{"id":28848,"date":"2023-12-02T03:01:56","date_gmt":"2023-12-02T09:01:56","guid":{"rendered":"https:\/\/latinamericanliteraturetoday.org\/?p=28848"},"modified":"2023-12-18T21:17:06","modified_gmt":"2023-12-19T03:17:06","slug":"from-how-to-be-a-good-savage-and-other-poems-translated-by-wendy-call-and-shook","status":"publish","type":"post","link":"https:\/\/latinamericanliteraturetoday.org\/es\/2023\/12\/from-how-to-be-a-good-savage-and-other-poems-translated-by-wendy-call-and-shook\/","title":{"rendered":"From How to Be a Good Savage and Other Poems, translated by Wendy Call and Shook"},"content":{"rendered":"

The latest in the <\/span><\/i>Seedbank<\/span><\/i><\/a> series, the debut in English of a groundbreaking Indigenous poet of the Americas.<\/span><\/i><\/p>\n

 <\/p>\n

In a fiercely personal yet authoritative voice, prolific contemporary poet Mikeas S\u00e1nchez explores the worldview of the Zoque people of southern Mexico. Her paced, steely lyrics fuse cosmology, lineage, feminism, and environmental activism into a singular body of work that stands for the self and the collective in the same instant. \u201cI am woman and I celebrate every vein,\u201d she writes, \u201cwhere I guard my ancestors\u2019 secrets \/ every Zoque man\u2019s word in my mouth \/ every Zoque woman\u2019s wisdom in my spit.\u201d<\/span><\/p>\n

How to Be a Good Savage and Other Poems<\/span><\/i> examines the intersection of Zoque struggles against colonialism and empire, and those of North African immigrants and refugees. S\u00e1nchez encountered the latter in Barcelona as a revelation, \u201cspreading their white blankets on the ground \/ as if they\u2019ll soon return to sea \/ flying the sail of the promised land \/ the land that became a mirage.\u201d Other works bring us just as close to similarly imperiled relatives, ancestors, gods, and archetypal Zoque men and women that S\u00e1nchez addresses with both deeply prophetic and childlike love.<\/span><\/p>\n

Coming from the only woman to ever publish a book of poetry in Zoque and Spanish, this timely, powerful collection pairs the bilingual originals with an English translation for the first time. This book is for anyone interested in poetry as knowledge, proclaimed with both feet squarely set on ancient ground.<\/span><\/p>\n

How to Be a Good Savage and Other Poems<\/span><\/i> will be available in January 2024 from Milkweed Editions.<\/span><\/a><\/p>\n

 <\/p>\n

From <\/b>How to Be a Good Savage and Other Poems<\/i><\/b><\/p>\n

 <\/p>\n

P\u00c4JKINH\u2019TZYI\u2019OKYUY MOKAYA\u2019YOMO\u2019KOROYA<\/b><\/p>\n

Mokaya sunht\u00e4jup\u00e4 yom\u2019une,
\n<\/span>mas\u00e4nh\u2019\u00e4jkyutyi\u2019e mij\u2019 mp\u00e4najkuy,
\n<\/span>Ipst\u00e4jk\u2019kujkm\u00e4p\u00e4re ne\u2019 tzyunh\u2019u,
\n<\/span>ne\u2019 nejnayaju\u2019 M\u00e4\u2019\u00e4\u2019p\u00e4nis\u2019tzyi\u2019ameram
\n<\/span>teserike Oko\u2019sawas\u2019 py\u00e4mi\u2019.
\n<\/span>Mijtene\u2019 te\u2019 w\u00e4py\u00e4\u2019kojama oyup\u00e4 nyi\u00e4\u2019 ijtyi\u2019a\u2019e
\n<\/span>winaramp\u00e4\u2019 tzame\u2019yomo\u2019istam y\u00e4ki Ajwaym\u00e4.
\n<\/span>Weneramp\u00e4 n\u00e4pyajpa makanh\u2019 t\u00e4\u2019 yajp\u00e4rame
\n<\/span>nht\u00e4 tzap\u2019tampap\u00e4\u2019is ore\u2019, jinamum ma\u2019 t\u00e4\u2019 kenh\u2019tame nasakopajk\u00e4jsi.
\n<\/span>Mijtzi\u2019 yom\u2019une
\n<\/span>maka\u2019 tyajk kopujkstame\u2019.
\n<\/span>Nht\u00e4\u2019 n\u00e4pinh\u2019tzajtyi\u2019am masanh pijstinh\u2019sep\u00e4re\u2019
\n<\/span>map\u00e4re\u2019 tyi\u2019one\u2019 makasenh\u2019omo iri\u2019 y\u00e4\u2019 nasakopajk.<\/span><\/p>\n

 <\/p>\n

RECIBIMIENTO DE LA MUJER MOKAYA<\/b><\/p>\n

Mokaya, amada ni\u00f1a,
\n<\/span>honrados estamos con tu llegada,
\n<\/span>vienes de las profundidades de Ipst\u00e4jk,
\n<\/span>traes el saludo de Los hombres Rayo,
\n<\/span>y la fuerza de Oko\u2019sawa,
\n<\/span>Eres el esp\u00edritu arm\u00f3nico
\n<\/span>de las primeras abuelas de Ajway\u2019.
\n<\/span>Algunos dicen que ya no habr\u00e1 mokayas,
\n<\/span>que estamos condenados al exterminio.
\n<\/span>Pero t\u00fa, mi ni\u00f1a,
\n<\/span>vienes a renovarnos.
\n<\/span>Nuestra sangre es como la sagrada ceiba
\n<\/span>que perdurar\u00e1 hasta que viva la tierra.<\/span><\/p>\n

 <\/p>\n

RECEPTION FOR A MOKAYA WOMAN<\/b><\/p>\n

Mokaya, beloved girl,
\n<\/span>we are honored by your arrival,
\n<\/span>you come from the inner world,
\n<\/span>carrying the Thunderbolt Men\u2019s greeting,
\n<\/span>and the Wind Goddess\u2019s powers,
\n<\/span>You are the harmonious spirit
\n<\/span>of Ajway\u2019s ancestor-women.
\n<\/span>Some say there will be no more Mokayas,
\n<\/span>that we are condemned to extinction.
\n<\/span>But you, my child,
\n<\/span>come to renew us.
\n<\/span>Our blood runs in the veins of the ceiba
\n<\/span>that will live as long as the earth.<\/span><\/p>\n

 <\/p>\n

AJ\u2019 JARA\u2019IS TZI\u2019UP\u00c4\u2019<\/b><\/p>\n

Jar\u00e4kmana\u2019 \u00e4j\u2019 ame\u2019
\n<\/span>\u00e4j\u2019 jara\u2019is nhw\u00e4j\u00e4tzi\u2019utzi
\n<\/span>tum\u00e4 putzyi\u2019jonhtzyi
\n<\/span>mojtup\u00e4\u2019 tzapas\u2019kenejinh
\n<\/span>tum\u00e4\u2019 jonhtzyi\u2019 wat\u2019pap\u00e4na\u2019
\n<\/span>tome\u2019 \u00e4j\u2019 aknak\u00e4m\u00e4
\n<\/span>isanh\u2019ntzipap\u00e4sna\u2019 mumu ti\u2019is nyi\u00e4yiram
\n<\/span>we\u2019, we\u2019, we\u2019
\n<\/span>ore\u2019, ore\u2019 ore\u2019
\n<\/span>wik\u2019, wik\u2019 wik\u2019
\n<\/span>Jar\u00e4kmana\u2019 \u00e4j ame\u2019
\n<\/span>tum\u00e4 putzyi\u2019jonhtzyi\u2019is isanhntzi\u2019utzi jujtzye\u2019 wan\u00e4\u2019 ore\u2019omo
\n<\/span>isanhtzi\u2019utzi\u2019 jujtzyi\u2019e ir\u00e4\u2019 y\u00e4\u2019 nasakopajk\u00e4jsi
\n<\/span>teserike nhkomujsa tzajpijs\u2019yore.
\n<\/span>Uka\u2019 sajpa mij\u2019 nhtzame, w\u00e4pare yajk\u2019 tuk\u00e4\u2019
\n<\/span>Uka nhkyomej\u2019kopya nhtzaku\u2019tzyipa\u2019 mij\u2019 nhwyt.
\n<\/span>Tekoroya t\u00e4\u2019 n\u00e4jmatyanh\u2019t\u00e4jpa Ore\u2019p\u00e4t, Ore\u2019yomo
\n<\/span>Nht\u00e4\u2019 \u00e4jtyamanhnte nhtyajk\u2019 tzinh\u2019tampap\u00e4\u2019is te\u2019 tzame.
\n<\/span>Tem\u00e4\u2019 tza\u2019momo yenhpa\u2019 te\u2019 wewe\u2019
\n<\/span>tum\u00e4 putzyi\u2019j\u00e4y\u00e4 mojtup\u00e4\u2019 tzapas\u2019kene\u2019jinh,
\n<\/span>tum\u00e4 jonhtzyi\u2019 watpap\u00e4\u2019
\n<\/span>teserike t\u00e4\u2019 isanhn\u2019tzipap\u00e4is jujtzyi\u2019e t\u00e4\u2019 wan\u00e4\u2019
\n<\/span>we\u2019, we\u2019 we\u2019
\n<\/span>ore, ore, ore
\n<\/span>wik, wik wik<\/span><\/p>\n

 <\/p>\n

MI PADRE ME DIO UN REGALO<\/b><\/p>\n

Cuando ni\u00f1a
\n<\/span>mi padre me trajo un regalo,
\n<\/span>me dio un p\u00e1jaro amarillo
\n<\/span>con manchitas naranjas,
\n<\/span>un pajarillo que cantaba
\n<\/span>muy cerca de mi boca
\n<\/span>y me mostraba los nombres de las cosas.
\n<\/span>We, we, we
\n<\/span>ore, ore, ore
\n<\/span>wik, wik, wik.
\n<\/span>Cuando ni\u00f1a,
\n<\/span>un p\u00e1jaro amarillo me ense\u00f1\u00f3 a cantar en zoque,
\n<\/span>me anticip\u00f3 al mundo,
\n<\/span>me mostr\u00f3 el lenguaje del universo.
\n<\/span>Si empe\u00f1as tu palabra, debes ennoblecerla.
\n<\/span>Si mientes, deshonras tu existencia.
\n<\/span>Por eso nos llaman Orep\u00e4t, Oreyomo.
\n<\/span>Somos los hombres y mujeres de la palabra.
\n<\/span>All\u00e1 en la monta\u00f1a crece el wewe,
\n<\/span>una flor amarilla con manchas naranjas,
\n<\/span>un p\u00e1jaro que canta
\n<\/span>y ense\u00f1a a los zoques a cantar
\n<\/span>we, we, we
\n<\/span>ore, ore, ore
\n<\/span>wik, wik, wik.<\/span><\/p>\n

 <\/p>\n

MY FATHER GAVE ME A GIFT<\/b><\/p>\n

When I was young
\n<\/span>my father brought me a gift,
\n<\/span>a yellow bird
\n<\/span>with orange spots,
\n<\/span>a little bird that sang
\n<\/span>right by my mouth
\n<\/span>and taught me the names of things.
\n<\/span>We, we, we
\n<\/span>ore, ore, ore
\n<\/span>wik, wik, wik.
\n<\/span>When I was young,
\na yellow bird taught me to sing in Zoque,
\n<\/span>opened up the world to me,
\n<\/span>showed me universe\u2019s language.
\n<\/span>If you give your word, you must honor it.
\n<\/span>If you lie, you dishonor yourself.
\n<\/span>That is why we are called Orep\u00e4t, Oreyomo.
\n<\/span>We are men and women of our word.
\n<\/span>There in the mountains the wewe grows,
\n<\/span>a yellow flower with orange spots,
\n<\/span>a bird that sings
\n<\/span>and teaches the Zoques to sing
\n<\/span>we, we, we
\n<\/span>ore, ore, ore
\n<\/span>wik, wik, wik.<\/p>\n

 <\/p>\n

TZOKO\u2019TZYAME<\/b><\/p>\n

\u00c4j\u2019 ap\u00e4\u2019is n\u00e4jmayutzi:
\n<\/span>Anhuku\u2019is tzajkatyi\u2019anh\u2019t\u00e4jup\u00e4 ore\u2019tzamere.
\n<\/span>y\u00e4ti \u00bfisaj\u2019 yanhkas\u00e4pya te\u2019 tzame?
\n<\/span>Y\u00e4ti sunh\u2019nht\u00e4jpap\u00e4 unhtzame\u2019re,
\n<\/span>yajk\u2019 tzajkya\u2019\u00e4 tyi\u00e4w\u00e4sntyojsanh\u2019tam.
\n<\/span>Tum\u2019jama \u00e4j\u2019 ap\u00e4\u2019 oyu\u2019 n\u00e4mi\u2019
\n<\/span>ore\u2019p\u00e4nhtam w\u00e4p\u00e4\u2019 najsomo\u2019re t\u00e4\u2019 ijta\u2019up\u00e4,
\n<\/span>jiksekanhte\u2019 mytyi\u2019ajup\u00e4 te\u2019 mineru\u2019ram
\n<\/span>sutupure nyi\u00e4\u2019 maki\u2019a\u2019\u00e4 sunh\u2019yajpap\u00e4 ti\u2019ram tzyajinh\u2019nhtuku.
\n<\/span>Aj ap\u00e4\u2019is tzyampap\u00e4na jinte\u2019na sunh\u2019yajpap\u00e4\u2019tiram
\n<\/span>ore\u2019tzame\u2019rena,
\n<\/span>te Ore\u2019 yajk j\u00e4y\u00e4pya\u2019p\u00e4is te\u2019 nhkipsokyuy
\n<\/span>teserike te\u2019 tzokoy, te Ore\u2019 tzinhpap\u00e4
\n<\/span>wewe\u2019jinh.
\n<\/span>Te Wewe\u2019 yajk\u2019 popa\u2019p\u00e4is
\n<\/span>sasatyi\u2019amp\u00e4 tzame unes\u2019 yaknakomo\u2019ram,
\n<\/span>tzame jontzyi\u2019wanejse nht\u00e4 manhpap\u00e4
\n<\/span>nimeke yajk\u2019 kas\u00e4jpap\u00e4\u2019is te\u2019 nasakopajk\u2019.
\n<\/span>Tekoroya jinh\u2019 n\u00e4jktyi\u00e4\u2019tyianh\u2019t\u00e4yi nhkirawa\u2019jinhtam
\n<\/span>Testam nhkyps\u2019syajpa\u2019 nhkyopajkinh\u2019tam
\n<\/span>\u00e4jtam nhkyps\u2019tampatzi \u00e4j nhtzokoy\u2019jinhtam.<\/p>\n

 <\/p>\n

PENSAR CON EL CORAZ\u00d3N<\/b><\/p>\n

Mi abuelo me dijo:
\n<\/span>Los zoques somos herederos de la palabra,
\n<\/span>pero \u00bfa qui\u00e9n le importa ahora la palabra?
\n<\/span>La mayor\u00eda prefiere mentir,
\n<\/span>despojar a otros de sus peque\u00f1os tesoros.
\n<\/span>Un d\u00eda mi abuelo asegur\u00f3
\n<\/span>que en nuestras tierras abundaban riquezas,
\n<\/span>entonces vinieron los mineros
\n<\/span>y quisieron llevarse hasta las piedras.
\n<\/span>Mi abuelo hablaba del tesoro
\n<\/span>de poseer la palabra,
\n<\/span>de hacer florecer en el pensamiento
\n<\/span>y en el coraz\u00f3n, la maravillosa plantita
\n<\/span>que se llama wewe.
\n<\/span>El wewe que inspira a los ni\u00f1os
\n<\/span>a expulsar florecitas dulces de sus bocas,
\n<\/span>imitaciones de mirlo o de cardenal
\n<\/span>que llenan la tierra de j\u00fabilo.
\n<\/span>Por eso nunca podremos entendernos con los nhkirawas.
\n<\/span>Ellos piensan con la cabeza
\n<\/span>y nosotros pensamos con el coraz\u00f3n.<\/span><\/p>\n

 <\/p>\n

THINKING WITH OUR HEARTS<\/b><\/p>\n

My grandfather told me:
\n<\/span>We Zoques are inheritors of the word,
\n<\/span>but who cares about words now?
\n<\/span>Most prefer to lie,
\n<\/span>stealing the earth\u2019s treasures.
\n<\/span>My grandfather said
\n<\/span>that our lands were filled with riches,
\n<\/span>and so the miners came
\n<\/span>and wanted to steal every last stone.
\n<\/span>My grandfather spoke of the treasure
\n<\/span>of making language bloom
\n<\/span>in our thoughts and our hearts,
\n<\/span>of our marvelous plant called wewe.
\n<\/span>The wewe inspires children to
\n<\/span>spill sweet flowers from their mouths,
\n<\/span>mimicking cardinal and blackbird
\n<\/span>who fill our lands with joy.
\n<\/span>This is why the Nhkirawas never understand us.
\n<\/span>They think with their heads
\n<\/span>and we think with our hearts.<\/span><\/p>\n

 <\/p>\n

JUJTZYI\u2019E NHT\u00c4 W\u00c4P\u00c4 TZAMAP\u00c4NH\u2019AJ\u00c4<\/b><\/p>\n

Sim\u00f3n, \u00e4j\u2019 atzyip\u00e4\u2019jara sutu\u2019 w\u00e4p\u00e4 tzamap\u00e4nh\u2019aj\u00e4,
\n<\/span>kyomujsu kastiya\u2019ore
\n<\/span>teserike mumup\u00e4 nht\u00e4\u2019 nhkomis\u2019 nyi\u00e4yiram.
\n<\/span>Ejtzu\u2019 masanh\u2019nht\u00e4jkis wynanh\u2019omo
\n<\/span>teserike\u2019 mpy\u00e4kinh\u2019tzyoku\u2019 sijkpa\u2019 te\u2019 n\u00e4y\u00e4\u2019y\u00e4ki\u2019uy.
\n<\/span>\u00c4j\u203a atzyip\u00e4\u2019jara\u2019is nyi\u00e4\u2019 ijtayuna\u2019 tzapas\u2019M\u00e4\u00e4\u2019is py\u00e4\u2019mi,
\n<\/span>Nhkyo\u2019jama kak\u2019tena\u2019.
\n<\/span>\u00c4j atzyip\u00e4\u2019jara ketk\u00e4k\u00e4tpap\u00e4\u2019p\u00e4nhtena
\n<\/span>te\u2019is muspana\u2019 tyak\u2019 tzoka tzyi\u2019ame\u2019jinhtam.
\n<\/span>Te\u2019 sutu\u2019 w\u00e4p\u00e4\u2019 tzamap\u00e4nh\u2019aj\u00e4,
\n<\/span>myusp\u00e4jku jujtzyi\u2019e yajk\u2019 yosa\u2019 te\u2019 k\u00e4jtz\u2019t\u00e4jkuy\u2019,
\n<\/span>teserike\u2019 nhkyenh\u2019tuyu\u2019 te\u2019 nhkyrawa\u2019is\u2019nyi\u2019o\u2019a\u2019ram.
\n<\/span>\u00c4j\u203a atzyip\u00e4\u2019jara musopyap\u00e4\u2019 p\u00e4nh\u2019tena,
\n<\/span>te\u2019is muspana\u2019 nyi\u00e4\u2019 tzapi\u2019a\u2019\u00e4 pyeka\u2019nhkomi\u2019ram.
\n<\/span>\u00c4j atzyip\u00e4\u2019jara sutu\u2019 w\u00e4p\u00e4 tzamap\u00e4nh\u2019aj\u00e4,
\n<\/span>tese\u2019ja\u2019 myujs\u00e4 jujtzyi\u2019e tzyi\u00e4k\u00e4.<\/span><\/p>\n

 <\/p>\n

C\u00d3MO SER UN BUEN SALVAJE<\/b><\/p>\n

Mi abuelo Sim\u00f3n quiso ser un buen salvaje,
\n<\/span>aprendi\u00f3 castilla
\n<\/span>y el nombre de todos los santos.
\n<\/span>Danz\u00f3 frente al templo
\n<\/span>y recibi\u00f3 el bautismo con una sonrisa.
\n<\/span>Mi abuelo ten\u00eda la fuerza del Rayo Rojo
\n<\/span>y su nahual era un tigre.
\n<\/span>Mi abuelo era un poeta
\n<\/span>que curaba con las palabras.
\n<\/span>Pero \u00e9l quiso ser un buen salvaje,
\n<\/span>aprendi\u00f3 a usar la cuchara,
\n<\/span>y admir\u00f3 la electricidad.
\n<\/span>Mi abuelo era un cham\u00e1n poderoso
\n<\/span>que conoc\u00eda el lenguaje de los dioses.
\n<\/span>Pero \u00e9l quiso ser un buen salvaje,
\n<\/span>aunque nunca lo consigui\u00f3.<\/span><\/p>\n

 <\/p>\n

HOW TO BE A GOOD SAVAGE<\/b><\/p>\n

My grandfather Sim\u00f3n wanted to be a good savage,
\n<\/span>he learned Spanish,
\n<\/span>and all the saints\u2019 names.
\n<\/span>He danced before the altar
\n<\/span>and was baptized with a smile.
\n<\/span>My grandfather had the force of Red Thunder
\n<\/span>and his nagual was a tiger.
\n<\/span>My grandfather was a poet
\n<\/span>who healed with words.
\n<\/span>But he wanted to be a good savage,
\n<\/span>learned to eat with a spoon,
\n<\/span>and the Nhkirawa\u2019s electric lamps impressed him.
\n<\/span>My grandfather was a powerful shaman
\n<\/span>who spoke the gods\u2019 language.
\n<\/span>He wanted to be a good savage,
\n<\/span>but he never quite learned how.<\/span><\/p>\n

Translated from Zoque and Spanish by Wendy Call and Shook<\/span><\/h5>\n

.<\/span><\/p>\n

Purchase books featured in this issue on our Bookshop page<\/a><\/center>.<\/span><\/p>\n

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Wendy Call <\/b>(she\/ella) is the English-language translator of two trilingual books by Binniz\u00e1 poet Irma Pineda, <\/span>In the Belly of Night and Other Poems<\/span><\/i> (Pluralia, 2022) and <\/span>Nostalgia Doesn\u2019t Flow Away Like Riverwater<\/span><\/i> (Phoneme\/Deep Vellum, 2024). She is author of the nonfiction book <\/span>No Word for Welcome: The Mexican Village Faces the Global Economy<\/span><\/i> (Nebraska, 2011, winner of two national prizes) and co-editor of two anthologies, <\/span>Telling True Stories: A Nonfiction Writers\u2019 Guide<\/span><\/i> (Plume\/Penguin, 2007) and the new annual <\/span>Best Literary Translations<\/span><\/i> (Deep Vellum, 2024). She has received a fellowship from the National Endowment for the Arts and been a Fulbright Faculty Scholar in Colombia. She lives in Seattle, Duwamish territory.<\/span><\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Shook<\/b> is a poet, translator, and editor whose work has spanned a wide range of languages and places. Their writing has appeared in <\/span>Poetry<\/span><\/i>, <\/span>World Literature Today<\/span><\/i>, the <\/span>Guardian<\/span><\/i>, and many other publications, as well as being translated into more than a dozen languages, including Isthmus Zapotec, Kurdish, and Uyghur. Since founding Phoneme Media in 2013, Shook has edited and published translations from over thirty-five languages. Today they direct Kashkul Books, a publishing project based in the Kurdistan Region of Iraq, as well as the translation-focused imprint avi\u00f3n at Gato Negro Ediciones in Mexico City. They reside at Newt Beach on unceded Coast Miwok land in Northern California.<\/span><\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/p>\n
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<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The latest in the Seedbank series, the debut in English of a groundbreaking Indigenous poet of the Americas.   In a fiercely personal yet authoritative voice, prolific contemporary poet Mikeas S\u00e1nchez explores the worldview of the Zoque people of southern Mexico. Her paced, steely lyrics fuse cosmology, lineage, feminism, and environmental activism into a singular […]<\/p>\n","protected":false},"author":5,"featured_media":28322,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2893],"tags":[4780],"genre":[],"pretext":[],"section":[],"translator":[],"lal_author":[3469],"class_list":["post-28848","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-adelantos-de-traduccion-y-novedades-editoriales","tag-numero-28-es","lal_author-mikeas-sanchez-es"],"acf":[],"_links":{"self":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/28848","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=28848"}],"version-history":[{"count":4,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/28848\/revisions"}],"predecessor-version":[{"id":29335,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/28848\/revisions\/29335"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media\/28322"}],"wp:attachment":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media?parent=28848"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/categories?post=28848"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/tags?post=28848"},{"taxonomy":"genre","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/genre?post=28848"},{"taxonomy":"pretext","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/pretext?post=28848"},{"taxonomy":"section","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/section?post=28848"},{"taxonomy":"translator","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/translator?post=28848"},{"taxonomy":"lal_author","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/lal_author?post=28848"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}