{"id":38297,"date":"2024-12-14T10:02:47","date_gmt":"2024-12-14T16:02:47","guid":{"rendered":"https:\/\/latinamericanliteraturetoday.org\/?p=38297"},"modified":"2024-12-18T20:40:46","modified_gmt":"2024-12-19T02:40:46","slug":"successive-approximations-translated-by-arthur-malcolm-dixon","status":"publish","type":"post","link":"https:\/\/latinamericanliteraturetoday.org\/es\/2024\/12\/successive-approximations-translated-by-arthur-malcolm-dixon\/","title":{"rendered":"Successive Approximations, translated by Arthur Malcolm Dixon"},"content":{"rendered":"

The winning collection of the Fifth Annual Poetry Competition organized by <\/span>Lugar Comun<\/span><\/a> in Miami (2023) is now available in bilingual edition from <\/span>Alliteration Publishing<\/span><\/a>.<\/span><\/p>\n

Gabriela Kizer writes in her foreword: \u201cFirst and foremost, we hold in our hands a meditation on language: the name that never becomes one\u2019s own, the bond between reality and the words with which we try to grasp and configure it. Perhaps the object or end of these approximations is less important than the movement that occasions and stimulates them. The title that encompasses this set of poems is therefore apt: approaches to and from a word that questions, doubts, and is sometimes quite skeptical. The force that moves this poetry is not, seemingly, the possibility of revelation or encounter, but rather approaches, closenesses that heighten the power of longing.\u2019\u201d<\/span><\/p>\n

 <\/p>\n

Curva escoli\u00f3tica l2-l4<\/b><\/p>\n

 <\/p>\n

En la b\u00fasqueda de la forma
\n<\/span><\/i>se me distrajo el cuerpo<\/span><\/i><\/p>\n

Elisa D\u00edaz Castelo<\/span><\/p>\n

 <\/p>\n

I<\/span><\/p>\n

He aqu\u00ed la forma en la que te distinguir\u00e1s del resto: El rengl\u00f3n torcido de dios trazado sobre la espalda. O bien, una secci\u00f3n de la columna manifestar\u00e1 su descontento.<\/span><\/p>\n

Ser\u00e1 este el primer fallo observable a contraluz en una radiograf\u00eda de t\u00f3rax. S\u00e1bete distinta.<\/span><\/p>\n

 <\/p>\n

II<\/span><\/p>\n

La consigna ser\u00e1 corregir:
\n<\/span>fajas, cinturones, cors\u00e9s, plantillas,
\n<\/span>clases de nataci\u00f3n, cama ortop\u00e9dica,
\n<\/span>zapatos especiales.<\/span><\/p>\n

 <\/p>\n

III<\/span><\/p>\n

Ella te mirar\u00e1 con tristeza \u00abseguro se lo heredaste a tu padre\u00bb impl\u00edcito reclamo \/ t\u00e1cito deseo, de estar a tiempo de resolver una elecci\u00f3n anterior. Toda la energ\u00eda materna concentrada en enmendar el \u00e1rbol que crece torcido.<\/span><\/p>\n

 <\/p>\n

IV<\/span><\/p>\n

Viajar\u00e1n lejos, a un hospital especializado en columnas:<\/span><\/p>\n

ni\u00f1os de piernas cort\u00edsimas \/ espinas dorsales tenso arco de una flecha sin rumbo \/ manos insurrectas \/ tort\u00edcolis perpetua.<\/span><\/p>\n

Ante la sensaci\u00f3n de vaticinio \u2014los brazos alrededor del rostro en torpe simulacro del sue\u00f1o\u2014, construir\u00e1s una provisional frontera para dejar salir un llanto de terror discreto.<\/span><\/p>\n

Fr\u00e1gil equilibrio entre la rabia y la compostura.<\/span><\/p>\n

 <\/p>\n

V<\/span><\/p>\n

El hombre mira, palpa, da peque\u00f1os golpes.
\n<\/span>Sus dedos patas de ara\u00f1a sigui\u00e9ndole la pista al defecto.
\n<\/span>\u00bfTe duele aqu\u00ed? S\u00ed \/ \u00bfTe duele aqu\u00ed? No.
\n<\/span>De nuevo a la sala de rayos equis
\n<\/span>oscura fotograf\u00eda del silencio del cuerpo
\n<\/span>\u00bfcu\u00e1l es la respuesta correcta?
\n<\/span>Cuando yo le diga no respire.
\n<\/span>Su cabeza alineada, por favor.
\n<\/span>En breve, un retrato
\n<\/span>en el que in\u00fatil la sonrisa
\n<\/span>como m\u00e9todo distractor.
\n<\/span>Pero mi madre est\u00e1 mirando, doctor,
\n<\/span>y yo necesito al menos una pista.<\/span><\/p>\n

 <\/p>\n

L2-L4 Scoliotic Curve<\/b><\/p>\n

My body got distracted
\n<\/span><\/i>on its search for shape
\n<\/span><\/i>
\nElisa D\u00edaz Castelo<\/span><\/p>\n

 <\/p>\n

I<\/span><\/p>\n

This is how you will stand out from the rest: god\u2019s crooked ruler line drawn down your back. In other words, a section of the spine will express its discontent.<\/span><\/p>\n

This will be the first failure, visible in backlight on a chest X-ray. Know this: you are different.<\/span><\/p>\n

 <\/p>\n

II<\/span><\/p>\n

\u201cCorrect,\u201d says the rubric:
\n<\/span>braces, belts, corsets, insoles,
\n<\/span>swimming classes, orthopedic bed,
\n<\/span>special shoes.<\/span><\/p>\n

 <\/p>\n

III<\/span><\/p>\n

She will watch you sadly \u201cmust have got it from your father\u201d implicit complaint \/ tacit desire, to be in time to fix a prior choice. All maternal energy focused on righting the tree that grows crooked.<\/span><\/p>\n

 <\/p>\n

IV<\/span><\/p>\n

The two of you will travel far, to a hospital specializing in spines:
\n<\/span>kids with tiny little legs \/ backbones tensed arrow of an aimless bow \/ insurgent hands \/ perpetual torticollis.
\n<\/span>With an air of prophecy\u2014your arms around your face in a crude simulation of sleep\u2014you will build a temporary border to let out a sob of cautious fear.
\n<\/span>Fragile balance between rage and composure.<\/span><\/p>\n

 <\/p>\n

V<\/span><\/p>\n

The man looks, feels, strikes little blows.
\n<\/span>His spider-leg fingers tracing the defect\u2019s clues.
\n<\/span>Does this hurt? Yes. \/ Does this hurt? No.
\n<\/span>Back to the X-ray room
\n<\/span>dark photograph of the body\u2019s silence
\n<\/span>what\u2019s the right answer?
\n<\/span>When I tell you, hold your breath.
\n<\/span>Head straight, please.
\n<\/span>Soon, a portrait
\n<\/span>whose smile is futile
\n<\/span>as a diversionary tactic.
\n<\/span>But my mom is watching, doctor,
\n<\/span>and I need at least a clue.<\/span><\/p>\n

 <\/p>\n

Aprendiz de sirena<\/b><\/p>\n

aprend\u00ed a acomodar el cuerpo
\n<\/span>para que a lo lejos
\n<\/span>y con la bruma del mar
\n<\/span>pareciera atractivo<\/span><\/p>\n

logr\u00e9 esconder por un tiempo
\n<\/span>las garras, los colmillos, los cuernos
\n<\/span>enred\u00e9 las piernas con fuerza
\n<\/span>pas\u00e9 del calambre al dolor
\n<\/span>del dolor al entumecimiento<\/span><\/p>\n

supe modular la voz de tal manera
\n<\/span>que atraje de todo:
\n<\/span>marineros,
\n<\/span>embarcaciones pesqueras,
\n<\/span>residuos pl\u00e1sticos,
\n<\/span>especies marinas que los cient\u00edficos hab\u00edan declarado extintas<\/span><\/p>\n

habiendo convencido a todo el mundo
\n<\/span>comenc\u00e9 a preguntarme
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00bfpara qu\u00e9 cant\u00e9?<\/span><\/p>\n

 <\/p>\n

Siren-in-Training<\/b><\/p>\n

I learned to adjust my body
\n<\/span>such that from a distance
\n<\/span>and through sea mist
\n<\/span>it seemed attractive<\/span><\/p>\n

I managed for a time to hide
\n<\/span>my claws, my fangs, my horns
\n<\/span>I wrapped my legs up tight
\n<\/span>I went from cramps to pain
\n<\/span>from pain to numbness<\/span><\/p>\n

I learned to modulate my voice so as
\n<\/span>to attract all sorts:
\n<\/span>sailors,
\n<\/span>fishing vessels,
\n<\/span>plastic waste,
\n<\/span>aquatic species scientists had declared extinct<\/span><\/p>\n

having convinced every last one
\n<\/span>I started to wonder
\n<\/span>why did I sing?<\/span><\/p>\n

 <\/p>\n

Un pez<\/b><\/p>\n

Quisiste tragarte un pez
\n<\/span>ser casa, cueva, refugio
\n<\/span>pero los peces viven en peceras
\n<\/span>o, mejor todav\u00eda, en el mar.<\/span><\/p>\n

Los peces no viven
\n<\/span>bajo ninguna circunstancia
\n<\/span>recu\u00e9rdalo siempre
\n<\/span>adentro de las mujeres.<\/span><\/p>\n

Hubo mucho de soberbia
\n<\/span>en la ambici\u00f3n optimista
\n<\/span>de convertirte en acuario.<\/span><\/p>\n

Tu est\u00f3mago no es almac\u00e9n
\n<\/span>del agua salada que se produce
\n<\/span>cada domingo por la tarde
\n<\/span>o cada mi\u00e9rcoles por la ma\u00f1ana
\n<\/span>en el \u00e1rea frontal de la cabeza
\n<\/span>detr\u00e1s del ojo
\n<\/span>adentro del pensamiento
\n<\/span>a un costado del l\u00f3bulo.<\/span><\/p>\n

Por eso anduviste tanto y tanto rato
\n<\/span>\u2014espect\u00e1culo m\u00e1s triste\u2014
\n<\/span>con un cad\u00e1ver de pez en el vientre.<\/span><\/p>\n

Est\u00e1 durmiendo \u2014dijiste\u2014.
\n<\/span>y mientras so\u00f1abas el sue\u00f1o de un pez
\n<\/span>imaginaste piruetas
\n<\/span>elaboraste virtudes
\n<\/span>adquiriste piedras multicolor
\n<\/span>dispuesta a trag\u00e1rtelas
\n<\/span>qu\u00e9 tonta
\n<\/span>para cuando el pez despertara<\/span><\/p>\n

\u00bfQu\u00e9 vas a hacer ahora
\n<\/span>es pregunta
\n<\/span>con toda esa parafernalia
\n<\/span>colorida evidencia
\n<\/span>del fracaso?<\/span><\/p>\n

 <\/p>\n

A Fish<\/b><\/p>\n

You wanted to swallow a fish
\n<\/span>be a house, cave, refuge
\n<\/span>but fishes live in fish tanks
\n<\/span>or, better yet, the sea.<\/span><\/p>\n

Fishes do not live
\n<\/span>under any circumstances
\n<\/span>remember this always
\n<\/span>in women.<\/span><\/p>\n

There was a great deal of arrogance
\n<\/span>in your optimistic ambition
\n<\/span>to become an aquarium.<\/span><\/p>\n

Your stomach is not a receptacle
\n<\/span>for the saltwater produced
\n<\/span>every Sunday afternoon
\n<\/span>or Wednesday morning
\n<\/span>in your head\u2019s frontal zone
\n<\/span>behind the eye
\n<\/span>within thought
\n<\/span>to one side of the earlobe.<\/span><\/p>\n

That\u2019s why you went so, so long
\n<\/span>\u2014the saddest spectacle\u2014
\n<\/span>with a fish\u2019s dead body in your belly.<\/span><\/p>\n

He\u2019s sleeping, you said,
\n<\/span>and while you dreamed a fish\u2019s dream
\n<\/span>you imagined pirouettes
\n<\/span>you manufactured virtues
\n<\/span>you picked up multicolored rocks
\n<\/span>prepared to swallow them
\n<\/span>silly girl
\n<\/span>when the fish woke up<\/span><\/p>\n

What are you going to do now
\n<\/span>I ask you
\n<\/span>with all that paraphernalia
\n<\/span>colorful evidence
\n<\/span>of failure?<\/span><\/p>\n

 <\/p>\n

Bolita<\/b><\/p>\n

Boleado se llama al ejercicio preescolar de proporcionar volumen y forma esf\u00e9rica a un material plano. A partir de esta pr\u00e1ctica los ni\u00f1os aprenden a manipular y reconocer las formas tridimensionales. El tacto advierte la presencia, no hay necesidad de mirar.<\/span><\/p>\n

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

Una canica hecha de un material misterioso adentro del seno puede no ser nada, por supuesto. Pero tambi\u00e9n puede ser tic-tac recordatorio\/advertencia\/amenaza\/pregunta. Puede ser la falsa coral que posee los colores, no el veneno.<\/span><\/p>\n

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

Solo un ojo experto puede distinguir. El miedo limita las posibilidades de precisi\u00f3n. Seguro que no es nada, pero mejor no le digas a tu madre. Dile, s\u00ed, a tu mejor amiga. No temas. Ve al doctor, t\u00f3malo en serio. No le des demasiada importancia. Saca una cita, paga los estudios, espera en el sof\u00e1 con el tel\u00e9fono en la mano. Pero no prestes demasiada atenci\u00f3n. La preocupaci\u00f3n afecta el sistema inmune \u00bfno lo sab\u00edas? Una bolita es inofensiva excepto si est\u00e1 adentro del cuerpo.<\/span><\/p>\n

 <\/p>\n

Lump<\/b><\/p>\n

\u201cLumping\u201d we call the preschool practice of lending volume and spherical form to flat material. With this exercise children learn to manipulate and recognize three-dimensional shapes. Touch gives away presence, there is no need to look.<\/span><\/p>\n

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

A marble made of some mysterious stuff within the breast could be nothing, of course. But it could also be a tic-tac reminder\/warning\/threat\/question. It could also be that fake coral that comes with colors but no poison.<\/span><\/p>\n

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

Only a trained eye can tell. Fear limits the chances of precision. Surely it\u2019s nothing, best not tell your mother. Do tell your best friend though. Don\u2019t be afraid. Go to the doctor, take it seriously. Don\u2019t think too much about it. Make an appointment, pay for the tests, wait on the couch with your phone in your hand. But don\u2019t pay it too much mind. Worry affects the immune system, didn\u2019t you know? A lump is harmless unless it is inside your body.<\/span><\/p>\n

 <\/p>\n

Algunas formas de extracci\u00f3n de la sal<\/b><\/p>\n

1: Miner\u00eda de socav\u00f3n<\/span><\/p>\n


\ntiempo atr\u00e1s
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 o tiempo abajo
\n<\/span>hace alrededor de 500 millones de a\u00f1os
\n<\/span>muy a inicios del paleozoico transcurrir
\n<\/span>algunos mares optaron por la quietud
\n<\/span>devinieron roca profunda y blanca<\/span><\/p>\n

para extraer, lo primero ser\u00e1 el descenso
\n<\/span>un silencio s\u00f3lo posible a novecientos metros bajo tierra
\n<\/span>quiz\u00e1 m\u00e1s
\n<\/span>expandir un poco el abismo cada d\u00eda<\/span><\/p>\n

mediante el sistema de c\u00e1maras y pilares
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 intercalar
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 lo que sostiene con lo que atraviesa<\/span><\/p>\n

para extraer tanta sal
\n<\/span>habr\u00e1 que ir a lo oscuro
\n<\/span>hacia abajo
\n<\/span>con ciertos apuntalamientos
\n<\/span>evitar el derrumbe
\n<\/span>adivinar las fisuras.<\/span><\/p>\n

la antigua mina de Wieliczka
\n<\/span>es ahora un sitio tur\u00edstico
\n<\/span>uno puede disfrazarse de minero
\n<\/span>te dan un pico y una peque\u00f1a roca de sal
\n<\/span>para probar la dureza
\n<\/span>para que digas qu\u00e9 dif\u00edcil, qu\u00e9 oficio tan arduo
\n<\/span>luego en la tienda del museo
\n<\/span>suspirar: qu\u00e9 alivio ser un turista.<\/span><\/p>\n


\n2: Sal de m\u00ed<\/span><\/p>\n

Uno, morder el interior de las mejillas
\n<\/span>paladear la saliva
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ausencia
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 cavidad<\/span><\/p>\n

dos, practicar la fricci\u00f3n del propio cuerpo con otro
\n<\/span>luego lamer
\n<\/span>o bien, hacer una infusi\u00f3n
\n<\/span>con el rastro blancuzco en la ropa deportiva<\/span><\/p>\n

tres, tragarse una l\u00e1grima<\/span><\/p>\n

3: Sal de mar<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 en el principio fue la vida de otro tiempo
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 descompuesta
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 luego la extracci\u00f3n
\n<\/span>transfiguraci\u00f3n en bolsa
\n<\/span>recipiente
\n<\/span>botella<\/span><\/p>\n

existe en la sal de mar un agazapado misterio
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 reuni\u00f3n indistinguible de tereftaltato y agua
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 caricia que de tanto ir y venir deslava
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 una forma de tocar que hace de la casi fusi\u00f3n
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 de la mezcla\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span>algo inevitable<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 en la discreta presencia de los micropl\u00e1sticos
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 anida la galaxia de lo que fue
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 coincidencia temporal
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 reencuentro de miles de seres deseantes
\n<\/span>el mar como una gran alfombra
\n<\/span>a donde guardar todo ese polvo
\n<\/span>con el que no sabemos qu\u00e9 hacer<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 deshecho es aquello que una vez usado incomoda
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 averg\u00fcenza casi\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>y si te vi, no me acuerdo
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 nos comemos aquello que tratamos de olvidar
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 eterno retorno de lo que ya no<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 hay un poco de ingenuidad en cada intenci\u00f3n de olvido
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 as\u00ed cada cosa echada hacia atr\u00e1s
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 vuelve, se nos cuela en el cuerpo<\/span><\/p>\n

vamos por ah\u00ed con la inocencia del pez
\n<\/span>que prueba el prohibido fruto de poliestireno<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 desconocemos la letalidad
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ignoramos qu\u00e9 es lo que se instala
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ni cu\u00e1l de las cosas est\u00e1 ah\u00ed solo para pasar de largo
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 lo sabemos despu\u00e9s
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 tantas veces demasiado tarde<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 lo que s\u00ed sabemos es esto:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 la toxicidad depende siempre de la dosis
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 el tama\u00f1o del sapo y la pedrada
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 la diferencia es mucha o toda<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 es un principio b\u00e1sico de la toxicolog\u00eda:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 una piedrecita en el zapato o un golpe letal<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 la vida \u00fatil\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>extremadamente breve
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 de una bolsa de pl\u00e1stico
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 nos advierte
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 es en el pecado donde se almacena la penitencia<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 nos sobrevivir\u00e1 el tereftaltato de polietileno<\/span><\/p>\n

 <\/p>\n

Some Methods of Salt Extraction<\/b><\/p>\n

1 : Deep-Vein Mining
\n<\/span>a long time ago
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0or a long time below
\n<\/span>around five hundred million years back
\n<\/span>right at the start of the Paleozoic\u2019s passage
\n<\/span>certain seas chose stillness
\n<\/span>becoming deep white rock<\/span><\/p>\n

the first step to extraction is descent
\n<\/span>a silence possible only three thousand feet underground
\n<\/span>maybe more
\n<\/span>expanding the abyss a little every day<\/span><\/p>\n

through the system of chambers and columns
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 intersperse
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 what holds up with what pierces<\/span><\/p>\n

to extract so much salt
\n<\/span>you must go to the dark
\n<\/span>downward
\n<\/span>with certain underpinnings
\n<\/span>avoiding collapse
\n<\/span>divining fissures.<\/span><\/p>\n

the old mine of Wieliczka
\n<\/span>is now a tourist attraction
\n<\/span>you can dress up as a miner
\n<\/span>they give you a pick and a little salt rock
\n<\/span>so you can test its hardness
\n<\/span>say how tough, what taxing work
\n<\/span>then at the gift shop
\n<\/span>sigh: thank god we\u2019re tourists.<\/span><\/p>\n

 <\/p>\n

2 : Salt of Myself<\/span><\/p>\n

One, bite the inside of your cheeks
\n<\/span>savor the saliva
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0absence
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0cavity<\/span><\/p>\n

two, practice the friction of your own body on another
\n<\/span>then lick
\n<\/span>or, rather, prepare an infusion
\n<\/span>with the whitish traces on your sportswear<\/span><\/p>\n

three, swallow a tear<\/span><\/p>\n

 <\/p>\n

3: Sea Salt<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 in the beginning was another time\u2019s life
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 decomposed
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 then extraction
\n<\/span>transfiguration into bag
\n<\/span>bottle
\n<\/span>receptacle<\/span><\/p>\n

there is a crouching mystery in sea salt
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 indistinguishable meeting of terephthalate and water
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 a caress that comes and goes so as to fade
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 a way to touch that makes of quasi-fusion
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 of mixture<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0something unavoidable<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 in the discreet presence of microplastics
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 nests the galaxy of what was
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 temporary coincidence
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 reunion of thousands of desirous beings
\n<\/span>the sea as a great rug
\n<\/span>on which to stock up all that dust
\n<\/span>we don\u2019t know what to do with
\n<\/span>unmade is that which, once used, discomforts
\n<\/span>embarrasses almost\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span>and if I saw you, I don\u2019t recall
\n<\/span>we eat that which we try to forget
\n<\/span>eternal return of what\u2019s no longer<\/span><\/p>\n

there\u2019s a little naivety in each attempt to forget
\n<\/span>and so each thing tossed downward
\n<\/span>comes up, sneaks into our body<\/span><\/p>\n

we go around with the innocence of a fish
\n<\/span>who tastes the forbidden fruit of polystyrene<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 we are ignorant of mortality
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 we know not what is put in place
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 nor which thing is there just to be bypassed
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 we find out afterwards
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0so often too late<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 what we do know is this:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 toxicity always depends on the dose
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the size of the toad and the blow from the stone
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the difference is major or complete<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 this is a basic principle of toxicology:
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 a pebble in a shoe or a lethal blow<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the remarkably brief <\/span> useful life
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 of a plastic bag
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 warns us
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 that penitence is stored in sin<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 polyethylene terephthalate will survive us<\/span><\/p>\n

<\/h5>\n
Translated by Arthur Malcolm Dixon<\/span><\/h5>\n
Successive Approximations<\/span><\/i> by Lolb\u00e9 Gonz\u00e1lez Arceo, translated by Arthur Malcolm Dixon, is out now from <\/span>Alliteration Publishing<\/span><\/a>.<\/span><\/h5>\n

 <\/p>\n

\t\t

\n\t\t\t\t\t\t
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\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tCOMPRA LOS LIBROS DESTACADOS EN ESTE N\u00daMERO EN NUESTRA P\u00c1GINA DE BOOKSHOP<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\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<\/div>\n\t\t<\/p>\n

 <\/p>\n

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

The winning collection of the Fifth Annual Poetry Competition organized by Lugar Comun in Miami (2023) is now available in bilingual edition from Alliteration Publishing. Gabriela Kizer writes in her foreword: \u201cFirst and foremost, we hold in our hands a meditation on language: the name that never becomes one\u2019s own, the bond between reality and […]<\/p>\n","protected":false},"author":5,"featured_media":37720,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2893],"tags":[5160],"genre":[],"pretext":[],"section":[],"translator":[2458],"lal_author":[5190],"class_list":["post-38297","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-adelantos-de-traduccion-y-novedades-editoriales","tag-numero-32-es","translator-arthur-malcolm-dixon-es","lal_author-lolbe-gonzalez-arceo-es"],"acf":[],"_links":{"self":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/38297","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=38297"}],"version-history":[{"count":1,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/38297\/revisions"}],"predecessor-version":[{"id":38304,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/38297\/revisions\/38304"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media\/37720"}],"wp:attachment":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media?parent=38297"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/categories?post=38297"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/tags?post=38297"},{"taxonomy":"genre","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/genre?post=38297"},{"taxonomy":"pretext","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/pretext?post=38297"},{"taxonomy":"section","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/section?post=38297"},{"taxonomy":"translator","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/translator?post=38297"},{"taxonomy":"lal_author","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/lal_author?post=38297"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}