{"id":22039,"date":"2023-03-14T13:03:26","date_gmt":"2023-03-14T19:03:26","guid":{"rendered":"https:\/\/latinamericanliteraturetoday.org\/?p=22039"},"modified":"2023-05-21T17:24:14","modified_gmt":"2023-05-21T23:24:14","slug":"seeking-publisher-from-guerrilla-blooms-translated-by-edith-adams","status":"publish","type":"post","link":"https:\/\/latinamericanliteraturetoday.org\/es\/2023\/03\/seeking-publisher-from-guerrilla-blooms-translated-by-edith-adams\/","title":{"rendered":"Seeking Publisher: from Guerrilla Blooms, translated by Edith Adams"},"content":{"rendered":"

Translator\u2019s Note<\/b><\/p>\n

The following excerpts come from <\/span>Guerrilla Blooms,<\/span><\/i> the Spanish\/Mapudungun-to-English translation of Daniela Catrileo\u2019s 2018 poetry collection, <\/span>Guerra florida\/Ray\u00fclechi malon. <\/span><\/i>Born in Santiago, Chile in 1987, Daniela Catrileo is a writer, professor of philosophy, and activist who, in recent years, has become an essential voice in both Chilean letters and Mapuche cultural production. As part of an emerging generation of Mapuche literary and visual artists whose work centers the experience of the Mapuche diaspora, Catrileo\u2019s poetics reflects on the contours and multiplicities of Mapuche identity in the wake of exile, migration, and colonization, both historical and ongoing.\u00a0<\/span><\/p>\n

Originally appearing in print as a bilingual Spanish-Mapudungun edition, <\/span>Guerrilla Blooms<\/span><\/i> reimagines the arrival of the colonizers from the perspective of an indigenous woman who, alongside her partner and a collective of other women warriors (<\/span>weichafe<\/span><\/i>),<\/span> takes up arms against them. Comprised of individual poems connected by an overarching narrative, the text is a work of poetic fiction that, in both its form and content, explores the crossings of multiple territories, languages, and indigenous imaginaries and subverts the dominant narrative of colonization told from the perspective of the invaders. In this way, rather than offer a singular or teleological account of colonization, Catrileo\u2019s poems unfold across vertiginous landscapes and chronologies, a gesture that frames colonial violence not as a single, completed event, but rather as the much more expansive imposition of ideologies and imaginaries that continue to shape and alter ways of knowing and being to this day. This articulation of colonization as that which continues to forcefully echo in all aspects of contemporary life emerges from the realities facing Mapuche communities today, who continue to confront neo-colonial violence through rampant extractivism, police brutality, and continued struggles over their land, language, and rights.<\/span><\/p>\n

The poems in <\/span>Guerrilla Blooms <\/span><\/i>also toggle between the intimate and the collective, articulating the violence that permeates the text as both colonial and patriarchal. The collection opens, for example, with a bucolic moment shared between the poetic voice and her lover, who is known throughout the collection as only \u201cs h e\u201d or \u201ch e r.\u201d The intimacy shared between the two women is interrupted, however, by the arrival of the unknown invaders, whose war not only deprives the women of their land, but also of their bodily autonomy. Across the text, Catrileo entangles the struggle against colonialism with indigenous feminisms in order to think about the multiple forces of oppression against which the <\/span>weichafe <\/span><\/i>must fight.\u00a0<\/span><\/p>\n

Catrileo\u2019s reflections on colonialism, feminism, diaspora, and state violence are both urgent and timely, not only offering more diverse perspectives on Mapuche culture and its relationship to Chilean society, but also new avenues for thinking about similar conversations that are currently unfolding in the US. In Chile, <\/span>Guerra florida<\/span><\/i> was honored in the poetry category of the Premios Municipales de Santiago, a prize that Catrileo shares with three of the most celebrated Mapuche poets working today, and her short story collection, <\/span>Pi\u00f1en<\/span><\/i> (2019), was honored by Chile\u2019s prestigious Premios Literarios as the Best Literary Work in the short story category. Catrileo has also read on panels at multiple international festivals and events, including a recent appearance alongside Natalie Diaz at the International Literature Festival in Berlin on a panel about Indigenous poetry. Excerpts from <\/span>Guerrilla Blooms<\/span><\/i> have appeared or are forthcoming in my translation in <\/span>New England Review<\/span><\/i>,<\/span> Guernica<\/span><\/i>,<\/span> Northwest Review<\/span><\/i>,<\/span> and <\/span>mercury firs<\/span><\/i>,<\/span> as well as in the anthology <\/span>Daughters of Latin America<\/span><\/i>, due out this year from HarperCollins. A previously-untranslated essay by Catrileo is also slated for publication this spring in <\/span>Words Without Borders <\/span><\/i>as part of a series on Mapuche lyric essays. This would be the first full-length collection of Catrileo\u2019s poetry to appear in English translation, and I can confirm that the English-language rights are available. Should you be interested in learning more about the project, please don\u2019t hesitate to contact me at <\/span>edithada@usc.edu<\/span><\/a>.<\/span><\/p>\n

 <\/p>\n

Edith Adams<\/span><\/p>\n

 <\/p>\n

Four Trilingual Poems from <\/b>Guerrilla Blooms<\/i><\/b><\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 That afternoon I could feel
\n<\/span>your breath on my face<\/span><\/p>\n

We were so close to winning
\n<\/span>but we would never be heroines<\/span><\/p>\n

I wrapped my arms around your waist
\n<\/span>to touch my bones to your bones
\n<\/span>and say:<\/span><\/p>\n

this dance
\n<\/span>it\u2019s for us\u00a0<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Esa tarde pude sentir
\n<\/span>tu respiraci\u00f3n en mi rostro<\/span><\/p>\n

Est\u00e1bamos tan cerca de ganar
\n<\/span>pero nunca fuimos hero\u00ednas<\/span><\/p>\n

Envolv\u00ed mis brazos en tu cintura
\n<\/span>para tocar mis huesos en tus huesos
\n<\/span>y decir:\u00a0<\/span><\/p>\n

esta danza
\n<\/span>es por nosotras<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Feychi nagant\u00fc
\n<\/span>ney\u00fc\u00f1maen i\u00f1che \u00f1i ange\u00a0<\/span><\/p>\n

Epe wewfuyu<\/span>
\n<\/span>welu turpu wewfengelayu\u00a0<\/span><\/p>\n

Rof\u00fclelfi\u00f1 tami trar\u00fctuwe<\/span>
\n<\/span>i\u00f1che \u00f1i foro \u00f1i f\u00fclafiel eymi mi foro
\n<\/span>ka i\u00f1che \u00f1i feypiael:\u00a0<\/span><\/p>\n

t\u00fcfachi purun
\n<\/span>i\u00f1chiw-ngealu\u00a0<\/span><\/p>\n

 <\/p>\n

*<\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0So this is what it\u2019s like \u00a0 \u00a0 this is how it feels
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0This is what it is to be shot
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0a lashing by iron till you disappear
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0You have your knuckles tensed
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0on the string of the bow
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0your thoughts aimed at returning
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0to H e r<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Suddenly
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0you hear the crackle of vertebrae
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0and you draw Lorca\u2019s last breath
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0on this drowsy charred night<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0it is you who f a l l s
\n<\/span>………………………………………….<\/span>it is your blood seeding succulents
\n<\/span>your eyes extinguishing the sun
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0in the howl of the jungle<\/span><\/p>\n

 <\/p>\n

………………………………………….<\/span>As\u00ed que esto era \u00a0 \u00a0 as\u00ed se siente
\n<\/span>………………………………………….<\/span>Esto es recibir un disparo
\n<\/span>………………………………………….<\/span>un zarpazo de plomo hasta desaparecer
\n<\/span>………………………………………….<\/span>Tienes tus nudillos tensados
\n<\/span>………………………………………….<\/span>en la cuerda del arco
\n<\/span>………………………………………….<\/span>tus pensamientos dirigidos en volver
\n<\/span>………………………………………….<\/span>a\u00a0 E l l a<\/span><\/p>\n

………………………………………….<\/span>De pronto
\n<\/span>………………………………………….<\/span>escuchas el crepitar de vertebras
\n<\/span>………………………………………….<\/span>y eres t\u00fa en el segundo de Lorca
\n<\/span>………………………………………….<\/span>esta noche adormecida y carbonizada<\/span><\/p>\n

………………………………………….<\/span>eres t\u00fa la que c a e
\n<\/span>………………………………………….<\/span>es tu sangre sembrando suculentas
\n<\/span>son tus ojos apagando el sol
\n<\/span>………………………………………….<\/span>en el aullido de la selva<\/span><\/p>\n

 <\/p>\n

………………………………………….<\/span>Felerkey t\u00fcfa may\u00a0 \u00a0 \u00a0 felelley tati<\/span>
\n<\/span> ………………………………………….<\/span><\/span>T\u00fcfa tati tralkaturumengen tati<\/span>
\n<\/span> ………………………………………….<\/span><\/span>tritri ch\u00fcngark\u00fcnuenew \u00f1i \u00f1am\u00fcrpualu\u00a0<\/span><\/p>\n

………………………………………….<\/span>N\u00fcnieymi tami kuw\u00fc mew<\/span>
\n<\/span> ………………………………………….<\/span><\/span>ti def ch\u00fcngf\u00fclwe<\/span>
\n<\/span> ………………………………………….<\/span><\/span>petu rakiduamimi mi wi\u00f1otuael
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0feychi D o m o\u00a0 mew\u00a0<\/span><\/p>\n

………………………………………….<\/span>M\u00fcchay m\u00fcten<\/span>
\n<\/span> ………………………………………….<\/span><\/span>allk\u00fctuymi troy wingk\u00fcll \u00f1i rarar\u00fcn<\/span>
\n<\/span> ………………………………………….<\/span><\/span>eymi may Lorca \u00f1all lamng\u00fcmngeael<\/span><\/p>\n


\n<\/span> ………………………………………….<\/span><\/span>eymi ta t\u00fcfachi umawtulechi pun kuyulk\u00fclewen
\n………………………………………….<\/span><\/span>eymi feychi t r a n a n a g m e k e l u<\/span>
\n<\/span> ………………………………………….<\/span><\/span>fey tami mollf\u00fc\u00f1 tukukamekelu suculenta lawen
\n………………………………………….<\/span><\/span>fey tami nge chong\u00fcmmekelu ti ant\u00fc
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 wagl\u00fcn mawidantu mew\u00a0<\/span><\/p>\n

 <\/p>\n

*<\/p>\n

 <\/p>\n

I saw the bastard\u2019s eyes
\n<\/span>trembling beneath my bow<\/span><\/p>\n

I took his head and yanked his hair
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 What the hell have you done!
\n<\/span>-I screamed-
\n<\/span>I screamed so loud
\n<\/span>that I saw his pores unfurl
\n<\/span>toward the sun<\/span><\/p>\n

His entire body
\n<\/span>retreated from my sounds
\n<\/span>He was only a boy
\n<\/span>I had never seen skin so white<\/span><\/p>\n

He had a cross clinging to his neck
\n<\/span>that I broke apart with my teeth
\n<\/span>He never learned to respond to my screams
\n<\/span>He babbled something
\n<\/span>not merely animal<\/span><\/p>\n

I fell crumbling
\n<\/span>before the trickle of his blood
\n<\/span>I drank from his canteen
\n<\/span>till somebody screamed:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Cut!
\n<\/span>and a wooden slate snapped
\n<\/span>its clapper
\n<\/span>it was that or waking up<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

Vi los ojos del maldito
\n<\/span>temblando bajo mi arco<\/span><\/p>\n

Le tom\u00e9 la cabeza y agarr\u00e9 sus cabellos
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a1Qu\u00e9 mierda han hecho!
\n<\/span>-le grit\u00e9-
\n<\/span>Le grit\u00e9 tan fuerte
\n<\/span>que vi sus poros abrirse
\n<\/span>ante el sol<\/span><\/p>\n

Su cuerpo entero
\n<\/span>se recog\u00eda a mis sonidos
\n<\/span>Era tan s\u00f3lo un muchacho
\n<\/span>nunca hab\u00eda visto una piel tan blanca<\/span><\/p>\n

Ten\u00eda una cruz aferrada al cuello
\n<\/span>que romp\u00ed con mis dientes
\n<\/span>Nunca supo responder a mis gritos
\n<\/span>balbuceaba algo
\n<\/span>que no era de animal<\/span><\/p>\n

Ca\u00ed derrumbada
\n<\/span>ante el goteo de su sangre
\n<\/span>beb\u00ed de su cantimplora
\n<\/span>hasta que alguien grit\u00f3:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a1Corte!
\n<\/span>y una tabla de madera cerr\u00f3
\n<\/span>sus clavijas
\n<\/span>fue eso o despertar<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

Pefi\u00f1 ti weda\u00f1ma \u00f1i nge
\n<\/span>tr\u00fcntr\u00fcnk\u00fclen mi\u00f1che ch\u00fcngf\u00fclwe\u00a0<\/span><\/p>\n

N\u00fctufi\u00f1 \u00f1i longko, \u00f1i kal ka
\n<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u201c\u00a1Chumimi ama!\u201d\u00a0<\/span><\/p>\n

-wirarfi\u00f1 eng\u00fcn-<\/span>
\n<\/span>Fente \u00f1i wirarfiel<\/span>
\n<\/span>fey pefi\u00f1 \u00f1i trawa \u00f1i n\u00fclak\u00fcnuwel eng\u00fcn
\n<\/span>pa\u00f1\u00fc mew\u00a0<\/span><\/p>\n

Kom \u00f1i kal\u00fcl<\/span>
\n<\/span>t\u00fcngk\u00fcluwi i\u00f1che \u00f1i allk\u00fctuetew mew<\/span>
\n<\/span>Ki\u00f1e pichi wentru m\u00fcten tati<\/span>
\n<\/span>turpu pekelafi\u00f1 feychi m\u00fcna ligk\u00fclechi trawa\u00a0<\/span><\/p>\n

N\u00fcniefui ki\u00f1e k\u00fcrus pel mew
\n<\/span>watrok\u00fcnuel i\u00f1che \u00f1i foro mew
\n<\/span>Turpu allk\u00fc\u00f1makelaenew \u00f1i wirar
\n<\/span>k\u00fcf\u00fcllngey \u00f1i dungun
\n<\/span>kulli\u00f1dungun no
\n<\/span>\u00dctr\u00fcfnag\u00fcn i\u00f1che<\/span>
\n<\/span>fey \u00f1i mollf\u00fc\u00f1 \u00f1i l\u00fcyk\u00fc-l\u00fcyk\u00fcngen
\n<\/span>p\u00fctokok\u00fcnufi\u00f1 fey \u00f1i ko
\n<\/span>fey w\u00fcla ki\u00f1e che newentu feypi:
\n<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a1Llochi!
\n<\/span>fey ki\u00f1e trafla trap\u00fcmtuy
\n<\/span>\u00f1i troy<\/span>
\n<\/span>feyfel chi kam trepeafel chi\u00a0<\/span><\/p>\n

 <\/p>\n

*<\/span><\/p>\n

 <\/p>\n

I lick my shadow in the taxi
\n<\/span>before returning home<\/span><\/p>\n

We leave the bar
\n<\/span>that everyone knows
\n<\/span>but no one names<\/span><\/p>\n

where they prepare
\n<\/span>the best lines
\n<\/span>of the night<\/span><\/p>\n

We leave in a hurry
\n<\/span>spiral staircase
\n<\/span>when the pigs arrive
\n<\/span>asking for our identities<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0And now I remember it
\n<\/span>as though it were my last night
\n<\/span>without an identity<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Now that I am the sacrifice
\n<\/span>the indigenous plague of the colonizer
\n<\/span>I open myself like La Malinche
\n<\/span>undomesticated bitch\u00a0<\/span><\/p>\n

 <\/p>\n

Voy lamiendo mi sombra en el taxi
\n<\/span>antes de volver a casa<\/span><\/p>\n

Salimos del bar
\n<\/span>que todos conocen
\n<\/span>pero nadie nombra<\/span><\/p>\n

donde preparan
\n<\/span>las mejores l\u00edneas
\n<\/span>de la noche<\/span><\/p>\n

Salimos corriendo
\n<\/span>escalera caracol
\n<\/span>cuando llegan los ratis
\n<\/span>a pedir nuestra identidad<\/span><\/p>\n

Y ahora la recuerdo
\n<\/span>como si fuese mi \u00faltima noche
\n<\/span>sin identidad<\/span><\/p>\n

Ahora que soy el sacrificio
\n<\/span>la peste ind\u00edgena de los colonos
\n<\/span>me abro como la Malinche
\n<\/span>perra sin domesticar<\/span><\/p>\n

 <\/p>\n

K\u00fcllmatuwk\u00fclen kidu \u00f1i aywi\u00f1 taxi mew
\n<\/span>petu \u00f1i wi\u00f1otunon ruka mew\u00a0<\/span><\/p>\n

Tripatuyu putuwe mew
\n<\/span>kom che \u00f1i kimnieel<\/span>
\n<\/span>welu iney rume \u00f1i \u00fcytunieel\u00a0<\/span><\/p>\n

chew \u00f1i pepikangemum
\n<\/span>ti doy k\u00fcmeke wirin
\n<\/span>m\u00fclelu pun mew\u00a0<\/span><\/p>\n

Lefk\u00fclen tripayu<\/span>
\n<\/span>ng\u00fc\u00f1uk\u00fclechi p\u00fcrap\u00fcrawe mew
\n<\/span>akurumelu ti pu rati<\/span>
\n<\/span>yu ramtupayaetew yu ineyngen ta i\u00f1chiw\u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Fewla tukulpafi\u00f1 fachi pun
\n<\/span>i\u00f1che \u00f1i afpun pun reke
\n<\/span>petu kimnienolu i\u00f1che \u00f1i ineyngen\u00a0<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Fewla w\u00fcluw\u00fclu am ta i\u00f1che
\n<\/span>pu kolono \u00f1i mapun pesten
\n<\/span>wirak\u00fcnuw\u00fcn Malinche reke
\n<\/span>awkan domo trewa tati\u00a0<\/span><\/p>\n

Translations into English by Edith Adams
\n<\/span>Translations into Mapudungun by Arturo Ahumada<\/span><\/h5>\n

 <\/p>\n

Main image: Cover art from the Spanish\/Mapudungun edition of <\/span>Guerra florida\/Ray\u00fclechi malon<\/span><\/i>, published by Editorial del Aire in 2018.<\/span><\/h6>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Translator\u2019s Note The following excerpts come from Guerrilla Blooms, the Spanish\/Mapudungun-to-English translation of Daniela Catrileo\u2019s 2018 poetry collection, Guerra florida\/Ray\u00fclechi malon. Born in Santiago, Chile in 1987, Daniela Catrileo is a writer, professor of philosophy, and activist who, in recent years, has become an essential voice in both Chilean letters and Mapuche cultural production. As […]<\/p>\n","protected":false},"author":5,"featured_media":21958,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4167],"tags":[4411],"genre":[],"pretext":[],"section":[],"translator":[4379],"lal_author":[3238],"class_list":["post-22039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sobre-la-traduccion","tag-numero-25-es","translator-edith-adams-es","lal_author-daniela-catrileo-es"],"acf":[],"_links":{"self":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/22039","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/comments?post=22039"}],"version-history":[{"count":0,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/22039\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media\/21958"}],"wp:attachment":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media?parent=22039"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/categories?post=22039"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/tags?post=22039"},{"taxonomy":"genre","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/genre?post=22039"},{"taxonomy":"pretext","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/pretext?post=22039"},{"taxonomy":"section","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/section?post=22039"},{"taxonomy":"translator","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/translator?post=22039"},{"taxonomy":"lal_author","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/lal_author?post=22039"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}