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Issue 25
Poetry

Three Poems 

  • by Marisa Martínez Pérsico
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  • March, 2023

Parallax Breach

 

No one saw him disembark on that unanimous night
Borges 

 

Maintaining
balance on a log
down a river
was a daily ritual of the lumberjacks
who hauled wood
in a different time.

So I climbed on a floating log
while you watched me
seated on the bank of the Vantaa river
and between the two of us
an expanse of water opened:
I danced on a sailing tree
and though you didn’t move, you embarked
      with me.

It was a parallax excursion:
an object’s apparent movement
caused by the change
in position of whoever watches it
causing a union between the parts.

Clinging to the dampness of the wood
I was once again that silent girl
who played hide and seek with the deer.

Did you also hear
the crackle of memories on the log?

Time passed by
and we lost ourselves in the scenery
but I felt you, my love,
still and by my side, floating down the river. 

That afternoon you realized that I’m like Finland.
I can only exist
if you imagine me.

 

In A Changing Room in Naantali 

After the sauna
I go
where generations of women
have gone to take off
their boots or panties.

There is a parade
of gazelle-like legs
of wrinkled necks, cellulitis
tattoos of ideograms
or dolphins.

The weather is pleasant
and we are lucky
to not be
in an extermination camp.
My shoes wait for me
in their own locker
and not
in an anonymous pile. 

I recognize
the girl with red pubic hair
the old lady with a sorrowful face
the glutes of a young girl
the English woman with her thong and       Brazilian Wax
showing even her clitoris
the blonde Finnish woman whose nipples shake
as she combs her bangs.

I look at myself in the mirror on the wall.
I see my accidents, decisions,
the marks of love.
The mole at my navel. The poorly done C-section.
My sternum damaged by the blow
of a leather belt, when I was a girl. 

Is it the wandering
of an inaccessible god
that leaves footprints
on our bodies? 

Skin tells our story better than words.
But it doesn’t last. 

 

The Inheritance

At work
an electric blade
cut off my father’s finger.
They say he picked up his bloody thumb
and tossed it in the garbage,
without a word.

At home he told us it was a clean cut.
Painless. It didn’t even bleed.

He lived in serenity, without two phalanges
but at times things
would slip through his hands
or he would try to grab a bottle
but would just claw at the light.

When he was asked
why he didn’t use his left arm
he responded
that it was his way of touching:
to sense the curvature of an object
with his former finger.

Maybe, a blade
deprived me, too, of a thumb.
And that would explain
my attachment to downfalls,
the stubborn
constant need to feel
the emptiness
of what once was real.

Translation to English by a group of students coordinated by Professor Anthony Geist, in a Spanish class at the University of Washington

 

Photo: Valeria Smirnova, Unsplash.

 

  • Marisa Martínez Pérsico

Marisa Martínez Pérsico (Buenos Aires, 1978) is an Argentine writer and researcher who has lived in Italy since 2010. She holds a PhD in Spanish and Latin American Literature from the University of Salamanca and a graduate degree in Letters from the University of Buenos Aires, and is a professor of Spanish Language and Translation at Udine University. Her poetry books include Las voces de las hojas (Argentina, 1998, Río de la Plata National Award), Poética ambulante (Argentina, Young Writers Programme, 2003), Los pliegos obtusos (Argentina, Young Writers Programme, 2004), La única puerta era la tuya (Spain, Verbum, 2015), El cielo entre paréntesis (Spain, 2017, Valparaíso USA), Finlandia (Spain/Chile, Ril Editores, 2021), Principios y continuaciones (Spain, Pre-Textos, 2021), and Las cosas que compramos en los viajes (Spain, Esdrújula Ediciones, 2022).

  • Anthony Geist

Anthony Geist is a Professor of Spanish and Comparative Literature. He received his PhD from the University of California, Berkeley, in 1978, and taught at Princeton University, the University of Texas, San Antonio, and Dartmouth College before coming to the University of Washington in 1987. His publications center largely on issues of modernism and postmodernism in twentieth-century peninsular poetry, and include La poética de la generación del 27 y las revistas literarias: De la vanguardia al compromiso, Modernism and its Margins: Reinscribing Cultural Modernity from Spain and Latin America, Jorge Guillén: The Poetry and the Poet, and the edition of the Obra poética de Julio Vélez. His other main field of research concerns art and literature of the Spanish Civil War. He published a photo-essay on Seattle-area Lincoln Brigade veterans, coauthored with the Spanish photojournalist José Moreno and titled Passing the Torch: The Abraham Lincoln Brigade and its Legacy of Hope / Otra cara de América: Los brigadistas y su legado de esperanza. He also curated a traveling exhibit of children’s drawings from the Spanish Civil War, which toured the country for two years. The accompanying book, They Still Draw Pictures: Children’s Art in Wartime from the Spanish Civil War to Kosovo, was published in 2002. He is Vice Chair of the Abraham Lincoln Brigade Archives and has been a journeyman carpenter for thirty years.

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