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"When I read Fiorella Terrazas for the first time I felt I was reading the voice of my generation. In her poems I find the pains and hopes of those of us who were born between 1989 and 1996. We, the infamous millennials. We are accused of being made of glass because everything offends us, and we offend. Hyperconnectivity is not the only thing that characterizes us, so does hypersensitivity and both are closely related. FioLoba's poetry is hypersensitive in the rawest sense of the word. She doesn't approach millennials in the cliché way we are used to because she doesn't need to explore it, she simply unloads it in her verses." - Lucía Carvalho Fiorella Terrazas aka FioLoba (Lima, Peru. 1990) is a neurodivergent queer artist, poet and cultural organizer. FioLoba is a creature of the Internet. Her work has been published on websites, magazines and poetry blogs in several Latin American countries. FioLoba's poems are found in the intersectional blender of body, self-image, politics and gender, where queer-ethics and glitch-aesthetics become in turn positions for a poetic voice browsing across the decay of our technological future. Compiling the best of her poetic output into a new functional artifact, Cam Girl & Other Poems (2017-2021) is a wide-ranging selection of the work of one of Latin America's most notorious Internet poets.
"He speaks to us; and his explanations of some of his symbols suggest to us the rarest of illusions. It occurs to me he is an oriental prince who travels in pursuit of impossible sacred bayaderes" - Cesar VallejoOriginally published in Peru in 1916, The Song of the Figures, Jose Maria Eguren's second volume of poetry, consolidated his reputation as one of the leading voices of his generation and earned him the unanimous praise of his contemporaries, such as Jose Carlos Mariategui, Cesar Vallejo and Abraham Valdelomar. Displaying a penchant for Oriental themes shrouded in mystery and sensuality, The Song of the Figures is an outstanding follow-up to the landmark success of Symbolics (1911), and remains as one of the highlights of Latin American poetry in the 20th century. This first English translation, presented on a dual-language parallel text, restitutes the figure of one of the most uniquely crafted voices of Latin American poetry and opens up a window to his timeless past.
"Magda is essentially lyrical and human. . . . In her early poems she is almost always the poet of tenderness. And her lyricism is precisely recognized in her humanity. In her poetry we find all the accents of a woman who lives passionately and vehemently, ignited by love and longing, and tormented by truth and hope". - José Carlos Mariátegui Originally published in Lima in 1927, Magda Portal's Hope and the Sea immediately stood out as one of the most remarkable books to come out of the Peruvian literary avant-garde. Already an acclaimed poet by the age of twenty-three, Magda Portal became a key participant in the political and intellectual milieu surrounding Amauta magazine, eagerly absorbing the winds of change sweeping across the continent, embodying them within her own intensely personal experience. Hope and the Sea speaks from an intimate yet transcendental voice, which bravely faces the immensity of the sea, earthly forces and the depths of the human heart, ever with immense feeling for the suffering of the poor. Like her contemporaries Blanca Luz Brum, Alfonsina Storni and Juana de Ibarbourou, Magda Portal-feminist leader, avant-garde poet, political organizer-represents one of the crucial personalities at the turning point for feminist movements in Latin America.
The publication of Symbolics (1911), José María Eguren's first book of poems, marked a before and after for his contemporaries and it has been since then widely regarded as a major turning point into contemporary Peruvian poetry. Symbolics has directly influenced the style and vision of several generations of poets and writers, who have unanimously recognized Eguren as a leading voice of his generation and have paid him sincere homage for over a century now. The 34 poems of Symbolics are among Eguren's most influential and important work and remain as the best example and introduction to his poetic universe. This dual language edition, the first English translation of any of Eguren's works, has carefully intended to preserve both the form and the content of the poems in translation from the original Spanish language. José María Eguren (Lima, 1874 - 1942) remains as one of the most important Peruvian poets of all times. His highly original work marks one of the most interesting transitions between Modernismo and the Avant-garde movements in Latin American poetry. He exerted a major influence on a whole generation of poets, writers and thinkers including José Carlos Mariategui, Cesar Vallejo and Martín Adán. He was also admired and recognized in life as an important poet by figures such as Gabriela Mistral, Juan Ramón Jiménez and Jorge Luis Borges. His complete works are regarded as classics of Latin American literature and have been published in Peru, Argentina, Venezuela and Spain. José Garay Boszeta (Lima, 1985) is a writer, translator and general language laborer, born and raised in Lima, Perú. He studied programs in Economics and Philosophy at the National University of San Marcos in Lima. His work in translation aims to reevaluate and recover Latin American narratives and restore their historical content for English speaking audiences. He currently lives in Dallas, TX, with his wife Erin and their dog Willow. This is his first published translation.
"Examines the life and poetry of Magda Portal, a major figure in Latin American revolutionary politics. Includes a selection of poems available for the first time in English translation"--Provided by publisher.
A sweeping, kaleidoscopic, and passionate novel that presents a stunning series of flashes — scenes, moods, dreams, and weather— as the narrator wanders through Lima. Published in 1928 to great acclaim when its author was just twenty years old, The Cardboard House is sweeping, kaleidoscopic, and passionate. The novel presents a stunning series of flashes — scenes, moods, dreams, and weather— as the narrator wanders through Barranco (then an exclusive seaside resort outside Lima). In one beautiful, radical passage after another, he skips from reveries of first loves, South Pole explorations, and ocean tides, to precise and unashamed notations of class and of race: an Indian woman “with her hard,shiny, damp head of hair—a mud carving,” to a gringo gobbling “synthetic milk,canned meat, hard liquor.” Adán’s own aristocratic family was in financial freefall at the time, and, as the translator notes, The Cardboard House is as “subversive now as when it was written: Adán’s uncompromising poetic vision and the trueness and poetry of his voice constitute a heroic act against cultural colonialism.”
"He is so eclectic and heretical, that he reconciles us all in a theosophically cosmic and monistic synthesis" - José Carlos Mariátegui. Published in 1928 to great acclaim, The Cardboard House was clearly destined to become a classic. Written during Martín Adán's prodigious adolescence in Barranco -a peaceful sea resort in the coast of Lima-, The Cardboard House is a visionary excursion through the crevices of sensation and memory, moving in a fluid poetic exploration that traverses swiftly from the social to the cosmic. Martín Adán's experimental style has been admired and celebrated by authors as diverse as Mario Vargas Llosa, Allen Ginsberg and Roberto Bolaño; and The Cardboard House stands out in history as a major statement of the avant-garde movements in Latin America. This new English translation strives to preserve the experimental style of The Cardboard House in its original Spanish language, and intends to reestablish its importance as one of the crucial texts of the Latin American literary avant-garde. Martín Adán (Lima, 1908 - 1985), pseudonym of Ramón Rafael de la Fuente Benavides, was a Peruvian poet and writer whose body of work is notable for its experimentalism and metaphysical depth. His breakthrough novel, The Cardboard House, redefined the possibilities of narrative for his contemporaries and has remained a substantial influence for several generations of Latin American writers. He is one of the most celebrated Peruvian poets of the 20th century. His work in poetry was twice awarded the National Poetry Prize (Perú, 1946, 1961) and the Peruvian National Literature Prize in 1976. José Garay Boszeta (Lima, 1985) is a writer, translator and language laborer, born and raised in Lima, Perú. He studied programs in Economics and Philosophy at the National University of San Marcos in Lima. His work in translation aims to reevaluate Latin American narratives and restore their historical content for English speaking audiences around the world. His current projects include the translation of the works of José María Eguren and Martín Adán, among others. He currently lives in Dallas, Texas with his wife, Erin and their dog, Willow.
These poems by Nancy Morejon are the voice of the new Cuba, the Cuba born after the Revolution. In her lines, Nancy Morejon captures the rhythms, the sounds, the colors, the people, that make up the rich and complex texture of Revolutionary Cuba. --Amazon.com.
A current member of the Sandinista government recalls his personal experience as a guerrilla fighter.
Essays by the Argentinian novelest, before and after the Sandinista revolution, celebrate the virtues and openness of the new regime