3248],[],[2961],[3259],"30389","3e188860-4795-4c08-a727-6c4361bfd6fd","stephanie-burt","poets/stephanie-burt","https://www.poetryfoundation.org/poets/stephanie-burt","2009-05-06T00:00:00-05:00","2024-08-20T09:38:04-05:00",[3899],{"__typename":3002,"id":3900,"title":3901,"formattedTitle":3901},"56","Poem Guide",{"__typename":615,"id":3903,"affiliation":7,"externalLinkUrl":3904,"description":7,"title":7,"uri":7,"contentItem":3905},"1291031",[],[3906],{"__typename":2900,"id":3907,"uid":3908,"title":3909,"slug":3910,"uri":3911,"url":3912,"sectionHandle":2907,"postDate":3913,"dateUpdated":3914,"level":7,"excerpt":3915,"body":3916,"formattedTitle":3917,"subtitle":3918,"essayYear":7,"magazineEntries":3919,"image":3920,"authors":3921,"articleType":3940},"25441","3b0b0615-9abc-4af8-a1e4-2e88a389001b","Afflict the Comfortable","afflict-the-comfortable","articles/69603/afflict-the-comfortable","https://www.poetryfoundation.org/articles/69603/afflict-the-comfortable","2010-10-13T00:00:00-05:00","2024-06-11T09:44:42-05:00","\u003Cp>Before he started teaching literature at the University of Massachusetts in 1993, Martín Espada worked as a tenant lawyer in a poor community outside of Boston.\u003Cbr />As he writes in his new essay collection, \u003Cem>The Lover of a Subversive Is Also...\u003C/em>\u003C/p>","\u003Cp>Before he started teaching literature at the University of Massachusetts in 1993, \u003Ca href=\"http://www.poetryfoundation.org/bio/martan-espada\">Martín Espada\u003C/a> worked as a tenant lawyer in a poor community outside of Boston.\u003C/p>\r\n\r\n\u003Cp>As he writes in his new essay collection, \u003Cem>The Lover of a Subversive Is Also a Subversive\u003C/em>, when he wasn’t working on “eviction defense, conditions cases, injunctions to fix the heat or exterminate rats,” Espada would often pass the time with pen in hand: “While waiting for my cases to be called, I would sit on a staircase in the courthouse, scratching poems on a yellow legal pad.”\u003C/p>\r\n\r\n\u003Cp>In a sense, this anecdote encapsulates Espada’s poetry career. Over the course of almost 20 collections of poetry, essays and translations, Espada—a Pulitzer Prize finalist for his 2006 collection \u003Cem>The Republic of Poetry\u003C/em>—has proved to be the voice of the underdog, a resourceful writer motivated by both personal and political concerns.\u003C/p>\r\n\r\n\u003Cp>“In many of my poems that go beyond the law, I see myself as an advocate, speaking on behalf of those who don’t have an opportunity to be heard,” he says, from his home in Amherst. “Whereas this is a somewhat controversial position to take in the poetry world, in the world I come from as an attorney it was a very natural thing to do.”\u003C/p>\r\n\r\n\u003Cp>For example, “Imagine the Angels of Bread,” from his 1996 book of the same title, is characteristic of Espada’s poetic ethos. In it, he conjures a working-class uprising in which “squatters evict landlords” and\u003C/p>\r\n\r\n\u003Cblockquote>\r\n\u003Cp>darkskinned men\u003Cbr>\r\nlynched a century ago\u003Cbr>\r\nreturn to sip coffee quietly\u003Cbr>\r\nwith the apologizing descendants\u003Cbr>\r\nof their executioners\u003C/p>\r\n\u003C/blockquote>\r\n\r\n\u003Cp>\u003Cem>Subversive\u003C/em>, which collects Espada’s provocative essays on everything from Pablo Neruda (whose poems he teaches at UMass) to Vietnam War poetry, evinces concerns that echo those found over the years in his verse.\u003C/p>\r\n\r\n\u003Cp>“There’s an old journalistic axiom that applies: the duty of the journalist is to comfort the afflicted and afflict the comfortable,” says Espada, 53, relating the idea to his work. “I still believe as a matter of purpose that that’s what I should try to do.\u003C/p>\r\n\r\n\u003Cp>This notion is represented in the new book’s title piece, which is subtitled “Colonialism and the Poetry of Rebellion in Puerto Rico.” The essay\u003Cem> \u003C/em>tells of his “mentor (and) friend” Clemente Soto Vélez, the late Puerto Rican poet, who wrote about the island’s relationship with America: “The poets of Puerto Rico have often articulated the vision of independence, creating an alternative to the official history of the kind propagated by occupiers everywhere. They have been imprisoned for their words and ideas, despite the rhetoric of free expression favored by the United States.”\u003C/p>\r\n\r\n\u003Cp>I asked Espada if the piece might be more broadly read as a roadmap for artists of all sorts looking for their political voice. He said, “I would hope that the essay you’re referring to has ramifications beyond the matter of independence for the island of Puerto Rico. [. . .] There are common denominators and common ground between us that I’m always looking for. As you can see from the scope of the essays, and for that matter the scope of the poetry, I left the block a while ago. I draw very broad analogies, and I try to cast as wide a net as I possibly can.”\u003C/p>\r\n\r\n\u003Cp>In another essay that blends the personal and the political, “Blessed Be the Truth-tellers: In Praise of Jack Agũeros,” Espada celebrates the work of a man who, like Espada himself, was born in New York City to a father who migrated from Puerto Rico. He writes with admiration of Agũeros’s devotion to sonnets and psalms. And, alluding to the greatest political hip-hop group of them all, he declares, “If Public Enemy is ‘the CNN of the ghetto,’ then Jack Agũeros is the PBS of the barrio.” But he argues that Agũeros’s relative obscurity is linked to his heritage.\u003C/p>\r\n\r\n\u003Cp>He expands on the idea in our interview: “I think [the marginalization of Agũeros] has everything to do with his not only being a Puerto Rican poet but a Puerto Rican poet who writes political poems. In a way that is a violation of literary etiquette, twice over. It’s a combination that’s almost lethal, in terms of that level of neglect.”\u003C/p>\r\n\r\n\u003Cp>And in “The Unacknowledged Legislator: A Rebuttal,” Espada reflects on the marginalization of poetry. Poets, he writes, “grouse about being ignored, about paltry attendance at readings and royalty statements that would cause most novelists to jump off a bridge. Yet poets also contribute to their marginalization by producing hermetic verse and living insular lives, confined to the academy or to circles of other poets.”\u003C/p>\r\n\r\n\u003Cp>As a literature professor working within a state university system, Espada might also be described as a writer “confined to the academy.” Asked if he worries about staying as connected to his core concerns as he was during his days as a tenant lawyer, Espada says, “It can be a struggle. On the other hand, I think it depends to a great extent on the content of your own work. If I was writing poems about European vacations, or if I was writing poems that made no sense to anybody at all, then I would be isolated from my community. I’d be isolated from every community except the community of poets. Yet because of the nature of what I write, I don’t have any problem connecting to the community reflected in those writings.”\u003C/p>\r\n\r\n\u003Cp>This is a recurrent theme in Espada’s writings and public comments. \u003Cem>Subversive\u003C/em> contains an interview he granted on the occasion of the 150th anniversary of Whitman’s \u003Cem>Leaves of Grass\u003C/em>, in which Espada discusses “the MFA universe” and “the movement toward obscurity, toward a trivialization of poetry, where the goal is to adopt a pose of detached, hip cynicism and not to engage with the world.”\u003C/p>\r\n\r\n\u003Cp>In our conversation, Espada says, “There are many reasons why poetry is marginalized in this country. Perhaps the largest reason is the overall decline of literacy. As literacy continues to decline, the readership for poetry will also decline. We can’t forget the big picture.\u003C/p>\r\n\r\n\u003Cp>“Having said that, if you make no attempt to communicate, you can’t be surprised when people don’t care what you have to say. That appears obvious to me. I’m thinking now of my father, a very intelligent man who, it so happens, lacks a college education and has very little patience for any aesthetic obscurity. My father is also a photographer, so he’s an artist as well. Anyway, I remember taking him once to the Museum of Fine Arts in Boston, and letting him wander around through the exhibits. He came upon a little blue cone in the middle of a room, and he looked at this cone. He stared at it very hard, and then he announced in a voice loud enough to be heard across the street, ‘I just wasted 10 seconds of my life looking at that.’ I have a feeling there are a lot of people who feel that way about the poetry of obscurity, that there is a sense of—even if we don’t say it out loud—a great sense of frustration with it.”\u003C/p>\r\n\r\n\u003Cp>Though he doesn’t call out offending poets by name, Espada makes clear—by way of an amusing tale—what sort of writing he’s talking about.\u003C/p>\r\n\r\n\u003Cp>“It’s easy to confuse a reader. That’s not hard,” he says. “I had a friend named Tony who had a huge, terrifying German shepherd by the name of Toro. This dog was 150 pounds, and the dog used to guard a used car lot in Queens, which tells what his qualifications were. Tony would take Toro into a field and then pretend to throw a ball. And Toro would run a hundred yards before he figured out there was no ball in the air. And then Tony would do a dance and he would sing: ‘I’m smarter than Toro.’ Well, that’s how I feel about some of this poetry. It’s easy to fool me if you’re not trying to communicate with me. Anybody can string together a bunch of nouns without a verb, or a bunch of verbs without a noun, and say, ‘Well, that’s art.’ Or my favorite justification these days for this sort of aesthetic: ‘It’s a reflection of the chaos in the world around us.’ To me it’s supremely lazy.”\u003C/p>\r\n\r\n\u003Cp>Espada, though, is glad to see the boom in poetry publication that has been enabled, at least in part, by technology\u003C/p>\r\n\r\n\u003Cp>“One of the things that I think has been a very positive influence in terms of the Internet is that it makes poetry more and more an international forum. I have been translated into a number of languages, but that’s really exploded since the advent of the Internet. Now I regularly correspond with somebody who’s translating me into Russian. And somebody else is translating me into Hindi. And somebody else is translating me into Turkish. That couldn’t happen without the Internet, and so it makes poetry a world art even more than it was before. I think that’s all to the good. Of course I’m old school: I still don’t think of a publication as a publication unless I can hold it in my hands. But I think I’m going to have to get over that.\u003C/p>\r\n\r\n\u003Cp>“I published recently in an online journal in Cork, Ireland. One of the essays [in \u003Cem>Subversive\u003C/em>] actually appeared there, and the explanation for this was very cogent, which was ‘we used to do this in hard copy, and it makes sense now to do it online.’ They gave me the numbers: we reach thousands more people doing it this way. At a time when not only the economy of the United States but also the world economy is hurting, there has to be a way to reduce the overhead so you can get your message out. How many literary magazines have we seen that, with great pomp and circumstance, publish one issue and then are never heard from again? It doesn’t help that the literary magazine usually has a name like \u003Cem>Ellipsis\u003C/em> or \u003Cem>Ampersand\u003C/em>. But the fact is that so much money goes into printing something, and printing it well.”\u003C/p>\r\n\r\n\u003Cp>Though they may be reaching a broader audience than ever before, Espada concedes that his political poems have not often succeeded in toppling despots or righting economic wrongs. But, he says, the socially engaged poet must keep up the fight, regardless of the outcome.\u003C/p>\r\n\r\n\u003Cp>“Some of the greatest poems about love written in the Spanish language have been written by \u003Ca href=\"http://www.poetryfoundation.org/bio/pablo-neruda\">Pablo Neruda\u003C/a>, most famously his ‘Twenty Love Poems and a Song of Despair,’ which was published in 1924, when he was all of 20 years old,” he says. “He wrote those poems to two different women, and ultimately both of those relationships failed. We don’t measure those poems based on the success of his relationships. We don’t measure those poems on whether or not they had the desired effect on the women in question. That would be ludicrous. Instead, people read those poems for what they are. We should simply treat political poems the same way.”\u003C/p>","\u003Cp>Afflict the Comfortable\u003C/p>","Martín Espada looks for poetic life outside the MFA universe.",[],[],[3922],{"__typename":573,"status":574,"title":3923,"firstName":3924,"middleName":7,"lastName":3925,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3926,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":580,"websiteUrl":7,"image":3927,"authorRegions":3928,"categories":3929,"themes":3930,"parentCategories":3931,"childCategories":3932,"id":3933,"uid":3934,"slug":3935,"uri":3936,"url":3937,"sectionHandle":592,"postDate":3938,"dateUpdated":3939,"level":7},"Kevin Canfield","Kevin","Canfield","Kevin Canfield is a writer in New York. His work has appeared in \u003Cem>Bookforum\u003C/em>, the \u003Cem>New York Times\u003C/em> and many other publications. \u003Cbr />",[],[],[],[],[],[],"36193","526993f6-9800-4d02-9179-237c86697756","kevin-canfield","people/kevin-canfield","https://www.poetryfoundation.org/people/kevin-canfield","2010-04-12T00:00:00-05:00","2024-06-11T11:55:31-05:00",[3145],{"__typename":615,"id":3942,"affiliation":7,"externalLinkUrl":3943,"description":7,"title":7,"uri":7,"contentItem":3944},"1291032",[],[3945],{"__typename":2900,"id":3946,"uid":3947,"title":3948,"slug":3949,"uri":3950,"url":3951,"sectionHandle":2907,"postDate":3952,"dateUpdated":3953,"level":7,"excerpt":3954,"body":3955,"formattedTitle":3956,"subtitle":3957,"essayYear":7,"magazineEntries":3958,"image":3959,"authors":3971,"articleType":4001},"28651","e927350f-5db0-4869-b7f0-1886d386562c","Men Should Cry More","men-should-cry-more","articles/148072/men-should-cry-more","https://www.poetryfoundation.org/articles/148072/men-should-cry-more","2018-10-22T00:00:00-05:00","2024-06-11T10:00:54-05:00","\u003Cp>Born in Chicago and raised in the nearby suburb of Cicero, the poet Jacob Saenz is known for his unsparing explorations of boyhood, masculinity, race, family, and love. His debut collection, \u003Cem>Throwing the Crown\u003C/em> (2018), is a tough but sweet...\u003C/p>","\u003Cp>Born in Chicago and raised in the nearby suburb of Cicero, the poet \u003Ca href=\"https://www.poetryfoundation.org/poets/jacob-saenz\">Jacob Saenz\u003C/a> is known for his unsparing explorations of boyhood, masculinity, race, family, and love. His debut collection, \u003Cem>Throwing the Crown\u003C/em> (2018), is a tough but sweet evocation of those themes. It won the 2018 American Poetry Review/Honickman First Book Prize. \u003Ca href=\"https://www.poetryfoundation.org/poets/gregory-pardlo\">Gregory Pardlo\u003C/a>, who chose the manuscript from more than 800 submissions, writes that Saenz’s collection “quietly defies the old narratives that portray young men in cities like Chicago as anonymous statistics and cautionary tales.” Saenz is also the recipient of the Ruth Lilly Poetry Fellowship from the Poetry Foundation and a Letras Latinas Residency Fellowship. This summer, I corresponded with Saenz, who works as an acquisitions editor at Columbia College and as an associate editor of \u003Cem>RHINO, \u003C/em>a literary magazine based in Evanston, Illinois. We talked about the Chicago Bulls of the 1990s, Frito-Lay, and why “men should cry more.” The following exchange was condensed and edited.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Many poems in this book explore “having to navigate gang-infested neighborhoods as a boy who looked the part but wasn’t a gangbanger,” and the title refers to the hand signal that represents the Latin Kings. How did poetry enter your life, and how did it fit into your childhood and that milieu? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I grew up on 15th and 51st Avenues in Cicero during the 1980s and 1990s. At the time, there were a lot of gangs in and around our neighborhood. My block originally was claimed by Noble Knights, then later Latin Kings. The next block south belonged to Two Six Nation, a rival of the Latin Kings. Go this way, there were the Two Two Boys. Go that way, Latin Counts. As a teen, I had to be conscious of what colors I was wearing as I walked from block to block, which was difficult. My friends and I dressed according to the style of the times: baggy pants, extra-large shirts or jerseys, hairnets, etc. Because of the way we looked and sometimes acted, my friends and I were sometimes mistaken for gangbangers and harassed. My poem “This Never Happened” explores one such moment.\u003C/p>\r\n\r\n\u003Cp>I started out writing very rhymey love poems in high school. Most were born out of unrequited love and/or crushes. At the end of my junior year, I took a poetry workshop at Columbia College Chicago, and that really helped open my eyes to what poetry can be. I discovered the poetry of \u003Ca href=\"https://www.poetryfoundation.org/poets/pablo-neruda\">Pablo Neruda\u003C/a>, \u003Ca href=\"https://www.poetryfoundation.org/poets/sandra-cisneros\">Sandra Cisneros\u003C/a>, \u003Ca href=\"https://www.poetryfoundation.org/poets/sharon-olds\">Sharon Olds\u003C/a>, and \u003Ca href=\"https://www.poetryfoundation.org/poets/li-young-lee\">Li-Young Lee\u003C/a>. Reading their work helped give me a better sense of my own voice and the level of craft and commitment it takes to make a good poem. My family and friends from the old neighborhood have been very supportive of my work, which I’m thankful for because I feel at times I’m writing for them more than anyone else.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>The Honickman Foundation, which sponsors the APR First Book Prize, believes that poetry has the power “to reflect and interpret reality, and, hence, to illuminate all that is true.” What is the role of truth in your work? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Though a lot of my work tends to veer toward the autobiographical, I don’t let facts get in the way of whatever truth I’m striving for, if that makes sense. When I’m writing a poem, I try to stay true to the beauty and spirit of whatever subject I happen to be writing about. The bachelor poems, for example, were born out of attending weddings in real life, but some of the facts are a little mixed up. What mattered more was exploring the truth of what it means to be a bachelor in these times, facts be damned.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>In addition to publication, the Honickman Award gives the winner a $3,000 prize. What’s the best thing you did or plan to do with the money? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I think the best thing I did with the money was commission the art for the cover. Because \u003Ca href=\"https://www.poetryfoundation.org/poets/krista-franklin\">Krista Franklin\u003C/a> [the artist]. I plan to do some traveling to promote the book, so the money will partly fund those trips.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Speaking of the cover—a collage of birds and images of nature, Loter\u003C/strong>\u003Cstrong>í\u003C/strong>\u003Cstrong>a cards, and photographs of young Latinx men—it’s gorgeous. How did the cover come about, and how much input did you have?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I feel so fortunate and grateful to have Krista Franklin’s work as the cover of the book! She was the first and, really, only person I had in mind when it came to the cover. When I initially asked her for cover art, she sent me some ready-made pieces of her work that, although beautiful, didn’t quite fit the themes of the book. After that, she asked for some old photos of me from the times referenced in the book, which she had read by then and had an idea of where to go. After a few weeks, she sent me the piece that is now the cover, and I was blown away by what she came up with. I still am.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>In “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/55864/blue-line-incident\">Blue Line Incident\u003C/a>,” you write about an encounter with a “coked-out, / crazed King w/ crooked teeth” who demands to know the speaker’s allegiances to the area gangs. To his own disappointment, the speaker replies with the flash of a gang sign and a hollow boast about his affiliations, then laments, “\u003C/strong>\u003Cstrong>I was fishing for a life- / saver & he took, hooked him in / & had him say goodbye like we was boys /\u003C/strong> \u003Cstrong>& shit when really I should’ve /\u003C/strong> \u003Cstrong>gutted that fuck w/the tip /\u003C/strong> \u003Cstrong>of my blue ballpoint.” The final lines seem to suggest a pen-is-mightier-than-the-sword comeuppance or maybe even pen-as-sword. To what extent do you see art and poetry as alternatives to violence and hopelessness? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I believe art and poetry offer more productive and healthier alternatives to violence and feelings of anger, hopelessness, and despair. “Blue Line Incident,” in particular, was born out of feelings of anger and rage at being mistaken for a gangbanger. At the time of the incident, I was enrolled in a high school poetry workshop. After the encounter with the gangbanger, I brought in a very raw poem full of explicative words in a big bold font. It was more of a rant than a poem, but it allowed me to channel the anger and aggression I felt toward the gangbanger in a healthier way than acting out violently. It wasn’t until years later that I revisited the poem and crafted it into what is now in the book.\u003C/p>\r\n\r\n\u003Cp>As far as the pen-is-mightier-than-the-sword comeuppance, I didn’t originally intend that, but I’m happy that it’s read that way. When I wrote that ending, I was more thinking of a scene from the movie \u003Cem>Casino \u003C/em>where Joe Pesci’s character literally stabs somebody in the neck with a pen. It’s a gruesome, violent scene, but that’s what I envisioned myself doing to the gangbanger at the time. Instead, I wrote a poem.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Basketball—as a sport but also as a locus of race and class concerns and as metaphorical possibilities—seems important to both your life and your poems, particularly “Shootaround,” “Latin Immortal Gangstas,” and “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/56929/holding-court\">Holding Court\u003C/a>.” What does the game mean to you, both personally and as a fan, and how does it impact your creative work? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Basketball provides a great joy and comfort to my life. I love playing it, watching it, reading about it. It’s my favorite type of exercise, and I think the game provides a great way to build on one’s individual skill in a team setting. I’m not sure how it impacts my writing other than I occasionally have a basketball poem. As a fan, I was absolutely spoiled growing up watching the Chicago Bulls of the 1990s win six championships. It made me think that was the norm. More than 20 years later, the Bulls have not been back to the finals, but they’re still my team, and I’m looking forward to seeing how their young core develops.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Masculinity receives a great deal of critical attention in these pages. How did you settle on that theme? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Considering that I identify as a cis male, the theme of masculinity is one I constantly explore and will continue to explore in my writing. I think there are too many problematic aspects of masculinity to list here, and I don’t think I’m smart enough to remedy them all. As a cis male, one thing I will say is that it’s important to recognize the privilege I have as a man in relation to other people. Even as a person of color, I still have privileges that are not afforded to women or non-binary people, which is made even more complex when those people are of color or queer or disabled. I am aware of and sensitive to that and try to live my life respecting how other people live and checking my masculine privilege when needed. Also, as someone who is quick to cry, I think men should cry more and welcome those feelings that arouse tears.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Bachelorhood is another running theme, one you handle with humor but also with genuine pathos, as in “\u003Ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/143950/the-bachelor-watches-the-bachelor\">The Bachelor Watches ‘The Bachelor.’\u003C/a>” You write, “\u003C/strong>\u003Cstrong>The show ends & I rise from the couch /\u003C/strong> \u003Cstrong>& walk into the kitchen. On bended knee, /\u003C/strong> \u003Cstrong>I reach for a bottle of beer deep /\u003C/strong> \u003Cstrong>in the back of the fridge, pop the top / like a question & take a swig, cold /\u003C/strong> \u003Cstrong>& crisp once it hits my full lips.” \u003C/strong>\u003Cstrong>At a reading you gave in Chicago in July, you made a distinction between being a bachelor (yourself) and a confirmed bachelor (one of your brothers). How do you define \u003Cem>bachelorhood\u003C/em>, and how do you feel about it as a state of being? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I think the poems in the book do a better a job of defining and exploring what bachelorhood is than I could right here. The simplest definition is someone who is unmarried, and I currently fit that definition. However, I do have a special someone in my life, and we are living together. But because we’re not married, I guess that still makes me a bachelor (and her, a bachelorette). Ultimately, I feel good about where I am as a bachelor and being in a loving, caring relationship with my partner.\u003C/p>\r\n\r\n\u003Cp>The term \u003Cem>confirmed bachelor\u003C/em> is a euphemism for \u003Cem>gay\u003C/em>. In the poem “The Bachelor Attends a Gay Wedding,” I wanted to reference that term and explore the differences between the speaker as a bachelor and his brother as a confirmed one.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>CantoMundo is a national poetry workshop dedicated to supporting and developing Latinx poets and poetry. How did you become involved with the group, and what did it do for your work and your sense of community? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I became a CantoMundo fellow in 2013, but I didn’t actually “graduate” as is typical of most fellows. I feel some shame about that. Still, I’m grateful for the opportunity to have worked alongside other great Latinx poets and learned how they approach writing under the umbrella of Latinx. I think organizations such as CantoMundo are important to help establish a community of other Latinx writers who are actively working with or against being identified as Latinx writers. I struggle oftentimes about what it means to self-identify as a Latinx writer who does not speak Spanish well or who feels disconnected, in some ways, from my Mexican roots. When I attended CantoMundo, I learned that I wasn’t alone with that feeling or struggle, and what connected us more was the writing and the way we explored those issues in our work.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>For years, you’ve been an editor at \u003Cem>RHINO\u003C/em> magazine. What has that publication meant to you? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>Being part of the \u003Cem>RHINO\u003C/em> crash (as a group of rhinos is called) has been very meaningful to me. I love the work we do, not only producing a lovely, annual print journal but also hosting monthly workshops and readings. As an associate editor, I read and vote on poems I feel should be included in our journal. Reading submissions has helped me keep up with all the good work my peers are currently producing, which in turn affects the way I think about writing. I’ve developed real friendships and connections with my fellow editors, so that it feels like family. I’m thankful to be a part of the crash.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Gregory Pardlo makes an extended comparison between your work and that of \u003Ca href=\"https://www.poetryfoundation.org/poets/gwendolyn-brooks\">Gwendolyn Brooks\u003C/a>. Was she an influence on your writing, and who else influenced this book? What contemporary poets are you most excited about reading these days? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I consider it high praise to be mentioned in the same sentence as Gwendolyn Brooks! I am a fan of her work, but I’m not sure she’s a direct influence on my work as much as others. Beyond her most popular poems I read back in school, she’s someone whose work I’ve been reading more and more in recent years, especially her book \u003Cem>Blacks\u003C/em>. More direct influences on the book would be \u003Ca href=\"https://www.poetryfoundation.org/poets/yusef-komunyakaa\">Yusef Komunyakaa\u003C/a> (especially \u003Cem>Magic City\u003C/em>), Sandra Cisneros, and \u003Ca href=\"https://www.poetryfoundation.org/poets/ed-roberson\">Ed Roberson\u003C/a>, among others.\u003C/p>\r\n\r\n\u003Cp>I just read \u003Ca href=\"https://www.poetryfoundation.org/poets/terrance-hayes\">Terrence Hayes\u003C/a>’s \u003Cem>American Sonnets for My Past and Future Assassin\u003C/em> and loved it! I’m excited to read new books by \u003Ca href=\"https://www.poetryfoundation.org/poets/fatimah-asghar\">Fatimah Asghar\u003C/a>, \u003Ca href=\"https://www.poetryfoundation.org/poets/jose-olivarez\">José Guadalupe Olivarez\u003C/a>, David Welch, and \u003Ca href=\"https://www.poetryfoundation.org/poets/emily-jungmin-yoon\">Emily Jungmin Yoon\u003C/a>.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>Food imagery appears throughout the poems: “Flamin’ Hot Cheetos,” “tacos de corazon,” “chorizo & eggs sizzling in the pan,” “scoops of vanilla ice cream,” and “chips and salsa” to name just a few. Do you have a favorite food or a recipe that you consider a go-to or would like to share? \u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I’m not much of a cook, so I don’t have many recipes to share. I make salsa often, which means I’m constantly snacking on chips and salsa. One of my favorite simple meals is avocado tacos doused in my own salsa. Of course, Flamin’ Hot Cheetos and Takis are some of my favorite snacks too. I’m hoping Frito-Lay will read this interview/my book and show some love (AKA money) for the publicity.\u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>You use ampersands instead of writing out the word \u003Cem>and\u003C/em> in your poems—how come?\u003C/strong>\u003C/p>\r\n\r\n\u003Cp>I stole that from one of my favorite poets, Yusef Komunyakaa. Sometimes I like to steal things.\u003C/p>","\u003Cp>Men Should Cry More\u003C/p>","Jacob Saenz’s debut, \u003Cem>Throwing the Crown\u003C/em>, offers tough takes on masculinity.",[],[3960],{"__typename":25,"id":3961,"uid":3962,"title":3963,"alt":3964,"url":3965,"height":603,"width":604,"filename":3966,"caption":3967,"copyright":3967,"focalPoint":3968},"359922","2c46094c-e5bc-4350-8d4a-92ef7bd8201a","jacob-saenz.jpg","Black and white image of the poet Jacob Saenz.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/162f0fb3396696fa46d12713053d92b06e5eab92.jpeg","162f0fb3396696fa46d12713053d92b06e5eab92.jpeg","Photo by Safa Yalaz.",[3969,3970],0.435,0.4691,[3972],{"__typename":573,"status":574,"title":3973,"firstName":3974,"middleName":7,"lastName":3975,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":3976,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":56,"websiteUrl":7,"image":3977,"authorRegions":3989,"categories":3990,"themes":3991,"parentCategories":3992,"childCategories":3993,"id":3994,"uid":3995,"slug":3996,"uri":3997,"url":3998,"sectionHandle":592,"postDate":3999,"dateUpdated":4000,"level":7},"Kathleen Rooney","Kathleen","Rooney","\u003Cp>Kathleen Rooney is a founding editor of Rose Metal Press, a publisher of literary work in hybrid genres, and a founding member of Poems While You Wait, a team of poets and their typewriters who compose commissioned poetry on demand. She teaches English and creative writing at DePaul University and is the author, most recently, of the novels \u003Cem>Lillian Boxfish Takes a Walk\u003C/em> (St. Martin’s, 2017), and \u003Cem>Cher Ami and Major Whittlesey\u003C/em> (Penguin, 2020), as well as the poetry collection \u003Cem>Where Are the Snows (\u003C/em>Texas Review Press, 2022). She lives in Chicago with her spouse, the writer Martin Seay.\u003C/p>",[3978],{"__typename":25,"id":3979,"uid":3980,"title":3981,"alt":3982,"url":3983,"height":603,"width":604,"filename":3984,"caption":7,"copyright":3985,"focalPoint":3986},"523165","f272e17f-80e9-431f-bd8e-03b0e81a7c1e","kathleen-rooney.jpg","Image of Kathleen Rooney","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/6623b5010435a4d499a040b9dc253995d22cc101.jpeg","6623b5010435a4d499a040b9dc253995d22cc101.jpeg","KATHLEEN ROONEY",[3987,3988],0.3877,0.4205,[],[2925,2938,3048],[],[2961],[3061],"35685","2599e18e-f4a5-411b-9436-d0b93064fb69","kathleen-rooney","poets/kathleen-rooney","https://www.poetryfoundation.org/poets/kathleen-rooney","2010-04-06T00:00:00-05:00","2024-06-11T11:50:36-05:00",[3105],{"__typename":615,"id":4003,"affiliation":7,"externalLinkUrl":4004,"description":7,"title":7,"uri":7,"contentItem":4005},"1291033",[],[4006],{"__typename":2900,"id":4007,"uid":4008,"title":3666,"slug":4009,"uri":4010,"url":4011,"sectionHandle":2907,"postDate":4012,"dateUpdated":4013,"level":7,"excerpt":4014,"body":4015,"formattedTitle":3674,"subtitle":4016,"essayYear":7,"magazineEntries":4017,"image":4020,"authors":4021,"articleType":4022},"26773","ec970fc7-72e1-4b0e-8774-70823563a671","introduction-56d24a17925ca","poetrymagazine/articles/70311/introduction-56d24a17925ca","https://www.poetryfoundation.org/poetrymagazine/articles/70311/introduction-56d24a17925ca","2016-02-24T00:00:00-06:00","2024-06-11T09:52:17-05:00","\u003Cp>At the 2010 Latino Art Now! conference in Los Angeles it hit me — the nagging feeling that Latino artists and poets aren’t meaningfully aware of one another, or of the canvases and poems that flourish in their respective fields. It left...\u003C/p>","\u003Cp>At the 2010 Latino Art Now! conference in Los Angeles it hit me — the nagging feeling that Latino artists and poets aren’t meaningfully aware of one another, or of the canvases and poems that flourish in their respective fields. It left me wondering: How might we aspire to bridge this gap?\u003C/p>\r\n\r\n\u003Cp>A year later, a potential opportunity emerged when I learned that the next Latino Art Now! would convene in Washington DC in the fall of 2013. The conference, which brings together scholars, historians, collectors, and artists, would intentionally coincide with the opening of \u003Cem>Our America: The Latino Presence in American Art\u003C/em>, a major exhibit featuring seventy-two artists, with artworks spanning from the fifties to the present. Guided by the vision of E. Carmen Ramos, curator of Latino art at the Smithsonian American Art Museum, \u2028sixty-three of the exhibit’s ninety-two pieces were added to the permanent collection expressly for the show. Ramos would prove to be an instrumental advocate and ally for the project I had in mind.\u003C/p>\r\n\r\n\u003Cdiv style=\"border-top: 2px solid #cccccc; margin: 0pt 10px 0pt 0pt; padding: 20px; background: none repeat scroll 0% 0% #d5ecdc; font-family: verdana,Arial,Helvetica,sans-serif; font-size: 11px; float: left; clear: left; width: 180px;\">\u003Cspan style=\"font-weight: bold; font-family: verdana,Arial,Helvetica,sans-serif; font-size: 11px;\">Related Portfolio:\u003Cbr>\r\n\u003Ca href=\"/poetrymagazine/pintura-palabra\">PINTURA : PALABRA\u003C/a>\u003Cbr>\r\nFrom March 2016 \u003Cem>Poetry\u003C/em>\u003C/span>\u003C/div>\r\n\r\n\u003Cp>“PINTURA : PALABRA, a project in ekphrasis” is a multi-year initiative overseen by Letras Latinas, the literary program of the University of Notre Dame’s Institute for Latino Studies, and partially supported by the generosity of the Weissberg Foundation. A panel I moderated on poetry and art at the aforementioned DC conference served as the initiative’s official launch in November 2013. Since then, the initiative has evolved into a range of related activities to encourage the creation of art-inspired poetry: curated workshops at the traveling exhibit’s host museums; self-directed on-site residencies with the exhibit serving as a prompt; and invitations to selected writers to respond to the exhibit remotely, via its gorgeously produced catalog.\u003C/p>\r\n\r\n\u003Cp>The principal “outcomes,” if you will, have consisted of portfolios published in partnering journals. Two have appeared thus far in \u003Cem>Poet Lore\u003C/em> and \u003Cem>Notre Dame Review\u003C/em>. Another three are in the works and forthcoming in \u003Cem>The Los Angeles Review\u003C/em>, \u003Cem>The Packinghouse Review\u003C/em>, and \u003Cem>Western Humanities Review\u003C/em>. With twenty poems by twelve poets, this is the lone portfolio of the PINTURA : PALABRA initiative that includes reproductions of the artworks alongside the poems, thanks to the generosity of the Smithsonian American Art Museum.\u003C/p>\r\n\r\n\u003Cp>In the pages that follow, readers will experience how rich and unpredictable Latino poetry can be. For example, the portfolio includes poems by three Chicano/a elders: \u003Ca href=\"/bio/juan-felipe-herrera\">Juan Felipe Herrera\u003C/a>, \u003Ca href=\"/bio/lorna-dee-cervantes\">Lorna Dee Cervantes\u003C/a>, and \u003Ca href=\"/bio/tino-villanueva\">Tino Villanueva\u003C/a>. Anyone familiar with the history of Chicano poetry might consider those terms (“Chicano/a” and “elder”) and expect a poem about, say, Frank Romero’s \u003Cem>The Death of Rubén Salazar\u003C/em>. (One of the exhibit’s major pieces, it is a large canvas that depicts an iconic and tragic moment during the National Chicano Moratorium march in Los Angeles in 1970.) Instead, our current US poet laureate \u003Ca href=\"/poetrymagazine/poem/252068\">riffs off\u003C/a> of Olga Albizu’s abstract work, \u003Cem>Radiante\u003C/em>, an image that graced, as did other color-rich Albizu images in the sixties, the covers of various jazz albums. Villanueva’s poem, “\u003Ca href=\"/poetrymagazine/poem/252086\">Field of Moving Colors Layered\u003C/a>,” is a reflective monologue about Alberto Valdés’s abstract \u003Cem>Untitled\u003C/em>. Cervantes, for her part, invokes Lorca’s rhythms with her trance-inducing repetition of “blue” in \u003Ca href=\"/poetrymagazine/poem/252062\">her particular take\u003C/a> on Carlos Almaraz’s neo-expressionist work, \u003Cem>Night Magic (Blue Jester)\u003C/em>.\u003C/p>\r\n\r\n\u003Cp>I highlight these poets and artworks to demonstrate that where one might expect a more explicitly political poetry, that expectation is thwarted. This is not to say there aren’t any political works here — there certainly are — but Latino art and poetry are too often assumed to be exclusively political. The images presented in this portfolio showcase the variety of mediums and themes within modern and contemporary Latino art. Likewise, this selection of poems underscores multiplicity as a mirror of what Latino poetry is today.\u003C/p>","On PINTURA : PALABRA, a project in ekphrasis.",[4018],{"__typename":520,"id":4019},"256846",[],[3026],[3001],{"__typename":615,"id":4024,"affiliation":7,"externalLinkUrl":4025,"description":7,"title":7,"uri":7,"contentItem":4026},"1291034",[],[4027],{"__typename":2900,"id":4028,"uid":4029,"title":4030,"slug":4031,"uri":4032,"url":4033,"sectionHandle":2907,"postDate":4034,"dateUpdated":4035,"level":7,"excerpt":4036,"body":4037,"formattedTitle":4038,"subtitle":7,"essayYear":7,"magazineEntries":4039,"image":4040,"authors":4041,"articleType":4042},"26785","a42ecc12-054b-4fac-93dc-a4c6f372c792","PINTURA : PALABRA","pintura-palabra-portfolio","poetrymagazine/articles/70317/pintura-palabra-portfolio","https://www.poetryfoundation.org/poetrymagazine/articles/70317/pintura-palabra-portfolio","2016-02-26T00:00:00-06:00","2024-06-11T09:52:16-05:00","\u003Cp>IntroductionAt the 2010 Latino Art Now! conference in Los Angeles it hit me — the nagging feeling that Latino artists and poets aren’t meaningfully aware of one another, or of the canvases and poems that flourish in their respective fields. It left...\u003C/p>","\u003Ch2>Introduction\u003C/h2>\r\n\r\n\u003Cp>At the 2010 Latino Art Now! conference in Los Angeles it hit me — the nagging feeling that Latino artists and poets aren’t meaningfully aware of one another, or of the canvases and poems that flourish in their respective fields. It left me wondering: How might we aspire to bridge this gap?\u003C/p>\r\n\r\n\u003Cp>\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/article/252060\">Continue reading this introduction\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Night Magic (Blue Jester), 1988, by Carlos Almaraz\" src=\"https://www.poetryfoundation.org/uploads/contentImages/2011.12_Almaraz-Ekphrasis.jpg\" style=\"width: 346px; height: 344px;\">\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58859\">Night Magic (Blue Jester)\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/lorna-dee-cervantes\"> Lorna Dee Cervantes \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>\u003Cem>After Federico García Lorca\u003C/em>\u003C/p>\r\n\r\n\u003Cp>Blue that I love you\u003Cbr>\r\nBlue that I hate you\u003Cbr>\r\nFat blue in the face\u003Cbr>\r\nDisgraced blue that I erase\u003Cbr>\r\nYou lone blue\u003Cbr>\r\nBlue of an alien race\u003Cbr>\r\nStrong blue eternally graced\u003Cbr>\r\nBlue that I know you\u003Cbr>\r\nBlue that I choose you...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58859\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Night Magic (Blue Jester), 1988, by Carlos Almaraz\" src=\"https://www.poetryfoundation.org/uploads/contentImages/2012.38A-C_Fernandez-Ekphrasis.jpg\" style=\"width: 346px; height: 172px;\">\u003C/div>\r\n\r\n\u003Cp>\u003Ca href=\"/poetrymagazine/poems/detail/58860\">Orphan\u003C/a>\u003C/p>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/blas-falconer\"> Blas Falconer\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>I’d come to help settle your\u003Cbr>\r\nmother’s affairs. On the last night,\u003Cbr>\r\n\u003Cbr>\r\nwe ate where she worked all\u003Cbr>\r\nher life. \u003Cem>Now that she’s gone\u003C/em>,\u003Cbr>\r\n\u003Cbr>\r\nyou said, \u003Cem>I’ll never come back\u003C/em>.\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58859\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Night Magic (Blue Jester), 1988, by Carlos Almaraz\" src=\"https://www.poetryfoundation.org/uploads/contentImages/2013.21_Baez-Ekphrasis_1.jpg\" style=\"width: 346px; height: 448px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58861\">Revolution\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/blas-falconer\"> Blas Falconer \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>\u003Cem>Considering Myrna Báez’s painting Platanal, E. Carmen Ramos explains, “When Puerto Rico was a Spanish colony, artists like Francisco Oller depicted the plantain as both a key accoutrement to the jibaro (rural peasant) and a metaphor for the island’s independent cultural identity.”\u003C/em>\u003Cbr>\r\n\u003Cbr>\r\nPlantain trees gather at the edge\u003Cbr>\r\nof the orchard, clamor for light\u003Cbr>\r\n\u003Cbr>\r\nin the foreground. They seem to grow\u003Cbr>\r\nas one, as if they’d fill the field...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58861\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Radiante, 1967, by Olga Albizu\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.17_Albizu-Ekphrasis.jpg\" style=\"width: 346px; height: 383px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58862\">Radiante (s)\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/juan-felipe-herrera\"> Juan Felipe Herrera \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>Jestered ochre yellow my umber Rothko divisions my Brooklyns with Jerry Stern black then oranged gold leaf \u003Cem>&\u003C/em> tiny skulls perforations Dada sugar bread of Oaxacan ecstasy Lorca’s green horse the daffodil head corruptions of the State in tenor exhalation saxophonics blossomings rouged monkey Dalí roll down the keys the high G’s underStreets of the undeRealms my hair.\u003C/p>\r\n\r\n\u003Cp>Throttle up into hyper-city correlations =\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58862\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Placa/Rollcall, by Charles “Chaz” Bojórquez\" src=\"//www.poetryfoundation.org/uploads/contentImages/1992.64.1_Bojorquez-Ekphrasis_1.jpg\" style=\"width: 346px; height: 281px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58863\">Placa/Rollcall\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/brenda-cardenas\"> Brenda Cárdenas \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>\u003Cem>If the city was a body, graffiti would tell us where it hurts.\u003C/em>\u003Cbr>\r\n\u003Cem>\u003Cspan class=\"attribution\">— Charles “Chaz” Bojórquez\u003C/span>\u003C/em>\u003Cbr>\r\n\u003Cbr>\r\n\u003Cbr>\r\nAnd this block would shout, “Nos diste un chingaso, cabrón. Mira esta cara rota...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58863\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Untitled, by Ana Mendieta\" src=\"//www.poetryfoundation.org/uploads/contentImages/1995.54.2_Mendieta-Ekphrasis.jpg\" style=\"width: 346px; height: 260px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58864\">Our Lady of Sorrows\u003C/a>\u003C/h3>\r\n\r\n\u003Cp>\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/brenda-cardenas\"> Brenda Cárdenas \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>has appeared to the mountain...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58864\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58865\">Soneto de Silueta\u003C/a>\u003C/h3>\r\n\r\n\u003Cp>\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/kristin-naca\"> Iyawó \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>\u003Cem>For Ana Mendieta\u003C/em>\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58865\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"Jimenez-Ekphrasis\" src=\"//www.poetryfoundation.org/uploads/contentImages/1979.124_Jimenez-Ekphrasis.jpg\" style=\"width: 346px; height: 418px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58866\">Why Being “On Fire” Is for Everyone\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/kristin-naca\"> Iyawó \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;\">Because the facial features burn fastest.\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;\">Because the sun sets in Tibet before it ever rises in the West.\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;\">Because Tsering Tashi’s mother told him to dress in the thickest, \u2028finest, llama wool \u003Cem>chuba\u003C/em>.\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58866\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Larry Levan (snake)</em>, 2006, by Elia Alba\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.45.1_Alba-Ekphrasis.jpg\" style=\"width: 346px; height: 349px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58867\">Larry Levan (snake)\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/valerie-martinez\"> Valerie Martínez \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>Hip hip hip hip hip makes the man\u003Cbr>\r\n\u003Cspan style=\"padding-left: 10%;\">as the conga, serpentine, \u003C/span>\u003Cbr>\r\n\u003Cspan style=\"padding-left: 18%;\">slides across the frame \u003C/span>\u003C/p>\r\n\r\n\u003Cp>and the disco dub — tilt and sway — \u003Cbr>\r\n\u003Cspan style=\"padding-left:10%;\">sewing pelves in the room, \u003C/span>\u003Cbr>\r\n\u003Cspan style=\"padding-left: 18%;\">as if Larry, still, \u003C/span>\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58867\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Granite Weaving</em>, 1988, by Jesús Moroles\" src=\"///www.poetryfoundation.org/uploads/contentImages/1996.1A-F_Moroles-Ekphrasis.jpg\" style=\"width: 346px; height: 441px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58868\">Granite Weaving\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/valerie-martinez\"> Valerie Martínez \u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>To climb, in this instance, upon a horizon\u003Cbr>\r\n\u003Cbr>\r\nShadow-shadow. Lip-to-lip rock.\u003Cbr>\r\n\u003Cbr>\r\nZiggurat. Ah, from the base to the top.\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58868\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58869\">Weaving Granite\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/maria-melendez\">Maria Melendez Kelson\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em; margin:0;\">“He” grates across the throat, the “h” a dry abrasion on the tongue —\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em; margin:0;\">Across the throat, the “h” in “she” is tucked behind the folded muscle.\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58869\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>À La Mode</em>, 1976, by Asco (photographer: Harry Gamboa, Jr.)\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.44.2_ASCO-Ekphrasis.jpg\" style=\"width: 346px; height: 234px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58870\">A Chingona Plays Miss Dinah Brand\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/maria-melendez\"> Maria Melendez Kelson\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>I dare you to hear me\u003Cbr>\r\ntell just which and what\u003Cbr>\r\nsort of girl I was, always\u003Cbr>\r\nhad been, and why. You\u003Cbr>\r\nmay as well yes-yes me.\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58870\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Untitled</em>, 1965, by Alberto Valdés\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.46.2_Valdez-Ekphrasis.jpg\" style=\"width: 346px; height: 346px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58871\">Field of Moving Colors Layered\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/tino-villanueva\">Tino Villanueva\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">I’m not easily mesmerized.\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">But how can you not be drawn in by swirls,\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">angles and whorls brought together to obey\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">a field of moving colors layered, muted ...\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">others bright that make you linger\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">there?\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin-top:0;\">Just look at those Carpaccio reds.\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58871\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Humane Borders Water Station</em>, 2004, by Delilah Montoya\" src=\"//www.poetryfoundation.org/uploads/contentImages/2011.52.2_Montoya-Ekphrasis.jpg\" style=\"width: 346px; height: 135px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58872\">Testament Scratched into a Water Station Barrel (Translation #11)\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/eduardo-c-corral\">Eduardo C. Corral\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp style=\"margin: 0;\">Far from highways I flicker\u003C/p>\r\n\r\n\u003Cp rel=\"padding-left: 8%; margin: 0;\" style=\"padding-left: 8%; margin: 0;\">gold the whispering\u003C/p>\r\n\r\n\u003Cp style=\"padding-left: 26%; margin-top: 0;\">gasoline\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58872\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>El Patio de Mi Casa</em>, 1990, by María Brito\" src=\"//www.poetryfoundation.org/uploads/contentImages/1997.71A-G_Brito-Ekphrasis.jpg\" style=\"width: 346px; height: 510px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58873\">El Patio de Mi Casa\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca bio=\"\" href=\"\" orlando-ricardo-menes=\"\">Orlando Ricardo Menes\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp rel=\"text-align: justify;\" style=\"text-align: justify;\">My patio was once a schoolyard, or maybe a barracoon, perhaps both, & the ghosts of children nest under the pink sink, mouths agape for flakes of rust, or they creep to the ceiling, sucking on the five taps of blue water, their little lips abuzz like cicadas. In the moonlight I see them bounce on my feather bed, bowed like an old donkey’s back, or they teeter-totter in my wicker chair darned with burlap string. Leave them alone, I say to my mother, who wants to cleanse the house with carvacrol, trapping these children’s souls in beehives, then stringing them up with kites so they fly to the moon...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58873\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Sin Título, </em>from the series <em>The Tempest</em>, 1998, by Arturo Rodríguez\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.18_Rodriguez-Ekphrasis.jpg\" style=\"width: 346px; height: 480px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58874\">Altar Boy\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/orlando-ricardo-menes\">Orlando Ricardo Menes\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp rel=\"text-align: justify;\" style=\"text-align: justify;\">I am the altar boy with feet flattened by the catechist’s paddle, my skin toasted like stalks of sugarcane at Lent, my shorts baptized in the salt pans of saints. I don’t wear a mask (God hates carnival) but a wool hood, Holy Week’s, that Sister Rose knitted by the charcoal altar, her wooden teeth clacking as she hymned in Latin, the moles on her jowl like prickly pears for penance. My own teeth are those grates that grilled the martyrs, & my little lamb’s ears quiver each afternoon when the wind coughs in fits and pale skies smoke with incense from a clandestine Mass...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58874\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Decoy Gang War Victim</em>, 1974, by Asco (photographer: Harry Gamboa, Jr.)\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.44.1_ASCO-Ekphrasis.jpg\" style=\"width: 346px; height: 229px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58875\">Decoy Gang War Victim\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/carmen-gimenez-smith\">Carmen Giménez Smith\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;\">\u003Cem>For Harry Gamboa, Jr.\u003C/em>\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">Just a tick ago, the actor was a Roman candle\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">shot to the sky, smudged by rain’s helter-\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">skelter. His motivation was: he’s a stooge...\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58875\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>¿Sólo una sombra?/Only a Shadow (Ester IV)?</em>, from the series <em>Santos y sombras/ Saints and Shadows</em>, 1993-1994, by Muriel Hasbun\" src=\"//www.poetryfoundation.org/uploads/contentImages/2005.3.3_Hasbun-Ekphrasis.jpg\" style=\"width: 346px; height: 467px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58876\">Only a Shadow\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/carmen-gimenez-smith\">Carmen Giménez Smith\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp rel=\"text-indent: -1em; padding-left: 1em;margin:0;\" style=\"text-indent: -1em; padding-left: 1em;margin:0;\">My daughter gathers the seeds she finds in our desert, calls them\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">spirits — \u003Cem>the spirits are us\u003C/em>, she says when I worry those orbs in my fingers\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">to conjure her birth. The wind’s first thought is to craft those seeds:\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin-top:0;\">vessels when the tree worries she’s not enough of a multiplicity,\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58876\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Humanscape 62</em>, 1970, by Melesio Casas\" src=\"//www.poetryfoundation.org/uploads/contentImages/2012.37_Casas-Ekphrasis.jpg\" style=\"width: 346px; height: 280px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58877\">Brownies of the Southwest:\u003Cbr>\r\nTroop 704\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">\u003Ca href=\"/poetrymagazine/poems/detail/58877\">By\u003C/a> \u003Ca href=\"/bio/laurie-ann-guerrero\">Laurie Ann Guerrero\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp rel=\"text-indent: -1em; padding-left: 1em;margin:0;\" style=\"text-indent: -1em; padding-left: 1em;margin:0;\">Three years before I’d hear the word / \u003Cem>beaner\u003C/em> /\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin:0;\">from the / white boys / who’d spit first in my broccoli,\u003C/p>\r\n\r\n\u003Cp style=\"text-indent: -1em; padding-left: 1em;margin-top:0;\">then in my hair, / my mother / dressed me\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58877\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\"> \u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\"> \u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Chr>\r\n\u003Cdiv>\r\n\u003Cdiv style=\"float: left; width: 350px; margin-right: 10px;\">\u003Cimg alt=\"<em>Breakfast Tacos</em>, from the series <em>Seven Days</em>, 2003, by Chuck Ramirez\" src=\"//www.poetryfoundation.org/uploads/contentImages/2013.14_Ramirez-Ekphrasis.jpg\" style=\"width: 346px; height: 280px;\">\u003C/div>\r\n\r\n\u003Cdiv style=\"width: 270px; float: left;\">\r\n\u003Ch3>\u003Ca href=\"/poetrymagazine/poems/detail/58878\">Last Meal: Breakfast Tacos, San Antonio, Tejas\u003C/a>\u003C/h3>\r\n\r\n\u003Cp class=\"detail-byline\">\u003Cspan class=\"hdg hdg_utility\">By \u003Ca href=\"/bio/laurie-ann-guerrero\">Laurie Ann Guerrero\u003C/a>\u003C/span>\u003C/p>\r\n\r\n\u003Cp>Let me be your last meal.\u003Cbr>\r\nLet me harvest the notes\u003Cbr>\r\nI took from your mother’s\u003Cbr>\r\nwatery hands, street vendors\u003Cbr>\r\nin Rome, Ms. Rosie\u003Cbr>\r\nfrom our taquería, you:\u003C/p>\r\n\r\n\u003Cp class=\"feature-meta\">\u003Cspan class=\"user-content-featureLink\">\u003Ca class=\"feature-anchor\" href=\"/poetrymagazine/poems/detail/58878\">Continue reading this poem\u003C/a>\u003C/span>\u003C/p>\r\n\u003C/div>\r\n\u003C/div>\r\n\r\n\u003Cdiv style=\"clear: both; margin-top: 50px;\"> \u003C/div>\r\n\r\n\u003Chr>\r\n\u003Cp class=\"feature-split-meta feature-split-meta_right\">\u003Ca class=\"feature-anchor js-backToTop\" href=\"#\">back to top\u003C/a>\u003C/p>\r\n\r\n\u003Ch3 class=\"hdg hdg_assetLabel\">More from this issue\u003C/h3>\r\n\r\n\u003Cp>These poems originally appeared in the \u003Ca href=\"/poetrymagazine/toc/detail/71536\">March 2016\u003C/a> issue of Poetry magazine\u003C/p>\r\n\r\n\u003Cp class=\"media media_loose\" style=\"float:left;\">\u003Ca href=\"/poetrymagazine/toc/detail/71536\">\u003Cimg alt=\"\" class=\"img img_fancy\" src=\"http://media.poetryfoundation.org/m/image/3991?w=98&h=&fit=max\" width=\"98\">\u003C/a> Jeff Zimmermann, \"Love Knot,\" 2015\u003C/p>\r\n\r\n\u003Cul class=\"auxiliaryList\" style=\"list-style-type:none;\">\r\n\t\u003Cli>\u003Cspan class=\"user-content-featureLink\">\u003Ca href=\"/poetrymagazine/toc/detail/71536\">March 2016 Table of Contents \u003C/a>\u003C/span>\u003C/li>\r\n\t\u003Cli>\u003Cspan class=\"user-content-featureLink\">\u003Ca href=\"http://poetry.k-online.biz/?loadMacro=K_ADDITEM.MAC/addItem%3Fitem=PTY1630\">Buy This Issue \u003C/a>\u003C/span>\u003C/li>\r\n\t\u003Cli>\u003Cspan class=\"user-content-featureLink\">\u003Ca href=\"/poetrymagazine/subscribe\">Subscribe to \u003Ci>Poetry\u003C/i> Magazine \u003C/a>\u003C/span>\u003C/li>\r\n\t\u003Cli>\u003Cspan class=\"user-content-featureLink\">\u003Ca href=\"/poetrymagazine/archive\">Browse All Issues Back to 1912 \u003C/a>\u003C/span>\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>\u003Cspan class=\"user-content-featureLink\">\u003C!-- end .feature --> \u003C/span>\u003C/p>\r\n\r\n\u003Chr style=\"clear:both;\">\r\n\u003Cp>\u003Cspan class=\"user-content-featureLink\">\u003Cem>\u003Cstrong>Acknowledgements\u003C/strong>\u003C/em>\u003Cbr>\r\nAll images courtesy of and with permission from the Smithsonian American Art Museum. \u003Cem>Night Magic (Blue Jester)\u003C/em> by Carlos Almaraz, gift of Gloria Werner © 1988, Carlos Almaraz Estate. \u003Cem>Nocturnal (Horizon Line)\u003C/em> by Teresita Fernández, museum purchase through the Luisita L. and Franz H. Denghausen Endowment © 2010, Teresita Fernández. \u003Cem>Platanal\u003C/em> by Myrna Báez, gift of Jaime Fonalledas. \u003Cem>Radiante\u003C/em> by Olga Albizu, gift of JPMorgan Chase. \u003Cem>Placa/Rollcall\u003C/em> by Charles “Chaz” Bojórquez, gift of the artist. \u003Cem>Untitled\u003C/em>, from the \u003Cem>Silueta\u003C/em> series by Ana Mendieta, museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution Collections Acquisition Program © 1980, Estate of Ana Mendieta. \u003Cem>Man on Fire\u003C/em> by Luis Jiménez, gift of Philip Morris Incorporated © 1969, Luis Jiménez. \u003Cem>Larry Levan (snake)\u003C/em> by Elia Alba, museum purchase made possible by William W.W. Parker © 2006, Elia Alba. \u003Cem>Granite Weaving\u003C/em> by Jesús Moroles, gift of Frank K. Ribelin. \u003Cem>À La Mode\u003C/em> by Asco (photographer: Harry Gamboa, Jr.), museum purchase through the Luisita L. and Franz H. Denghausen Endowment © 1976, Harry Gamboa, Jr. \u003Cem>Untitled\u003C/em> by Alberto Valdés, gift of David and Susan Valdés. \u003Cem>Humane Borders Water Station\u003C/em> by Delilah Montoya, gift of the Gilberto Cárdenas Latino Art Collection © 2004, Delilah Montoya. \u003Cem>El Patio de Mi Casa\u003C/em> by María Brito, museum purchase through the Smithsonian Institution Collections Acquisition Program © 1991, María Brito.\u003Cem> Sin Título\u003C/em>, from the series \u003Cem>The Tempest\u003C/em> by Arturo Rodríguez, gift of Liza and Pedro J. Martinez-Fraga. \u003Cem>Decoy Gang War Victim\u003C/em> by Asco (photographer: Harry Gamboa, Jr.), museum purchase through the Luisita L. and Franz H. Denghausen Endowment © 1974, Harry Gamboa, Jr. \u003Cem>¿Sólo una sombra?\u003C/em>\u003Cem>/\u003C/em>\u003Cem>Only a Shadow (Ester IV)?\u003C/em>, from the series \u003Cem>Santos y sombras\u003C/em>\u003Cem>/\u003C/em>\u003Cem>Saints and Shadows\u003C/em> by Muriel Hasbun, gift of Mr. and Mrs. Charles H. Moore © 1994, Muriel Hasbun. \u003Cem>Humanscape \u003C/em>\u003Cem>62\u003C/em> by Melesio Casas, museum purchase through the Luisita L. and Franz H. Denghausen Endowment © 1970, the Casas Family. \u003Cem>Breakfast Tacos\u003C/em>, from the series \u003Cem>Seven Days\u003C/em> by Chuck Ramirez, museum purchase through the Luisita L. and Franz H. Denghausen Endowment © 2003, Estate of Charles Ramirez.\u003C/span>\u003C/p>\r\n\r\n\u003Cp>\u003Cspan class=\"user-content-featureLink\"> \u003C/span>\u003C/p>\r\n\r\n\u003Cp>\u003Cspan class=\"user-content-featureLink\"> \u003C/span>\u003C/p>","\u003Cp>PINTURA : PALABRA\u003C/p>",[4018],[],[3026],[3001],{"__typename":615,"id":4044,"affiliation":7,"externalLinkUrl":4045,"description":7,"title":7,"uri":7,"contentItem":4046},"1291035",[],[4047],{"__typename":2900,"id":4048,"uid":4049,"title":4050,"slug":4051,"uri":4052,"url":4053,"sectionHandle":2907,"postDate":4054,"dateUpdated":4055,"level":7,"excerpt":4056,"body":4057,"formattedTitle":4058,"subtitle":4059,"essayYear":7,"magazineEntries":4060,"image":4061,"authors":4072,"articleType":4101},"26051","40d5486d-6287-49b2-acaa-4f4c5ad9e8ae","To the People","to-the-people","articles/69932/to-the-people","https://www.poetryfoundation.org/articles/69932/to-the-people","2013-01-18T00:00:00-06:00","2024-06-11T09:47:59-05:00","\u003Cp>The poet Richard Blanco lives with his partner in a small town in Maine, where he writes, works as an engineer, and serves on the local planning board. “Very few people knew he was a published poet,” the town’s planning...\u003C/p>","\u003Cp>The poet \u003Ca href=\"/bio/richard-blanco\">Richard Blanco\u003C/a> lives with his partner in a small town in Maine, where he writes, works as an engineer, and serves on the local planning board. “Very few people knew he was a published poet,” the town’s planning assistant told a local paper last week. “He kind of kept it to himself.” Lately that has been a much more difficult task. President Obama’s inaugural committee announced last week that Blanco, the author of three well-received collections, including \u003Cem>Looking for the Gulf Motel\u003C/em> (2012), had been chosen to become the nation’s fifth inaugural poet. Blanco, who had kept the news to himself since December, was tasked with writing three original poems, one of which the committee will ask him to read at the ceremony in Washington on January 21. The committee’s spokesperson told the \u003Cem>New York Times\u003C/em> that Obama chose Blanco because his “deeply personal poems are rooted in the idea of what it means to be an American.” Blanco, whose official bio describes him as “made in Cuba, assembled in Spain, and imported to the United States,” will be the first Hispanic poet to speak at an inauguration. He’s the first openly gay inaugural poet, and at 44, he’s the youngest, too.\u003C/p>\r\n\u003Cp>\u003Cstrong>You found out you had been chosen as the inaugural poet on December 12, and the inauguration is on Monday. Was that enough time to write three new poems?\u003C/strong>\u003C/p>\r\n\u003Cp>It’s almost a blessing in disguise that you don’t have six months to focus on something that’s so important. As poets, we can linger on a poem forever and ever. ... You sort of have to draw on everything you have, and draw deep inside. So yes, I wish I would’ve had maybe a couple more weeks, but I would’ve been sitting on this for six months if I’d known six months ago.\u003C/p>\r\n\u003Cp>\u003Cstrong>So have you been working around the clock?\u003C/strong>\u003C/p>\r\n\u003Cp>Literally around the clock. I’m a night owl, so that means until 4 a.m., and back up at 9, 9:30, getting back on the computer. It’s been an intense period, but when I’m finishing a manuscript I get in this manic mode as well, so that’s not something that’s totally unfamiliar to me. I think any poet knows that feeling.\u003C/p>\r\n\u003Cp>\u003Cstrong>This poem has to perform so many jobs, and you’ll probably have more critics than you’ve ever had before. You want it to be personal, but it’s political, too. What makes a successful inaugural poem?\u003C/strong>\u003C/p>\r\n\u003Cp>You got it right: that sense of it having to be personal at the same time as speaking to many folks—the entire nation, I should say. Because of its intensity, I did learn a lot about where my writing comes from, and about my writing process, things that maybe I had forgotten. My work is intensely narrative and comes from the realm of immediate experience, direct experience, family and whatnot. What I learned through the process is that it’s not the subject matter necessarily that makes my writing my writing. Rather, it’s my \u003Cem>writing\u003C/em> [laughs]. I learned through this process that if I approach the subject matter the same way I approach my more familiar subject matters, that I could possibly have a poem that I’d be very, very happy with. ... Something just finally clicked in me. It was like, “OK, I’m not writing about my mother’s exile, but I can use the same language and the same descriptions and imagery and lushness that I love to use.”\u003C/p>\r\n\u003Cp>\u003Cstrong>Have you written occasional poems before?\u003C/strong>\u003C/p>\r\n\u003Cp>I have written \u003Ca href=\"/poem/245310\">one more\u003C/a>, and it has to do with my engineering. It was the groundbreaking ceremony of a project, the South Miami Sunset Drive improvement. ... I wrote an occasional poem, not because I was asked to, but I was very moved to write one because I had seen some historical photographs of the city and that very road. I ended up sharing it with some of the council members, and they were very taken by it and they asked me to read it at the groundbreaking ceremony. It was the first time in my life I read my poetry with my hard hat on.\u003C/p>\r\n\u003Cp>That’s the only sort of poem I can remember that was even close to [the inaugural poem], because it was inspired by something not in my immediate experience. It was about looking into history, looking at the town ... and that kind of voice that reaches everyone.\u003C/p>\r\n\u003Cp>We think of having to encompass everybody, but one of those rules—well, not rules, but adages—in poetry is that the universal is in the details. That helps, too, to try to wrap one’s head around the poem. Even though you’re speaking to a large audience, there are also specifics in that large audience that you can draw upon: specific imagery that may help to create that connection that poetry can, rather than speaking in broad strokes only.\u003C/p>\r\n\u003Cp>\u003Cstrong>Are there particular poems you’ve been looking back on for inspiration?\u003C/strong>\u003C/p>\r\n\u003Cp>A good friend of mine and colleague …, Nikki Moustaki, wrote a poem called “\u003Ca href=\"http://articles.orlandosentinel.com/2002-09-11/features/0209100046_1_write-a-poem-dinner-buffet-smell\">How to Write a Poem After September 11th\u003C/a>”… . It was one of the first poems I went back to for that kind of moment I wanted to tap into.\u003C/p>\r\n\u003Cp>I of course looked over the previous inaugural poems of \u003Ca href=\"/bio/elizabeth-alexander\">Elizabeth Alexander\u003C/a> and of \u003Ca href=\"/bio/maya-angelou\">Maya Angelou\u003C/a>, and tried to see how they worked it out, tried to read between the lines and see how I could add to those voices as well.\u003C/p>\r\n\u003Cp>\u003Cstrong>Does writing a poem for the second inaugural demand a particular approach? We’re at the midway point for this administration, rather than the beginning.\u003C/strong>\u003C/p>\r\n\u003Cp>I’ve thought about that… . Obviously the nation is not in the same place it was four years ago, so there’s another sort of occasion, if you will. I’ve always thought about Elizabeth Alexander’s piece, and about how nerve-racking that must have been. I do feel like this is a celebration continued, and in that way it feels a little less intimidating, but nonetheless an incredible task and an incredible honor.\u003C/p>\r\n\u003Cp>Because we have had Alexander and Maya [Angelou], there is already a consciousness in the country of the poem and the inaugural. That actually helps; it hasn’t been 40 years since the last poem was read at the inaugural. I’m happy about that. I hope this is a tradition forever—just the idea of what it does for poetry in general, for poets in general, for connecting people and poetry in really powerful ways.\u003C/p>\r\n\u003Cp>\u003Cstrong>\u003Ca href=\"http://www.vqronline.org/blog/2009/01/14/frost-and-the-kennedy-inauguration/#.UPb4i3PjmnY\">The story goes\u003C/a> that John F. Kennedy suggested a word change to \u003Ca href=\"/bio/robert-frost\">Robert Frost\u003C/a>’s inaugural poem “\u003Ca href=\"/poem/237942\">The Gift Outright\u003C/a>.” President Obama is a writer, so I have to ask: Did he make any suggestions to alter what you submitted? \u003Cbr>\u003C/strong>\u003C/p>\r\n\u003Cp>It’s been a complete mystery as to exactly who’s reading these. I’m eager to find out myself. ... I keep having this image in my head of the president sitting in the Oval Office, reading over my poem and signing off on it. I’m not sure if they save it as a surprise for the president, or if it’s just staff that’s looking at it. To tell you the truth, I don’t ask. I’m just focusing on the poem and trying to write the best poem I can. The rest I know I’ll know someday, somehow.\u003C/p>\r\n\u003Cp>\u003Cstrong>Do you still work as an engineer?\u003C/strong>\u003C/p>\r\n\u003Cp>I’m still on the payroll. I’ve been working ever since I moved to Maine [in 2009], on an as-needed basis with my office in Miami. ... We used to joke in the office: we’re “P.E.”s, professional engineers, but on my desk it read “poet engineer.”\u003C/p>\r\n\u003Cp>\u003Cstrong>I want to ask you about the performance aspect of this assignment, too. What’s the biggest crowd you’ve read in front of before this one?\u003C/strong>\u003C/p>\r\n\u003Cp>Fairly recently, at the Geraldine L. Dodge Poetry Festival. It was in the auditorium where \u003Cem>America’s Got Talent\u003C/em> was held. ...\u003C/p>\r\n\u003Cp>In a sense one has to disconnect, as you would in any reading, to make it as intimate and as authentic as possible to bring out that voice. Whether it’s 10 people or 10,000 people, the goal is the same. It’s a matter of letting your mind settle into that a little. I’ve been tempted to keep on looking at photos of inaugural celebrations, and sometimes I just have to shy away because I don’t want to be apprehensive. I just want to get there.\u003C/p>\r\n\u003Cp>\u003Cstrong>What’s the best reaction that you could hope to get on Monday afternoon, either from President Obama or from other listeners? What would make you feel like you really performed the job well?\u003C/strong>\u003C/p>\r\n\u003Cp>I always say poetry is the only job in the world that when someone says, “You made me cry,” you say, “Thank you.” To be genuinely moved by the poem is the most incredible honor. ... I always say the poem is a mirror; both the poet and the reader are standing and looking at [it]— that sense of how they can connect emotionally to their own lives, which is where the crying, or the being moved, comes in. That would be a great compliment if someone said, “You made me cry.”\u003C/p>\r\n\u003Cp>\u003Cstrong>One last question: Is it true you were named after Richard Nixon?\u003C/strong>\u003C/p>\r\n\u003Cp>It’s family folklore. I think my dad told me it one day, kidding, and I always believed it. Then I asked my mom and she said, “No!” My father’s passed away, and I never got the final answer.\u003C/p>","\u003Cp>To the People\u003C/p>","Richard Blanco on being chosen as the nation’s fifth inaugural poet.",[],[4062],{"__typename":25,"id":4063,"uid":4064,"title":4065,"alt":4066,"url":4067,"height":2980,"width":2981,"filename":4068,"caption":7,"copyright":7,"focalPoint":4069},"285002","51313605-b573-432f-af18-0523032b7bb4","richard-blanco.jpg","Photo of Richard Blanco","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/6f1f104fde32b48988d13d7c7e7628c24d3b6124.jpeg","6f1f104fde32b48988d13d7c7e7628c24d3b6124.jpeg",[4070,4071],0.3744,0.4836,[4073],{"__typename":573,"status":574,"title":4074,"firstName":4075,"middleName":7,"lastName":4076,"prefix":7,"suffix":7,"pseudonyms":7,"primaryBio":578,"foundationBio":4077,"galeBio":7,"poetryBio":7,"polBio":7,"birthYear":7,"deathYear":7,"isPoet":580,"websiteUrl":7,"image":4078,"authorRegions":4089,"categories":4090,"themes":4091,"parentCategories":4092,"childCategories":4093,"id":4094,"uid":4095,"slug":4096,"uri":4097,"url":4098,"sectionHandle":592,"postDate":4099,"dateUpdated":4100,"level":7},"Ruth Graham","Ruth","Graham","\u003Cp>Ruth Graham is a journalist in New Hampshire.\u003C/p>",[4079],{"__typename":25,"id":4080,"uid":4081,"title":4082,"alt":4083,"url":4084,"height":2980,"width":2981,"filename":4085,"caption":7,"copyright":7,"focalPoint":4086},"524191","42bb8f0e-804b-4003-bdfb-0425bef52ce0","ruth-graham.jpg","Image of Ruth Graham","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/5c5d5ee04cf6298205ee732db4acd38450f0684a.jpeg","5c5d5ee04cf6298205ee732db4acd38450f0684a.jpeg",[4087,4088],0.4812,0.4179,[],[],[],[],[],"37147","6ec525d6-bfbd-4796-a9ce-f34f744fbd14","ruth-graham","people/ruth-graham","https://www.poetryfoundation.org/people/ruth-graham","2012-09-11T00:00:00-05:00","2024-06-11T12:04:10-05:00",[3105],{"__typename":611,"id":4103,"heading":4104,"description":7,"title":7,"uri":7},"1291036","Audio & Video",{"__typename":615,"id":4106,"affiliation":7,"externalLinkUrl":4107,"description":7,"title":7,"uri":7,"contentItem":4108},"1291037",[],[4109],{"__typename":4110,"id":4111,"uid":4112,"title":4113,"slug":4114,"uri":4115,"url":4116,"sectionHandle":4117,"postDate":4118,"dateUpdated":4119,"level":7,"formattedTitle":4120,"subtitle":7,"description":4121,"image":4122,"audioFile":4123,"show":4131},"audio_default_Entry","102460","6105402c-e5cb-41bc-9ef0-b15ecb71ae55","Burning for Justice","burning-for-justice","audio/146730/burning-for-justice","https://www.poetryfoundation.org/audio/146730/burning-for-justice","audio","2018-05-08T00:00:00-05:00","2024-06-11T10:38:21-05:00","\u003Cp>Burning for Justice\u003C/p>","\u003Cp>Exploring the work of the 2018 Ruth Lilly Poetry Prize winner Martín Espada.\u003C/p>",[],[4124],{"__typename":4125,"id":4126,"uid":4127,"title":4128,"url":4129,"filename":4130},"audio_Asset","549141","49c27a97-3ae4-495c-b4b3-eebce9179a14","97caa6248ff788801791f6dc77759819b9ac1e3a","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/97caa6248ff788801791f6dc77759819b9ac1e3a.mp3","97caa6248ff788801791f6dc77759819b9ac1e3a.mp3",[4132],{"__typename":4133,"id":4134,"slug":4135,"title":4136,"formattedTitle":4137},"shows_default_Entry","243427","poetryofftheshelf","Poetry Off the Shelf","\u003Cp>Poetry Off the Shelf\u003C/p>",{"__typename":615,"id":4139,"affiliation":7,"externalLinkUrl":4140,"description":7,"title":7,"uri":7,"contentItem":4141},"1291038",[],[4142],{"__typename":4110,"id":4143,"uid":4144,"title":4145,"slug":4146,"uri":4147,"url":4148,"sectionHandle":4117,"postDate":4149,"dateUpdated":4150,"level":7,"formattedTitle":4151,"subtitle":7,"description":4152,"image":4153,"audioFile":4154,"show":4161},"102534","63d03c4a-8abf-426c-92ab-8ca3eaeffd99","Poems Don't Need Their Papers","poems-don39t-need-their-papers","audio/147293/poems-don39t-need-their-papers","https://www.poetryfoundation.org/audio/147293/poems-don39t-need-their-papers","2018-07-03T00:00:00-05:00","2024-06-11T10:38:43-05:00","\u003Cp>Poems Don't Need Their Papers\u003C/p>","\u003Cp>For July 4, we talk about US immigration, Central American refugees, and poems across borders with Javier Zamora.\u003C/p>",[],[4155],{"__typename":4125,"id":4156,"uid":4157,"title":4158,"url":4159,"filename":4160},"549616","85f7505b-37a3-4384-bd08-d99f5d2fa65d","C057b0702872278c979b84e8294f30d53c2a35bc","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/c057b0702872278c979b84e8294f30d53c2a35bc.mp3","c057b0702872278c979b84e8294f30d53c2a35bc.mp3",[4132],{"__typename":615,"id":4163,"affiliation":7,"externalLinkUrl":4164,"description":7,"title":7,"uri":7,"contentItem":4165},"1291039",[],[4166],{"__typename":4110,"id":4167,"uid":4168,"title":4169,"slug":4170,"uri":4171,"url":4172,"sectionHandle":4117,"postDate":4173,"dateUpdated":4174,"level":7,"formattedTitle":4175,"subtitle":7,"description":4176,"image":4177,"audioFile":4178,"show":4185},"99384","1ab0c9d2-5e1f-4307-a70e-8fb36bce2e80","Francisco Aragón and Brenda Cárdenas","francisco-aragon-and-brenda-cardenas","audio/75993/francisco-aragon-and-brenda-cardenas","https://www.poetryfoundation.org/audio/75993/francisco-aragon-and-brenda-cardenas","2011-05-18T00:00:00-05:00","2024-06-11T10:21:34-05:00","\u003Cp>Francisco Aragón and Brenda Cárdenas\u003C/p>","\u003Cp>The first half of a 2008 reading featuring four Latino poets, as part of the American Perspectives series at the Art Institute of Chicago.\u003C/p>",[],[4179],{"__typename":4125,"id":4180,"uid":4181,"title":4182,"url":4183,"filename":4184},"505351","ab5777c2-86b3-40ad-a63e-e3b4bd8381b7","98e7a62c58bdf8f8c40a5021801c578eb5c610d9","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/98e7a62c58bdf8f8c40a5021801c578eb5c610d9.mp3","98e7a62c58bdf8f8c40a5021801c578eb5c610d9.mp3",[4186],{"__typename":4133,"id":4187,"slug":4188,"title":4189,"formattedTitle":4190},"257277","poetrylectures","Poetry Lectures","\u003Cp>Poetry Lectures\u003C/p>",{"__typename":615,"id":4192,"affiliation":7,"externalLinkUrl":4193,"description":7,"title":7,"uri":7,"contentItem":4194},"1291040",[],[4195],{"__typename":4110,"id":4196,"uid":4197,"title":4198,"slug":4199,"uri":4200,"url":4201,"sectionHandle":4117,"postDate":4202,"dateUpdated":4203,"level":7,"formattedTitle":4204,"subtitle":7,"description":4205,"image":4206,"audioFile":4207,"show":4214},"99406","2b522103-3f37-41ab-9339-53b4ca3f7bf6","Blas Falconer and Gina Franco","blas-falconer-and-gina-franco","audio/76005/blas-falconer-and-gina-franco","https://www.poetryfoundation.org/audio/76005/blas-falconer-and-gina-franco","2011-06-20T00:00:00-05:00","2024-06-11T10:21:42-05:00","\u003Cp>Blas Falconer and Gina Franco\u003C/p>","\u003Cp>The second half of a 2008 reading featuring four Latino poets, as part of the American Perspectives series at the Art Institute of Chicago.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4208],{"__typename":4125,"id":4209,"uid":4210,"title":4211,"url":4212,"filename":4213},"505373","dd5c5e18-c4d7-4bad-87ba-2e5db989d55a","2e13d228f468d685c05914c3142e20d040183aec","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/2e13d228f468d685c05914c3142e20d040183aec.mp3","2e13d228f468d685c05914c3142e20d040183aec.mp3",[4186],{"__typename":615,"id":4216,"affiliation":7,"externalLinkUrl":4217,"description":7,"title":7,"uri":7,"contentItem":4218},"1291041",[],[4219],{"__typename":4220,"id":4221,"uid":4222,"title":4223,"slug":4224,"uri":4225,"url":4226,"sectionHandle":4227,"postDate":4228,"dateUpdated":4229,"level":7,"subtitle":4230,"description":4231,"credits":7,"posterImage":4232,"image":4236,"videoFile":4247,"videoEmbedCode":7,"show":4248},"video_default_Entry","46578","86014fda-5f13-424e-95fc-b040a4e8f894","Poet Ben Saenz Considers Mexico’s Border Violence","poet-ben-saenz-considers-mexicos-border-violence","video/77348/poet-ben-saenz-considers-mexicos-border-violence","https://www.poetryfoundation.org/video/77348/poet-ben-saenz-considers-mexicos-border-violence","video","2010-07-01T00:00:00-05:00","2024-06-11T19:01:04-05:00","Saenz is a Chicano poet, novelist, professor and painter who lives near El Paso, Texas, just across the border from the Mexican town of Juarez. Much of his work addresses the land and people of the area.","Latino poet Benjamin Saenz shares his writing from his home near the US, Mexico border, a region where violent drug wars have raged in recent years. His latest collection is called \u003Cem>The Book of What Remains\u003C/em>.\u003Cbr />",[4233],{"__typename":25,"id":4234,"url":4235},"515393","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/5c7e346a630317697102e380650ae7501063d955.jpeg",[4237],{"__typename":25,"id":4234,"uid":4238,"title":4239,"alt":4240,"url":4235,"height":4241,"width":4242,"filename":4243,"caption":7,"copyright":7,"focalPoint":4244},"f7eb5735-9e45-41be-a4af-b8a403887c50","b-saez.jpg","Image of B. Saez",251,447,"5c7e346a630317697102e380650ae7501063d955.jpeg",[4245,4246],0.5599,0.2782,[],[4249],{"__typename":4133,"id":4250,"title":4251},"243452","NewsHour Poetry Series",{"__typename":615,"id":4253,"affiliation":7,"externalLinkUrl":4254,"description":7,"title":7,"uri":7,"contentItem":4255},"1291042",[],[4256],{"__typename":4110,"id":4257,"uid":4258,"title":4259,"slug":4260,"uri":4261,"url":4262,"sectionHandle":4117,"postDate":4263,"dateUpdated":4264,"level":7,"formattedTitle":4265,"subtitle":7,"description":4266,"image":4267,"audioFile":4268,"show":4275},"45804","c257e852-80c1-40d5-a37c-e0d6e7b33c59","Activist Poetry That Won’t Make You Run the Other Way","activist-poetry-that-wont-make-you-run-the-other-way","audio/74949/activist-poetry-that-wont-make-you-run-the-other-way","https://www.poetryfoundation.org/audio/74949/activist-poetry-that-wont-make-you-run-the-other-way","2008-03-10T00:00:00-05:00","2025-02-03T12:13:41-06:00","\u003Cp>Activist Poetry That Won’t Make You Run the Other Way\u003C/p>","\u003Cp>Rigoberto González on Juan Felipe Herrera.\u003C/p>",[],[4269],{"__typename":4125,"id":4270,"uid":4271,"title":4272,"url":4273,"filename":4274},"501517","a1a29c5f-3acf-4faf-beb8-4d2b947903db","Fd4700bb0c8ff548150a23139e0c7478011c5c9d","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/fd4700bb0c8ff548150a23139e0c7478011c5c9d.mp3","fd4700bb0c8ff548150a23139e0c7478011c5c9d.mp3",[4132],{"__typename":615,"id":4277,"affiliation":7,"externalLinkUrl":4278,"description":7,"title":7,"uri":7,"contentItem":4279},"1291043",[],[],{"__typename":615,"id":4281,"affiliation":7,"externalLinkUrl":4282,"description":7,"title":7,"uri":7,"contentItem":4283},"1291044",[],[4284],{"__typename":4110,"id":4285,"uid":4286,"title":4287,"slug":4288,"uri":4289,"url":4290,"sectionHandle":4117,"postDate":4291,"dateUpdated":4292,"level":7,"formattedTitle":4293,"subtitle":7,"description":4294,"image":4295,"audioFile":4296,"show":4303},"45526","c19d05dd-aded-44da-b426-66c215f1cd15","The New Latino Poetry","the-new-latino-poetry","audio/74752/the-new-latino-poetry","https://www.poetryfoundation.org/audio/74752/the-new-latino-poetry","2007-07-18T00:00:00-05:00","2025-03-10T11:38:18-05:00","\u003Cp>The New Latino Poetry\u003C/p>","\u003Cp>A conversation with Francisco Aragón, editor of the anthology \u003Ci>The Wind Shifts\u003C/i>. \u003Ca href=\"http://voices.e-poets.net/index.shtml\" target=\"_blank\" rel=\"noreferrer noopener\">Audio for this podcast courtesy of e-poets.\u003C/a>\u003C/p>\u003Cp>A transcript for this podcast episode is currently pending. It will be available in four to six weeks.\u003C/p>",[],[4297],{"__typename":4125,"id":4298,"uid":4299,"title":4300,"url":4301,"filename":4302},"501239","3fce376c-9649-453d-81de-62369a0d47fb","C09eae5a55ac4d81bf099a782934f55b7cb24cbf","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/c09eae5a55ac4d81bf099a782934f55b7cb24cbf.mp3","c09eae5a55ac4d81bf099a782934f55b7cb24cbf.mp3",[4132],{"__typename":615,"id":4305,"affiliation":7,"externalLinkUrl":4306,"description":7,"title":7,"uri":7,"contentItem":4307},"1291045",[],[4308],{"__typename":4110,"id":4309,"uid":4310,"title":4311,"slug":4312,"uri":4313,"url":4314,"sectionHandle":4117,"postDate":4315,"dateUpdated":4316,"level":7,"formattedTitle":4317,"subtitle":7,"description":4318,"image":4319,"audioFile":4320,"show":4327},"101228","2f3de546-894e-46b4-b3ec-cc011672b8cd","The Next Poet Laureate","the-next-poet-laureate","audio/77090/the-next-poet-laureate","https://www.poetryfoundation.org/audio/77090/the-next-poet-laureate","2015-06-10T00:00:00-05:00","2024-06-11T10:32:02-05:00","\u003Cp>The Next Poet Laureate\u003C/p>","\u003Cp>The poetry and activism of Juan Felipe Herrera.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\" target=\"_blank\" rel=\"noreferrer noopener\">Request a transcript here\u003C/a>.\u003C/p>",[],[4321],{"__typename":4125,"id":4322,"uid":4323,"title":4324,"url":4325,"filename":4326},"509213","dc918942-515b-4523-a2e2-07dc64064f27","30e1db3df8725e86b5cdc83255f22d90da1a1325","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/30e1db3df8725e86b5cdc83255f22d90da1a1325.mp3","30e1db3df8725e86b5cdc83255f22d90da1a1325.mp3",[4132],{"__typename":615,"id":4329,"affiliation":7,"externalLinkUrl":4330,"description":7,"title":7,"uri":7,"contentItem":4331},"1291046",[],[4332],{"__typename":4110,"id":4333,"uid":4334,"title":4335,"slug":4336,"uri":4337,"url":4338,"sectionHandle":4117,"postDate":4339,"dateUpdated":4340,"level":7,"formattedTitle":4341,"subtitle":7,"description":4342,"image":4343,"audioFile":4344,"show":4351},"101822","b4e38c98-c457-4c72-be1f-950413cc40c8","Dworzec","dworzec","audio/92207/dworzec","https://www.poetryfoundation.org/audio/92207/dworzec","2017-01-23T00:00:00-06:00","2024-06-11T10:34:55-05:00","\u003Cp>Dworzec\u003C/p>","\u003Cp>Emily Pérez portrays a person on a train fleeing from a past life. Produced by Katie Klocksin.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4345],{"__typename":4125,"id":4346,"uid":4347,"title":4348,"url":4349,"filename":4350},"520082","ec3d01b1-9dd5-4cce-9678-4e89967edbbc","0c9f237c12006eac4284fc61b24d07786b8dfaa3","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/0c9f237c12006eac4284fc61b24d07786b8dfaa3.mp3","0c9f237c12006eac4284fc61b24d07786b8dfaa3.mp3",[4352],{"__typename":4133,"id":4353,"slug":4354,"title":4355,"formattedTitle":4356},"243446","poetrynow","PoetryNow","\u003Cp>PoetryNow\u003C/p>",{"__typename":615,"id":4358,"affiliation":7,"externalLinkUrl":4359,"description":7,"title":7,"uri":7,"contentItem":4360},"1291047",[],[4361],{"__typename":4110,"id":4362,"uid":4363,"title":4364,"slug":4365,"uri":4366,"url":4367,"sectionHandle":4117,"postDate":4368,"dateUpdated":4369,"level":7,"formattedTitle":4370,"subtitle":7,"description":4371,"image":4372,"audioFile":4373,"show":4380},"101858","720143b3-509a-42e3-b37a-6f40de1e8790","Two Guardians","two-guardians","audio/92489/two-guardians","https://www.poetryfoundation.org/audio/92489/two-guardians","2017-02-20T10:54:46-06:00","2024-06-11T10:35:08-05:00","\u003Cp>Two Guardians\u003C/p>","\u003Cp>Roberto Tejada guides readers through an underworld of surveillance. Produced by Katie Klocksin.\u003C/p>",[],[4374],{"__typename":4125,"id":4375,"uid":4376,"title":4377,"url":4378,"filename":4379},"520123","1625011a-fd08-40d1-a2c1-4e6fce089f97","Fead9f8008c1d39c96c9e88082544dadae560c56","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/fead9f8008c1d39c96c9e88082544dadae560c56.mp3","fead9f8008c1d39c96c9e88082544dadae560c56.mp3",[4352],{"__typename":615,"id":4382,"affiliation":7,"externalLinkUrl":4383,"description":7,"title":7,"uri":7,"contentItem":4384},"1291048",[],[4385],{"__typename":4220,"id":4386,"uid":4387,"title":4388,"slug":4389,"uri":4390,"url":4391,"sectionHandle":4227,"postDate":4392,"dateUpdated":4393,"level":7,"subtitle":4394,"description":4395,"credits":7,"posterImage":4396,"image":4400,"videoFile":4413,"videoEmbedCode":4414,"show":4415},"46772","9babf70a-b8a8-46bc-85b4-bbf0c0d360e3","To Arizona’s first poet laureate, ‘the border is what joins us’","to-arizonas-first-poet-laureate-the-border-is-what-joins-us","video/146285/to-arizonas-first-poet-laureate-the-border-is-what-joins-us","https://www.poetryfoundation.org/video/146285/to-arizonas-first-poet-laureate-the-border-is-what-joins-us","2018-03-19T00:00:00-05:00","2024-06-11T19:01:39-05:00","Across his life, Alberto Rios has seen enormous changes throughout the U.S.-Mexico border region, and its culture and language have shaped him as a writer.","Across his life, Alberto Rios has seen enormous changes throughout the U.S.-Mexico border region, and its culture and language have shaped him as a writer. Now as Arizona's first poet laureate, Rios has a platform for his \"poems of public purpose\" on all that the border means to the everyone on both sides of it. Jeffrey Brown reports.",[4397],{"__typename":25,"id":4398,"url":4399},"515766","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/6b4cde708c83c768297b26a84e3f5cae519894c6.jpeg",[4401],{"__typename":25,"id":4402,"uid":4403,"title":4404,"alt":4405,"url":4406,"height":4407,"width":4408,"filename":4409,"caption":7,"copyright":7,"focalPoint":4410},"515768","796a53f0-2d57-4b0d-8d3c-eed7522bee45","newshour-rios6x4.jpg","Image of the poet Alberto Rios.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/f87a027aa37a3dbacf966477f99ac7762a439d1b.jpeg",1200,1800,"f87a027aa37a3dbacf966477f99ac7762a439d1b.jpeg",[4411,4412],0.5899,0.3505,[],"\u003Ciframe width=\"755\" height=\"424\" src=\"https://www.youtube.com/embed/Dy0Q3UxaDxo\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C/iframe>",[4249],{"__typename":615,"id":4417,"affiliation":7,"externalLinkUrl":4418,"description":7,"title":7,"uri":7,"contentItem":4419},"1291049",[],[4420],{"__typename":4220,"id":4421,"uid":4422,"title":4423,"slug":4424,"uri":4425,"url":4426,"sectionHandle":4227,"postDate":4427,"dateUpdated":4393,"level":7,"subtitle":4428,"description":4429,"credits":7,"posterImage":4430,"image":4434,"videoFile":4446,"videoEmbedCode":4447,"show":4448},"46770","b099fa58-19c2-4e3f-977c-8e7329bf850a","This poet wants brown girls to know they’re worthy of being the hero and the author","this-poet-wants-brown-girls-to-know-theyre-worthy-of-being-the-hero-and-the-author","video/146175/this-poet-wants-brown-girls-to-know-theyre-worthy-of-being-the-hero-and-the-author","https://www.poetryfoundation.org/video/146175/this-poet-wants-brown-girls-to-know-theyre-worthy-of-being-the-hero-and-the-author","2018-03-12T00:00:00-05:00","Next, we turn to another installment of our weekly Brief But Spectacular series, where we ask people about their passions.","Next, we turn to another installment of our weekly Brief But Spectacular series, where we ask people about their passions.\n\nTonight, we hear from award-winning poet Elizabeth Acevedo. Raised in New York City, she is the daughter of Dominican immigrants and frequently includes themes of race, gender, and oppression in her work.\n\nAcevedo’s latest book, “The Poet X,” became available this week.",[4431],{"__typename":25,"id":4432,"url":4433},"515760","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/77282d0b804f9dcadffa0a9a6ac9ebac85861611.jpeg",[4435],{"__typename":25,"id":4436,"uid":4437,"title":4438,"alt":4439,"url":4440,"height":4407,"width":4408,"filename":4441,"caption":7,"copyright":4442,"focalPoint":4443},"515762","b0399ecf-83f8-42c8-8d94-3296dc52ba19","Elizabeth-Acavedo-6x4.jpg","Image of the poet Elizabeth Acevedo.","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/166feff1359b6dc104904af72db48fb02c793236.jpeg","166feff1359b6dc104904af72db48fb02c793236.jpeg","PBS",[4444,4445],0.6612,0.2953,[],"\u003Ciframe width=\"755\" height=\"424\" src=\"https://www.youtube.com/embed/2Bz0mjIL1q4\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C/iframe>",[4249],{"__typename":615,"id":4450,"affiliation":7,"externalLinkUrl":4451,"description":7,"title":7,"uri":7,"contentItem":4452},"1291050",[],[4453],{"__typename":4220,"id":4454,"uid":4455,"title":4456,"slug":4457,"uri":4458,"url":4459,"sectionHandle":4227,"postDate":4460,"dateUpdated":4461,"level":7,"subtitle":4462,"description":4463,"credits":7,"posterImage":4464,"image":4468,"videoFile":4478,"videoEmbedCode":4479,"show":4480},"46736","149fa24c-a7be-4084-b6b0-dcd9d6a9dffb","How one poet is helping Chicago students find their voice through verse","how-one-poet-is-helping-chicago-students-find-their-voice-through-verse","video/142312/how-one-poet-is-helping-chicago-students-find-their-voice-through-verse","https://www.poetryfoundation.org/video/142312/how-one-poet-is-helping-chicago-students-find-their-voice-through-verse","2017-05-31T00:00:00-05:00","2024-06-11T19:01:38-05:00","More than 50 people were shot during the holiday weekend in Chicago. Often, when we talk about the city — and its school system — we hear about too much violence and too little money. Jeffrey Brown talks to poet laureate Juan Felipe Herrera about his new","More than 50 people were shot during the holiday weekend in Chicago. Often, when we talk about the city — and its school system — we hear about too much violence and too little money. Jeffrey Brown talks to poet laureate Juan Felipe Herrera about his new project, which gives Chicago students the opportunity to create meaningful works about their lives and the challenges they face.",[4465],{"__typename":25,"id":4466,"url":4467},"515675","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/bf32d550e277ab30e68c62abccb0c0af4bb5bfda.jpeg",[4469],{"__typename":25,"id":4466,"uid":4470,"title":4471,"alt":3855,"url":4467,"height":4472,"width":4473,"filename":4474,"caption":7,"copyright":7,"focalPoint":4475},"1938c994-d95d-49e4-ac42-b719cd50d5a2","Juan-Felipe-Herrera-Newshour.jpg",1156,2052,"bf32d550e277ab30e68c62abccb0c0af4bb5bfda.jpeg",[4476,4477],0.8398,0.1657,[],"\u003Ciframe width=\"755\" height=\"424\" src=\"https://www.youtube.com/embed/txb-ghJIHpk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C/iframe>",[4249],{"__typename":615,"id":4482,"affiliation":7,"externalLinkUrl":4483,"description":7,"title":7,"uri":7,"contentItem":4484},"1291051",[],[4485],{"__typename":4220,"id":4486,"uid":4487,"title":4488,"slug":4489,"uri":4490,"url":4491,"sectionHandle":4227,"postDate":4492,"dateUpdated":4493,"level":7,"subtitle":4494,"description":4495,"credits":7,"posterImage":4496,"image":4500,"videoFile":4508,"videoEmbedCode":4509,"show":4510},"46682","83201219-a629-48c0-a001-c77e4b9f81fa","From the fields to the Library of Congress, Juan Felipe Herrera took a winding path to poetry","from-the-fields-to-the-library-of-congress-juan-felipe-herrera-took-a-winding-path-to-poetry","video/77435/from-the-fields-to-the-library-of-congress-juan-felipe-herrera-took-a-winding-path-to-poetry","https://www.poetryfoundation.org/video/77435/from-the-fields-to-the-library-of-congress-juan-felipe-herrera-took-a-winding-path-to-poetry","2015-06-12T00:00:00-05:00","2024-06-11T19:01:29-05:00","Juan Felipe Herrera is the son of migrant workers from Mexico, and becomes the first Latino to serve as poet laureate of the United States.","Juan Felipe Herrera is the author of more than 20 books of poetry, novels for young adults and collections for children, most recently “Portraits of Hispanic American Heroes.” He is the son of migrant workers from Mexico, and today he becomes the first Latino to serve as poet laureate of the United States. Jeffrey Brown travels to the poet’s home in California’s San Joaquin Valley.",[4497],{"__typename":25,"id":4498,"url":4499},"515580","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/22b202406393c13f69f7d7933f422a41559c3ea6.jpeg",[4501],{"__typename":25,"id":4498,"uid":4502,"title":4503,"alt":7,"url":4499,"height":4241,"width":4242,"filename":4504,"caption":7,"copyright":7,"focalPoint":4505},"661953d4-c747-4dc0-b183-1a5c4d4d5e03","22b202406393c13f69f7d7933f422a41559c3ea6","22b202406393c13f69f7d7933f422a41559c3ea6.jpeg",[4506,4507],0.4317,0.3162,[],"\u003Ciframe width=\"755\" height=\"424\" src=\"https://www.youtube.com/embed/iykpWev3NLY\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C/iframe>",[4249],{"__typename":615,"id":4512,"affiliation":7,"externalLinkUrl":4513,"description":7,"title":7,"uri":7,"contentItem":4514},"1291052",[],[4515],{"__typename":4220,"id":4516,"uid":4517,"title":4518,"slug":4519,"uri":4520,"url":4521,"sectionHandle":4227,"postDate":4522,"dateUpdated":4523,"level":7,"subtitle":4524,"description":4525,"credits":7,"posterImage":4526,"image":4530,"videoFile":4539,"videoEmbedCode":4540,"show":4541},"46632","5d6b7ebe-df31-4ee9-89d6-3108e8e6d605","Rafael Campo's student physicians embrace poetry to hone art of healing","rafael-campos-student-physicians-embrace-poetry-to-hone-art-of-healing","video/77409/rafael-campos-student-physicians-embrace-poetry-to-hone-art-of-healing","https://www.poetryfoundation.org/video/77409/rafael-campos-student-physicians-embrace-poetry-to-hone-art-of-healing","2014-01-13T00:00:00-06:00","2024-06-11T19:01:19-05:00","Doctor and poet Rafael Campo thinks medical school distances doctor and patient at the cost of human understanding. A possible cure? He uses poetry to help close the gap.","Doctor and poet Rafael Campo thinks medical school distances doctor and patient at the cost of human understanding. A possible cure? He uses poetry to help close the gap. Jeffrey Brown and Poet Laureate Natasha Trethewey continue to seek \"Where Poetry Lives\" by visiting Campo's reading and writing workshop for medical students.",[4527],{"__typename":25,"id":4528,"url":4529},"515490","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/75f73bf946bfae4a627705f9b224255497d36331.jpeg",[4531],{"__typename":25,"id":4528,"uid":4532,"title":4533,"alt":4534,"url":4529,"height":4241,"width":4242,"filename":4535,"caption":7,"copyright":7,"focalPoint":4536},"feec974f-f6c8-4414-88da-6f412962b5f1","newshour-2014-01-09-poetry.jpg","Photo of man reading","75f73bf946bfae4a627705f9b224255497d36331.jpeg",[4537,4538],0.5036,0.2228,[],"\u003Ciframe width=\"755\" height=\"424\" src=\"https://www.youtube.com/embed/sKP2rmEO1RM\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C/iframe>",[4249],{"__typename":615,"id":4543,"affiliation":7,"externalLinkUrl":4544,"description":7,"title":7,"uri":7,"contentItem":4545},"1291053",[],[4546],{"__typename":4220,"id":4547,"uid":4548,"title":4549,"slug":4550,"uri":4551,"url":4552,"sectionHandle":4227,"postDate":4553,"dateUpdated":4554,"level":7,"subtitle":4555,"description":4556,"credits":7,"posterImage":4557,"image":4561,"videoFile":4569,"videoEmbedCode":4570,"show":4571},"46700","ba7a7d13-7eb6-40f4-97c2-d64273c49e4e","A son’s poetic tribute to his father’s fight for civil rights","a-sons-poetic-tribute-to-his-fathers-fight-for-civil-rights","video/77444/a-sons-poetic-tribute-to-his-fathers-fight-for-civil-rights","https://www.poetryfoundation.org/video/77444/a-sons-poetic-tribute-to-his-fathers-fight-for-civil-rights","2016-03-01T00:00:00-06:00","2024-06-11T19:01:32-05:00","Frank Espada was a man of many vocations: artist, photographer, community organizer, civil rights activist and father. As a Puerto Rican immigrant in 1960s America, he saw and documented first hand the social turbulence of the era.","Frank Espada was a man of many vocations: artist, photographer, community organizer, civil rights activist and father. As a Puerto Rican immigrant in 1960s America, he saw and documented first hand the social turbulence of the era. Though he died in 2014, his legacy lives on through his son, poet Martin Espada, whose latest collection celebrates his father’s life and works. Jeffrey Brown reports.",[4558],{"__typename":25,"id":4559,"url":4560},"515607","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/images/1f5e2cfe526d2ded46c3173295fc4cdb1db0d9ee.jpeg",[4562],{"__typename":25,"id":4559,"uid":4563,"title":4564,"alt":7,"url":4560,"height":4241,"width":4242,"filename":4565,"caption":7,"copyright":7,"focalPoint":4566},"185587be-a4d8-4f9b-97d4-fb060a8021af","martin_espada.jpg","1f5e2cfe526d2ded46c3173295fc4cdb1db0d9ee.jpeg",[4567,4568],0.5856,0.1964,[],"\u003Ciframe width=\"755\" height=\"424\" src=\"https://www.youtube.com/embed/oqvcmsp_wiw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003C/iframe>",[4249],{"__typename":615,"id":4573,"affiliation":7,"externalLinkUrl":4574,"description":7,"title":7,"uri":7,"contentItem":4575},"1291054",[],[4576],{"__typename":4110,"id":4577,"uid":4578,"title":4579,"slug":4580,"uri":4581,"url":4582,"sectionHandle":4117,"postDate":4583,"dateUpdated":4584,"level":7,"formattedTitle":4585,"subtitle":7,"description":4586,"image":4587,"audioFile":4588,"show":4595},"46338","72e46676-04bd-42bb-86b3-716a7badc816","Psycho-Acoustics: A Discussion of Rodrigo Toscano’s “Poetics”","psycho-acoustics-a-discussion-of-rodrigo-toscanos-poetics","audio/75320/psycho-acoustics-a-discussion-of-rodrigo-toscanos-poetics","https://www.poetryfoundation.org/audio/75320/psycho-acoustics-a-discussion-of-rodrigo-toscanos-poetics","2009-05-12T00:00:00-05:00","2024-06-11T10:16:24-05:00","\u003Cp>Psycho-Acoustics: A Discussion of Rodrigo Toscano’s “Poetics”\u003C/p>","\u003Cp>Hosted by Al Filreis and featuring poets Emily Abendroth, Randall Couch, and Linh Dinh.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4589],{"__typename":4125,"id":4590,"uid":4591,"title":4592,"url":4593,"filename":4594},"502058","f75da595-db7d-4335-bb8a-3bea0a130779","7019cdc6e38440e24af95e3ef0cc83bb0327aaa8","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/7019cdc6e38440e24af95e3ef0cc83bb0327aaa8.mp3","7019cdc6e38440e24af95e3ef0cc83bb0327aaa8.mp3",[4596],{"__typename":4133,"id":4597,"slug":4598,"title":4599,"formattedTitle":4600},"257273","poemtalk","Poem Talk","\u003Cp>Poem Talk\u003C/p>",{"__typename":615,"id":4602,"affiliation":7,"externalLinkUrl":4603,"description":7,"title":7,"uri":7,"contentItem":4604},"1291055",[],[4605],{"__typename":4110,"id":4606,"uid":4607,"title":4608,"slug":4609,"uri":4610,"url":4611,"sectionHandle":4117,"postDate":4612,"dateUpdated":4613,"level":7,"formattedTitle":4614,"subtitle":7,"description":4615,"image":4616,"audioFile":4617,"show":4624},"102428","76a3adf9-f76b-4828-866f-cd7cb76cf176","artificial death","artificial-death","audio/146481/artificial-death","https://www.poetryfoundation.org/audio/146481/artificial-death","2018-04-23T00:00:00-05:00","2024-06-11T10:38:09-05:00","\u003Cp>artificial death\u003C/p>","\u003Cp>Roberto Harrison imagines a time when death itself will be artificial. Produced by Sarah Geis.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4618],{"__typename":4125,"id":4619,"uid":4620,"title":4621,"url":4622,"filename":4623},"548922","541ceec2-7aef-42d5-8326-bdb120eec1e9","Aaa497004a57b2c197fc4095b8ed9f3a992d2749","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/aaa497004a57b2c197fc4095b8ed9f3a992d2749.mp3","aaa497004a57b2c197fc4095b8ed9f3a992d2749.mp3",[4352],{"__typename":615,"id":4626,"affiliation":7,"externalLinkUrl":4627,"description":7,"title":7,"uri":7,"contentItem":4628},"1291056",[],[4629],{"__typename":4110,"id":4630,"uid":4631,"title":4632,"slug":4633,"uri":4634,"url":4635,"sectionHandle":4117,"postDate":4636,"dateUpdated":4637,"level":7,"formattedTitle":4638,"subtitle":7,"description":4639,"image":4640,"audioFile":4641,"show":4648},"100934","9623d964-866d-42bc-bffe-34e94a4ac3b4","And","and","audio/76936/and","https://www.poetryfoundation.org/audio/76936/and","2015-04-23T00:00:00-05:00","2024-06-11T10:30:27-05:00","\u003Cp>And\u003C/p>","\u003Cp>Robert Fernandez discusses composer Franz Schubert, poet Jack Spicer, and the fraility of our own mortality. Produced by Sara Murphy.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4642],{"__typename":4125,"id":4643,"uid":4644,"title":4645,"url":4646,"filename":4647},"508919","a08fda17-685a-48b2-8022-dec849b57094","Bb4b9e1d5cd8295c828af8733b091f387df1a566","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/bb4b9e1d5cd8295c828af8733b091f387df1a566.mp3","bb4b9e1d5cd8295c828af8733b091f387df1a566.mp3",[4352],{"__typename":615,"id":4650,"affiliation":7,"externalLinkUrl":4651,"description":7,"title":7,"uri":7,"contentItem":4652},"1291057",[],[4653],{"__typename":4110,"id":4654,"uid":4655,"title":4656,"slug":4657,"uri":4658,"url":4659,"sectionHandle":4117,"postDate":4660,"dateUpdated":4661,"level":7,"formattedTitle":4662,"subtitle":7,"description":4663,"image":4664,"audioFile":4665,"show":4672},"102002","7247a6df-715a-4c7b-b6a3-150a55aa7e6d","La Bestia / The Beast","la-bestia-the-beast","audio/142245/la-bestia-the-beast","https://www.poetryfoundation.org/audio/142245/la-bestia-the-beast","2017-07-03T16:05:03-05:00","2024-06-11T10:35:40-05:00","\u003Cp>La Bestia / The Beast\u003C/p>","\u003Cp>Juan Delgado describes a dangerous journey by a series of freight trains that migrants from Central America use to reach the U.S. border. Produced by Katie Klocksin.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4666],{"__typename":4125,"id":4667,"uid":4668,"title":4669,"url":4670,"filename":4671},"546425","13573b99-681e-4eee-b807-62686b76bc60","080b6ae664dccdd39c01a58770d6058ad4d0bd97","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/080b6ae664dccdd39c01a58770d6058ad4d0bd97.mp3","080b6ae664dccdd39c01a58770d6058ad4d0bd97.mp3",[4352],{"__typename":615,"id":4674,"affiliation":7,"externalLinkUrl":4675,"description":7,"title":7,"uri":7,"contentItem":4676},"1291058",[],[4677],{"__typename":4110,"id":4678,"uid":4679,"title":4680,"slug":4681,"uri":4682,"url":4683,"sectionHandle":4117,"postDate":4684,"dateUpdated":4685,"level":7,"formattedTitle":4686,"subtitle":7,"description":4687,"image":4688,"audioFile":4689,"show":4696},"101522","75347997-420d-4315-8682-3b2d1da0a2bb","Decoy Gang War Victim","decoy-gang-war-victim","audio/89170/decoy-gang-war-victim","https://www.poetryfoundation.org/audio/89170/decoy-gang-war-victim","2016-07-11T00:00:00-05:00","2024-06-11T10:33:32-05:00","\u003Cp>Decoy Gang War Victim\u003C/p>","\u003Cp>Carmen Giménez Smith reads a poem in response to a photograph by the 1970s East Los Angeles art collective Asco. Produced by Colin McNulty.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4690],{"__typename":4125,"id":4691,"uid":4692,"title":4693,"url":4694,"filename":4695},"509507","4420d9c4-2a7e-4338-aafb-470168f23895","81ca00ae2fb942993cdb5a8a4841c8be895d361d","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/81ca00ae2fb942993cdb5a8a4841c8be895d361d.mp3","81ca00ae2fb942993cdb5a8a4841c8be895d361d.mp3",[4352],{"__typename":615,"id":4698,"affiliation":7,"externalLinkUrl":4699,"description":7,"title":7,"uri":7,"contentItem":4700},"1291059",[],[4701],{"__typename":4110,"id":4702,"uid":4703,"title":4704,"slug":4705,"uri":4706,"url":4707,"sectionHandle":4117,"postDate":4708,"dateUpdated":4709,"level":7,"formattedTitle":4710,"subtitle":7,"description":4711,"image":4712,"audioFile":4713,"show":4720},"101704","0e0622db-0fa7-4448-8a4c-1028b4158540","Saguaros","saguaros","audio/91182/saguaros","https://www.poetryfoundation.org/audio/91182/saguaros","2016-10-31T00:00:00-05:00","2024-06-11T10:34:23-05:00","\u003Cp>Saguaros\u003C/p>","\u003Cp>Javier Zamora describes his journey as a young migrant crossing the desert into the U.S. Produced by Katie Klocksin.\u003C/p>",[],[4714],{"__typename":4125,"id":4715,"uid":4716,"title":4717,"url":4718,"filename":4719},"519935","7028621b-16c8-41e7-9658-960bc67d8bba","7ef5a506b0cde755451d61a70296b565444e918f","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/7ef5a506b0cde755451d61a70296b565444e918f.mp3","7ef5a506b0cde755451d61a70296b565444e918f.mp3",[4352],{"__typename":615,"id":4722,"affiliation":7,"externalLinkUrl":4723,"description":7,"title":7,"uri":7,"contentItem":4724},"1291060",[],[4725],{"__typename":4110,"id":4726,"uid":4727,"title":4728,"slug":4729,"uri":4730,"url":4731,"sectionHandle":4117,"postDate":4732,"dateUpdated":4733,"level":7,"formattedTitle":4734,"subtitle":7,"description":4735,"image":4736,"audioFile":4737,"show":4744},"102078","422969eb-84ad-4ee0-b98f-cee0e00c0239","Keough Hall","keough-hall","audio/143723/keough-hall","https://www.poetryfoundation.org/audio/143723/keough-hall","2017-07-31T00:00:00-05:00","2024-06-11T10:36:02-05:00","\u003Cp>Keough Hall\u003C/p>","\u003Cp>Francisco Aragón describes a threatening incident against a college student after the 2016 election. Produced by Katie Klocksin.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4738],{"__typename":4125,"id":4739,"uid":4740,"title":4741,"url":4742,"filename":4743},"546800","180278a8-e0b8-4dd6-b096-16548a9c397f","B37e9fa9b8168888e02311716ea4ebbc6ca93280","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/b37e9fa9b8168888e02311716ea4ebbc6ca93280.mp3","b37e9fa9b8168888e02311716ea4ebbc6ca93280.mp3",[4352],{"__typename":615,"id":4746,"affiliation":7,"externalLinkUrl":4747,"description":7,"title":7,"uri":7,"contentItem":4748},"1291061",[],[4749],{"__typename":4110,"id":4750,"uid":4751,"title":4752,"slug":4753,"uri":4754,"url":4755,"sectionHandle":4117,"postDate":4756,"dateUpdated":4757,"level":7,"formattedTitle":4758,"subtitle":7,"description":4759,"image":4760,"audioFile":4761,"show":4768},"101040","b5fe5524-8f53-4121-8e9c-95ea1c70cc0f","Us vs Them","us-vs-them","audio/76989/us-vs-them","https://www.poetryfoundation.org/audio/76989/us-vs-them","2015-06-25T00:00:00-05:00","2024-06-11T10:31:01-05:00","\u003Cp>Us vs Them\u003C/p>","\u003Cp>David Tomas Martinez considers the way collective fear is constructed as well as the systems of security we create. Produced by David Schulman.\u003C/p>",[],[4762],{"__typename":4125,"id":4763,"uid":4764,"title":4765,"url":4766,"filename":4767},"509025","7eaabf43-2992-4af1-bc05-f73c5ec14614","D342a9730639c49f38dfc20f881a26397e018828","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/d342a9730639c49f38dfc20f881a26397e018828.mp3","d342a9730639c49f38dfc20f881a26397e018828.mp3",[4352],{"__typename":615,"id":4770,"affiliation":7,"externalLinkUrl":4771,"description":7,"title":7,"uri":7,"contentItem":4772},"1291062",[],[4773],{"__typename":4110,"id":4774,"uid":4775,"title":4776,"slug":4777,"uri":4778,"url":4779,"sectionHandle":4117,"postDate":1592,"dateUpdated":4780,"level":7,"formattedTitle":4781,"subtitle":7,"description":4782,"image":4783,"audioFile":4784,"show":4791},"101528","efd425e0-1930-4937-8b56-a802833ae80e","Ode to Coffee / Oda al Café","ode-to-coffee-oda-al-caf","audio/89173/ode-to-coffee-oda-al-caf","https://www.poetryfoundation.org/audio/89173/ode-to-coffee-oda-al-caf","2024-06-11T10:33:31-05:00","\u003Cp>Ode to Coffee / Oda al Café\u003C/p>","\u003Cp>Urayoán Noel considers the pleasures of coffee and how those pleasures may differ between the English and Spanish languages. Produced by Colin McNulty.\u003C/p>",[],[4785],{"__typename":4125,"id":4786,"uid":4787,"title":4788,"url":4789,"filename":4790},"509513","0f309538-eb59-4bb7-86fe-e8a925141497","9e993b56ad06bc5e36701195a5029d6b681b2ff0","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/9e993b56ad06bc5e36701195a5029d6b681b2ff0.mp3","9e993b56ad06bc5e36701195a5029d6b681b2ff0.mp3",[4352],{"__typename":615,"id":4793,"affiliation":7,"externalLinkUrl":4794,"description":7,"title":7,"uri":7,"contentItem":4795},"1291063",[],[4796],{"__typename":4110,"id":4797,"uid":4798,"title":4799,"slug":4800,"uri":4801,"url":4802,"sectionHandle":4117,"postDate":4803,"dateUpdated":4804,"level":7,"formattedTitle":4805,"subtitle":7,"description":4806,"image":4807,"audioFile":4808,"show":4815},"101666","0a9f05eb-f62e-42ba-b847-6a6285567d73","Rosary (Prayer One)","rosary-prayer","audio/90590/rosary-prayer","https://www.poetryfoundation.org/audio/90590/rosary-prayer","2016-10-16T00:00:00-05:00","2024-06-11T10:34:11-05:00","\u003Cp>Rosary (Prayer One)\u003C/p>","\u003Cp>J. Michael Martinez writes of love and the body through the language of the natural world. Produced by Katie Klocksin.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[4809],{"__typename":4125,"id":4810,"uid":4811,"title":4812,"url":4813,"filename":4814},"519888","67e71199-45e7-41fb-b59e-8ef6ba766c6e","Bc8612ad7d3c413251e515be8c2b6684cc1db271","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/bc8612ad7d3c413251e515be8c2b6684cc1db271.mp3","bc8612ad7d3c413251e515be8c2b6684cc1db271.mp3",[4352],{"__typename":615,"id":4817,"affiliation":7,"externalLinkUrl":4818,"description":7,"title":7,"uri":7,"contentItem":4819},"1291064",[],[4820],{"__typename":4110,"id":4821,"uid":4822,"title":4823,"slug":4824,"uri":4825,"url":4826,"sectionHandle":4117,"postDate":4827,"dateUpdated":4828,"level":7,"formattedTitle":4829,"subtitle":7,"description":4830,"image":4831,"audioFile":4832,"show":4839},"366738","e48fc7dc-c6f6-466d-b850-22cd9829db99","Erika L. Sánchez vs. High School","erika-l-snchez-vs-high-school","audio/144299/erika-l-snchez-vs-high-school","https://www.poetryfoundation.org/audio/144299/erika-l-snchez-vs-high-school","2017-09-19T11:15:57-05:00","2024-06-11T10:36:30-05:00","\u003Cp>Erika L. Sánchez vs. High School\u003C/p>","\u003Cp>Erka L. Sánchez stops by the show around the release of not one, but two new books–her poetry collection \u003Cem>Lessons on Expulsion\u003C/em> and her Young Adult novel \u003Ca href=\"http://www.penguinrandomhouse.com/books/545723/i-am-not-your-perfect-mexican-daughter-by-erika-l-sanchez/9781524700485/\">\u003Cem>I Am Not Your Perfect Mexican Daughter\u003C/em>\u003C/a>. She talks finding her rituals, teenage Erika, and more.\u003C/p>",[],[4833],{"__typename":4125,"id":4834,"uid":4835,"title":4836,"url":4837,"filename":4838},"547247","d89886b1-d743-4a6a-8aa0-fee02f457dad","1ad29d811c8b4a7ed4f618d1645325f4864f7c5b","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/1ad29d811c8b4a7ed4f618d1645325f4864f7c5b.mp3","1ad29d811c8b4a7ed4f618d1645325f4864f7c5b.mp3",[4840],{"__typename":4133,"id":4841,"slug":4842,"title":4843,"formattedTitle":4844},"243464","vs-podcast","VS","\u003Cp>VS\u003C/p>",{"__typename":615,"id":4846,"affiliation":7,"externalLinkUrl":4847,"description":7,"title":7,"uri":7,"contentItem":4848},"1291065",[],[4849],{"__typename":4110,"id":4850,"uid":4851,"title":4852,"slug":4853,"uri":4854,"url":4855,"sectionHandle":4117,"postDate":4856,"dateUpdated":4857,"level":7,"formattedTitle":4858,"subtitle":7,"description":4859,"image":4860,"audioFile":4861,"show":4868},"366656","7c7a4504-ede5-4f3a-a5a3-a7b32e9898dd","José Olivarez vs. Grownups","jose-olivarez-vs-the-people","audio/142243/jose-olivarez-vs-the-people","https://www.poetryfoundation.org/audio/142243/jose-olivarez-vs-the-people","2017-07-18T00:00:00-05:00","2024-06-11T10:35:39-05:00","\u003Cp>José Olivarez vs. Grownups\u003C/p>","\u003Cp>Poet, educator, and Young Chicago Authors Marketing Director José Olivarez explores adulting and gives some podcast-veteran advice to Danez and Franny.\u003C/p>",[],[4862],{"__typename":4125,"id":4863,"uid":4864,"title":4865,"url":4866,"filename":4867},"546409","f42fba3d-eb15-4fbf-8bea-07d655dc6ef2","Caccbc258eb1a17fbcee803b7b11fc5665e44e90","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/caccbc258eb1a17fbcee803b7b11fc5665e44e90.mp3","caccbc258eb1a17fbcee803b7b11fc5665e44e90.mp3",[4840],{"__typename":615,"id":4870,"affiliation":7,"externalLinkUrl":4871,"description":7,"title":7,"uri":7,"contentItem":4872},"1291066",[],[4873],{"__typename":4110,"id":4874,"uid":4875,"title":4876,"slug":4877,"uri":4878,"url":4879,"sectionHandle":4117,"postDate":4880,"dateUpdated":4881,"level":7,"formattedTitle":4882,"subtitle":7,"description":4883,"image":4884,"audioFile":4885,"show":4892},"102100","100d2d87-84ce-439b-8146-7c86416acbc2","Erika L. Sánchez Reads “Narco”","erika-l-snchez-reads-narco","audio/143884/erika-l-snchez-reads-narco","https://www.poetryfoundation.org/audio/143884/erika-l-snchez-reads-narco","2017-08-07T00:00:00-05:00","2024-09-03T10:10:59-05:00","\u003Cp>Erika L. Sánchez Reads “Narco”\u003C/p>","\u003Cp>In a special archival edition, the editors discuss Erika L. Sánchez's poem “Narco” published in the June 2015 issue of \u003Cem>Poetry\u003C/em>.\u003C/p>",[],[4886],{"__typename":4125,"id":4887,"uid":4888,"title":4889,"url":4890,"filename":4891},"546922","f1569e93-7cf6-4a03-b78f-ab413c4cc2d0","9765930dcdfad81092d5ad28b1ce7c684e1810f3","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/9765930dcdfad81092d5ad28b1ce7c684e1810f3.mp3","9765930dcdfad81092d5ad28b1ce7c684e1810f3.mp3",[4893],{"__typename":4133,"id":4894,"slug":4895,"title":4896,"formattedTitle":4897},"243458","poetrymagazine","The Poetry Magazine Podcast","\u003Cp>The \u003Cem>Poetry Magazine \u003C/em>Podcast\u003C/p>",{"__typename":615,"id":4899,"affiliation":7,"externalLinkUrl":4900,"description":7,"title":7,"uri":7,"contentItem":4901},"1291067",[],[4902],{"__typename":4110,"id":4903,"uid":4904,"title":4905,"slug":4906,"uri":4907,"url":4908,"sectionHandle":4117,"postDate":4909,"dateUpdated":4910,"level":7,"formattedTitle":4911,"subtitle":7,"description":4912,"image":4913,"audioFile":4914,"show":4921},"102320","1029073d-a764-480e-a478-d624559fb2a0","Javier Zamora reads “Second Attempt Crossing”","javier-zamora-reads-second-attempt-crossing","audio/145637/javier-zamora-reads-second-attempt-crossing","https://www.poetryfoundation.org/audio/145637/javier-zamora-reads-second-attempt-crossing","2018-01-29T00:00:00-06:00","2024-06-11T10:37:27-05:00","\u003Cp>Javier Zamora reads “Second Attempt Crossing”\u003C/p>","\u003Cp>In a special archival edition, the editors discuss Javier Zamora’s poem \"Second Attempt Crossing\" published in the November 2016 issue of \u003Cem>Poetry\u003C/em>.\u003C/p>",[],[4915],{"__typename":4125,"id":4916,"uid":4917,"title":4918,"url":4919,"filename":4920},"548228","9ef9782a-6dca-4d1b-a231-2187aefeef90","D422fb3eec61e9ba145647deaca9adf37f27f221","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/d422fb3eec61e9ba145647deaca9adf37f27f221.mp3","d422fb3eec61e9ba145647deaca9adf37f27f221.mp3",[4893],{"__typename":615,"id":4923,"affiliation":7,"externalLinkUrl":4924,"description":7,"title":7,"uri":7,"contentItem":4925},"1291068",[],[4926],{"__typename":4110,"id":4927,"uid":4928,"title":4929,"slug":4930,"uri":4931,"url":4932,"sectionHandle":4117,"postDate":4933,"dateUpdated":4934,"level":7,"formattedTitle":4935,"subtitle":7,"description":4936,"image":4937,"audioFile":4938,"show":4945},"102390","b3320249-7947-4506-b53d-ce29bee0d265","Martín Espada Reads “Letter to My Father”","martn-espada-reads-letter-to-my-father","audio/146318/martn-espada-reads-letter-to-my-father","https://www.poetryfoundation.org/audio/146318/martn-espada-reads-letter-to-my-father","2018-03-26T00:00:00-05:00","2024-06-11T10:37:38-05:00","\u003Cp>Martín Espada Reads “Letter to My Father”\u003C/p>","\u003Cp>The editors discuss Martín Espada’s poem “Letter to My Father” from the March 2018 issue of \u003Cem>Poetry\u003C/em>.\u003C/p>",[],[4939],{"__typename":4125,"id":4940,"uid":4941,"title":4942,"url":4943,"filename":4944},"548645","e0712b3c-b30f-4871-8422-8a9fa009e6b9","11779254fd6e853ce7452ca66f4acbc7eae61370","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/11779254fd6e853ce7452ca66f4acbc7eae61370.mp3","11779254fd6e853ce7452ca66f4acbc7eae61370.mp3",[4893],{"__typename":615,"id":4947,"affiliation":7,"externalLinkUrl":4948,"description":7,"title":7,"uri":7,"contentItem":4949},"1291069",[],[4950],{"__typename":4110,"id":4951,"uid":4952,"title":4953,"slug":4954,"uri":4955,"url":4956,"sectionHandle":4117,"postDate":4957,"dateUpdated":4958,"level":7,"formattedTitle":4959,"subtitle":7,"description":4960,"image":4961,"audioFile":4962,"show":4969},"102406","22c42c40-2e9d-4827-a7d7-7aa063ee1cef","Elizabeth Acevedo Reads “Iron”","elizabeth-acevedo-reads-iron","audio/146384/elizabeth-acevedo-reads-iron","https://www.poetryfoundation.org/audio/146384/elizabeth-acevedo-reads-iron","2018-04-09T00:00:00-05:00","2024-06-11T10:37:45-05:00","\u003Cp>Elizabeth Acevedo Reads “Iron”\u003C/p>","\u003Cp>The editors discuss Elizabeth Acevedo’s poem “Iron” from the April 2018 issue of \u003Cem>Poetry\u003C/em>.\u003C/p>",[],[4963],{"__typename":4125,"id":4964,"uid":4965,"title":4966,"url":4967,"filename":4968},"548761","9a843fa4-3b6f-4b07-8de4-bd67e50f1c48","E6768ae0b4b2c9270b456ebe7df2f19d50cce2d1","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/e6768ae0b4b2c9270b456ebe7df2f19d50cce2d1.mp3","e6768ae0b4b2c9270b456ebe7df2f19d50cce2d1.mp3",[4893],{"__typename":615,"id":4971,"affiliation":7,"externalLinkUrl":4972,"description":7,"title":7,"uri":7,"contentItem":4973},"1291070",[],[4974],{"__typename":4110,"id":4975,"uid":4976,"title":4977,"slug":4978,"uri":4979,"url":4980,"sectionHandle":4117,"postDate":4981,"dateUpdated":4982,"level":7,"formattedTitle":4983,"subtitle":7,"description":4984,"image":4985,"audioFile":4986,"show":4993},"99100","37bbe2cb-1f2b-4f88-b2a0-29117c3e8121","Pilsen","pilsen","audio/75812/pilsen","https://www.poetryfoundation.org/audio/75812/pilsen","2010-08-24T00:00:00-05:00","2024-12-11T16:21:59-06:00","\u003Cp>Pilsen\u003C/p>","\u003Cp>Pilsen was a diverse neighborhood in Chicago long before anybody used the word “diversity.” Stuart Dybek and Ana Castillo read poems inspired by their childhoods there.\u003C/p>",[],[4987],{"__typename":4125,"id":4988,"uid":4989,"title":4990,"url":4991,"filename":4992},"505065","4850eb76-bbdc-4e70-8778-80d9bf26b9fd","0a08cc6afb9df83fe7fa890f4681111a1551bdd1","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/0a08cc6afb9df83fe7fa890f4681111a1551bdd1.mp3","0a08cc6afb9df83fe7fa890f4681111a1551bdd1.mp3",[4994],{"__typename":4133,"id":4995,"slug":4996,"title":4997,"formattedTitle":4998},"257281","chicago-poetry-tour-podcast","Chicago Poetry Tour Podcast","\u003Cp>Chicago Poetry Tour Podcast\u003C/p>",{"__typename":615,"id":5000,"affiliation":7,"externalLinkUrl":5001,"description":7,"title":7,"uri":7,"contentItem":5002},"1291071",[],[5003],{"__typename":4110,"id":5004,"uid":5005,"title":5006,"slug":5007,"uri":5008,"url":5009,"sectionHandle":4117,"postDate":5010,"dateUpdated":5011,"level":7,"formattedTitle":5012,"subtitle":7,"description":5013,"image":5014,"audioFile":5015,"show":5022},"102224","bf5ad33b-3864-44ba-85b3-41ca811e1569","Roy G. Guzmán Reads “Queerodactyl”","roy-g-guzmn-reads-queerodactyl","audio/144957/roy-g-guzmn-reads-queerodactyl","https://www.poetryfoundation.org/audio/144957/roy-g-guzmn-reads-queerodactyl","2017-11-27T00:00:00-06:00","2024-06-11T10:36:54-05:00","\u003Cp>Roy G. Guzmán Reads “Queerodactyl”\u003C/p>","\u003Cp>The editors discuss Roy G. Guzmán's poem “Queerodactyl” from the November 2017 issue of \u003Cem>Poetry\u003C/em>.\u003C/p>\n\n\u003Cp>Need a transcript of this episode? \u003Ca href=\"https://www.poetryfoundation.org/transcript-request\">Request a transcript here\u003C/a>.\u003C/p>",[],[5016],{"__typename":4125,"id":5017,"uid":5018,"title":5019,"url":5020,"filename":5021},"547709","3faad9b5-873e-4e74-99c0-ad0600db1a78","E97c43ce3b1c907f2b8aefdcf22444f11dcdc9db","https://s3-us-east-2.amazonaws.com/cdn-test.poetryfoundation.org/content/audio/e97c43ce3b1c907f2b8aefdcf22444f11dcdc9db.mp3","e97c43ce3b1c907f2b8aefdcf22444f11dcdc9db.mp3",[4893],[],[],{"entry":5026},{"__typename":5,"id":560,"uid":561,"title":562,"slug":563,"uri":564,"url":565,"sectionHandle":6,"postDate":566,"dateUpdated":567,"level":7,"intendedAudiences":5027,"themes":5085},[5028,5038,5045,5052,5061,5070,5078],{"__typename":5029,"id":5030,"uid":5031,"title":313,"slug":5032,"uri":5033,"url":5034,"sectionHandle":5035,"postDate":5036,"dateUpdated":5037,"level":2936},"audiences_default_Entry","29","e5243b62-aa59-4e5c-8439-7a994b9790e0","teens","audiences/teens","https://www.poetryfoundation.org/audiences/teens","audiences","2024-04-10T09:28:00-05:00","2024-05-23T16:06:45-05:00",{"__typename":5029,"id":5039,"uid":5040,"title":287,"slug":5041,"uri":5042,"url":5043,"sectionHandle":5035,"postDate":5036,"dateUpdated":5044,"level":2936},"30","f298aa35-f975-41ee-ab43-7022e702e2a5","adults","audiences/adults","https://www.poetryfoundation.org/audiences/adults","2024-05-23T16:07:00-05:00",{"__typename":5029,"id":5046,"uid":5047,"title":303,"slug":5048,"uri":5049,"url":5050,"sectionHandle":5035,"postDate":5036,"dateUpdated":5051,"level":2936},"31","8776054f-d842-449c-850d-bb4c34fa263d","educators","audiences/educators","https://www.poetryfoundation.org/audiences/educators","2024-05-23T16:07:31-05:00",{"__typename":5029,"id":5053,"uid":5054,"title":5055,"slug":5056,"uri":5057,"url":5058,"sectionHandle":5035,"postDate":5059,"dateUpdated":5060,"level":2946},"39","f3a48cd0-7e62-44eb-8344-f72a09c18e75","6th-8th grade","6th-8th-grade","audiences/6th-8th-grade","https://www.poetryfoundation.org/audiences/6th-8th-grade","2011-05-20T12:12:18-05:00","2024-06-10T13:23:38-05:00",{"__typename":5029,"id":5062,"uid":5063,"title":5064,"slug":5065,"uri":5066,"url":5067,"sectionHandle":5035,"postDate":5068,"dateUpdated":5069,"level":2946},"40","d3a54cc4-2a81-42a9-9c0b-b4831b957cda","9th and 10th grade","9th-and-10th-grade","audiences/9th-and-10th-grade","https://www.poetryfoundation.org/audiences/9th-and-10th-grade","2015-01-20T10:57:06-06:00","2024-06-10T13:23:41-05:00",{"__typename":5029,"id":5071,"uid":5072,"title":5073,"slug":5074,"uri":5075,"url":5076,"sectionHandle":5035,"postDate":5077,"dateUpdated":5077,"level":2946},"41","12bfd85a-8f14-46f7-b20d-6a490f8ebc84","11th and 12th 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