Category Archives: Pedro

Nightboat

They will next read translation manuscripts in the summer of 2019.

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World on a Wire

We will see this film!

I don’t know whether to submit these poems to The Nation or to Two Lines. I am thinking Two Lines is a good place to send this author, although they want a longer set than what I was about to send off.

There are other journals: Latin American Literature Today, Modern Poetry in Translation, and more, but the first two are the ones I am drawn to now.

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After the current plan fails

…we submit to LALT, which does not accept simultaneous submissions.

Submissions should be sent to the Editor in Chief at the following address:

Latin American Literature Today
University of Oklahoma
780 Van Vleet Oval
Kaufman Hall, Room 105
Norman, OK 73019-4037
Email: lalt@ou.edu

IMPORTANT:

FONT SIZE AND STYLE. All documents submitted to LALT should be typed in Times New Roman, 12-point font with 1.5 line spacing.

SPACING AND SPECIAL CHARACTERS: Please avoid extra spaces and/or special characters between paragraphs as much as possible. Do not add any space before or after a line of text, especially if it is the first or last line of a paragraph.

ARTICLE TITLES. For essays, place the article title at the top of the first page, then place your name on a separate line. A brief deck head (25-40 words) should precede the article, giving readers a clear and concise idea of what’s to follow in the text.

SUBMITTING TRANSLATIONS. For translations, include a brief bio about the author (40-50 words) and a shorter one about yourself (25-30 words), plus a source note about the original (e.g., From Cien sonetos de amor, copyright © 1960 by Pablo Neruda. English translation copyright © 1986 by Stephen Tapscott). If the piece was translated by its author, please indicate this information in a note at the end of the article.

NAME OF DOCUMENT SENT TO LALT. The name of the Word document should be formatted in the following order: Title of the work, name of author between parentheses, underscore, name of reviewer. For example:

El llano en llamas (Juan Rulfo)_Antonia Fernández

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Presses

Two Lines. Print journal, online features, and also books. Center for the Art of Translation. Study this journal; here are submission instructions.

Tripwire. Experimental. They take translations but not poems originally written in English. Verify?

Split Lip. You can submit one poem only. This is fun, if you only have one good one.

Siete vientos, especially for Moro?

Phoneme Media. Books, contemporary poetry (note: they have one on the Angola 3). Founded by David Shook (see just below).

Noemi Press.

Modern Poetry in Translation. Their traditional focus is on Eastern Europe, although they publish other things; they are the ones who put out the Baltic issue. Working with them is DAVID SHOOK who “is a poet and translator in LA, where he has founded Phoneme Media, a publishing house for literature in translation. His translations of Jorge Eduardo Eielson’s Room in Rome and Pablo D’Ors Biography of Silence will be published in 2018.” I should read this journal, but can you submit to it?

Metamorphoses. Print journal. I had thought, at one point, that they were a good goal.

Journals seeking work in translation. PEN.

Here is a long list of little magazines, although not all want poetry in translation.

Graywolf? Perhaps yes.

Gato Negro? Perhaps yes as well.

Black Widow. This could be good for Moro.

In the meantime: I think Tripwire for the group of three poems, and Split Lip for the one prose poem.

*

And here, finally, is Latour’s Compositionist Manifesto, that I would really like to read.

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Notes on that poem

…that I spent days translating when I should have been doing any number of things.

The post-human.
The critique of nationalist literary histories.
The attempt to locate origins in what has been lost.
The fact that that is the game nationalist literary histories play, appropriating those origins for the national project.
We are taught to identify with that appropriation.
The evidence of those origins — that we know are not the reified origin of national literary histories — are nonetheless all around us, and resist nationalist appropriation (Vallejo knew it, too).
The dislocated feeling of identifying with a landscape filled with signs of this unknowable and unrecuperable past.
Writing about these things now, in globalization and the end of the nation-state.
Ortega speaks of this poetry as “emanating from a wound in the Spanish language” but it is more properly a gap in [the Peruvian gestalt].
Roxosol, the title, refers to the sun in a Golden Age poem but also to the Incan sun.
Inkarrí is here that awareness of the older world, lost to us, but whose traces are still visible.
The speaker is a national subject dissolving.
The poem insists on place, situatedness, but outside the narration of nation. Consciousness of this place means moving beyond binaries like civilization and barbarism, present and past, but also human and non-human.

…I wonder if this has potential, or is good.

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