{"id":2291,"date":"2014-05-04T23:24:55","date_gmt":"2014-05-04T23:24:55","guid":{"rendered":"http:\/\/www.artvilla.com\/plt\/?p=2291"},"modified":"2023-03-26T16:48:10","modified_gmt":"2023-03-26T16:48:10","slug":"series-poems-by-andres-fisher-translated-from-spanish-by-robin-ouzman-hislop","status":"publish","type":"post","link":"https:\/\/www.artvilla.com\/plt\/series-poems-by-andres-fisher-translated-from-spanish-by-robin-ouzman-hislop\/","title":{"rendered":"Series. Poems by Andres Fisher Translated from Spanish by Robin Ouzman Hislop"},"content":{"rendered":"


\nCASTILLA X <\/strong><\/p>\n

i.
\nGrandes segadoras trabajan en los campos mientras aviones cruzan el cielo, lentamente, sobre ellos.<\/p>\n

ii.
\nLas mismas monta\u00f1as se alzan en lontananza sin embargo otros veh\u00edculos ruedan por los caminos.<\/p>\n

iii.
\nDonde antes fue la bestia, hoy es el motor mientras el hombre es el mismo que siembra, cosecha y muere.
\n 
\n 
\nCASTILE X
\n 
\ni.
\nLarge harvesters crop the fields as aeroplanes slowly cross the skies above them.<\/p>\n

ii.
\nThe same mountains rise in the distance even though other vehicles run the roads.<\/p>\n

iii.
\nWhere it was the beast before, now it’s the engine, whereas man, who sows, reaps and dies,
\nremains the same.
\n 
\n 
\nCASTILLA XI
\n 
\ni.
\nCampos de amapolas en los llanos de Castilla.<\/p>\n

ii.
\nComo islas rojas en medio de la marea verde que los circunda.<\/p>\n

iii.
\nPrimavera muy lluviosa. Resplandece el llano en el trigo y los cultivos.<\/p>\n

iv.
\nEn las flores silvestres, que siguen creciendo junto a los castillos.
\n 
\n 
\nCASTILE XI
\n 
\ni.
\nPoppy fields on the plains of Castile.<\/p>\n

ii.
\nLike red islands surrounded by a green tide.<\/p>\n

iii.
\nA very rainy spring. The plains glisten through the wheat and crops.<\/p>\n

iv.
\nAs well as the wild flowers, that still grow beside the castles.
\n 
\n 
\nCASTILLA XII (*)
\n 
\ni.
\nAun se siembra el trigo en los m\u00e1rgenes de la gran ciudad.<\/p>\n

ii.
\nQue refulge y palpita, confundiendo sus luces con las del ocaso.<\/p>\n

iii.
\nYa no es la mano del hombre la que siega el trigo.<\/p>\n

iv.
\nQue sin embargo sigue creciendo, enhiesto, en direcci\u00f3n al cielo.
\n____
\nA Jos\u00e9 Vi\u00f1als, in memoriam.
\n 
\n 
\nCASTILE XII (*)
\n 
\ni.
\nWheat is still sown on the outskirts of the big city.<\/p>\n

ii.
\nGleaming and palpitating it mixes its lights with dusk’s.<\/p>\n

iii.
\nNow it’s no longer the hand of man that harvests the wheat.<\/p>\n

iv.
\nThat nevertheless still grows straight towards the sky.
\n_________
\n(*) To Jos\u00e9 Vi\u00f1als, in memoriam
\n 
\n***
\n 
\nCASTILLA XIV
\n 
\ni.
\nD\u00eda nublado en el verano de Castilla:<\/p>\n

ii.
\ninusual como los aviones, de los que ahora solo existe el sonido.<\/p>\n

iii.
\nGentes van y vienen por las plazas de los pueblos:<\/p>\n

iv.
\nque languidecen o reviven, seg\u00fan desde donde se los mire.<\/p>\n

CASTILE XIV.<\/p>\n

i.
\nA cloudy day in the summer of Castile:<\/p>\n

ii.
\nas unusual as the aeroplanes, whose sounds now only exist.<\/p>\n

iii.
\nPeople come and go through the squares in the small towns:<\/p>\n

iv.
\nthat wilt or revive according to the point they’re observed from.
\n 
\n 
\nCASTILLA XV
\n 
\ni.
\nAun pastan ovejas en los prados de Castilla.<\/p>\n

ii.
\nY en los campos de rastrojos, ya en la meseta o circundados por colinas.<\/p>\n

iii.
\nSuenan los mismos cencerros que los castillos han o\u00eddo desde nacer.<\/p>\n

iv.
\nQue oyeron antes las ruinas romanas, hoy circundadas por los nuevos molinos de metal.
\n 
\n 
\nCASTILE XV<\/p>\n

i.
\nSheep still graze on the pastures of Castile.<\/p>\n

ii.
\nAnd in the bundle stacked fields, whether on the flatlands or the surrounding hills.<\/p>\n

iii.
\nThe same sheep-bells heard by the castles ever since their birth still sound.<\/p>\n

iv.
\nHeard before the Romans and their ruins now surrounded by new steel mills.
\n 
\n 
\nCASTILLA XVI
\n 
\ni.
\nLa disciplina del cereal y del olivo dotando de su rigor a los campos de Castilla.<\/p>\n

ii.
\nLas sierras no formando mares sino alz\u00e1ndose como cuchillos que dividen las llanuras.
\n 
\n 
\nCASTILE XVI
\n 
\ni.
\nThe discipline of the cereal and the olive tree endowing the fields of Castile, its rigour.<\/p>\n

ii.
\nRidges not forming seas but rising like knives dividing the plains.
\n 
\n***
\n 
\nCASTILLA XIX
\n 
\ni.
\nEs invierno y nieva en las sierras de Castilla.<\/p>\n

ii.
\nEl manto blanco, sin embargo, no llega a cubrir el pardo que domina en el paisaje.<\/p>\n

iii.
\nEn el llano, no obstante, las cepas son apenas vestigios en la superficie de una gruesa capa blanca.<\/p>\n

iv.
\nY en la autopista, los quitanieves trabajan a destajo para abrir un solo carril.
\n 
\n 
\nCASTILE XIX
\n 
\ni.
\nIt’s winter and it snows on the sierras of Castile.<\/p>\n

ii.
\nIt’s white shroud, however, fails to cover the grey that dominates the landscape.<\/p>\n

iii.
\nOn the plains though, stumps of vine remain as vestiges capped in a thick white .<\/p>\n

iv.
\nAnd on the motorway, snow ploughs work without respite merely to open a single lane.
\n 
\n 
\nLOS POEMAS DEL HIELO IV<\/strong>
\n 
\ni.
\nAun existe el ocaso en los espejos retrovisores.<\/p>\n

ii.
\nDelante, la luna se alza sobre un cielo azul oscuro.<\/p>\n

iii.
\nEs el mismo veh\u00edculo el que rueda por la autopista y la carretera comarcal.<\/p>\n

iv.
\nY el que conduce, a bordo del coche y de s\u00ed mismo.
\n 
\n 
\nTHE ICE POEMS IV
\n 
\ni.
\nDusk still exists in the rear view mirrors.<\/p>\n

ii.
\nMoon is rising on a dark blue sky ahead.<\/p>\n

iii.
\nIt’s the same vehicle that rides the motorway and the byway.<\/p>\n

iv.
\nAs is the driver who boards both car and himself.
\n 
\n 
\nVARIACIONES SOBRE UN POEMA SIN TITULO DE DAMSI FIGUEROA.<\/strong>
\n 
\ni.
\nTres toros blancos corr\u00edan por tu sue\u00f1o.<\/p>\n

ii.
\nGolpeaban tu mejilla con arena.<\/p>\n

iii.
\nFlorec\u00edan cardos en una pradera amarilla que llegaba hasta el mar.
\n 
\n 
\nVARIATIONS ON AN UNTITLED POEM OF DAMSI FIGUEROA
\n 
\ni.
\nThree white bulls ran through your dream.<\/p>\n

ii.
\nBeating your cheek with sand.<\/p>\n

iii.
\nThistle bloomed in a yellow prairie ending in the sea.
\n 
\n 
\nAEROPUERTO<\/strong>
\n 
\ni.
\nSe incendia el cielo en los ventanales del aeropuerto.<\/p>\n

ii.
\nMientras, aviones van y vienen apareciendo y desapareciendo entre las nubes.<\/p>\n

iii.
\nAutobuses, furgonetas y peque\u00f1os tractores bullen en las pistas.<\/p>\n

iv.
\nMientras, los viajeros caminan y desaparecen al entrar en las pasarelas.
\n 
\n 
\nAIRPORT
\n 
\ni.
\nSky burns in the airport windows.<\/p>\n

ii.
\nMeanwhile, planes go back and forth appearing and disappearing amidst the clouds.<\/p>\n

iii.
\nBuses, trucks and small tractors bustle in the tracks.<\/p>\n

iv.
\nMeanwhile, travellers walk and disappear entering the ramps.
\n 
\n 
\nAEROPUERTO I<\/strong>
\n 
\ni.
\nCae la noche en los ventanales del aeropuerto.<\/p>\n

ii.
\nAhora los aviones son puntos luminosos en un cielo negro y uniforme.<\/p>\n

iii.
\nGentes y veh\u00edculos mantienen su actividad c\u00edclica e interminable.<\/p>\n

iv.
\nMientras, los altavoces emiten mensajes no siempre comprensibles.
\n 
\n 
\nAIRPORT I
\n 
\ni.
\nNight falls in the airport windows.<\/p>\n

ii.
\nPlanes now are luminous spots in a dark and motionless sky.<\/p>\n

iii.
\nPeople and vehicles maintain their cyclical and endless routine.<\/p>\n

iv.
\nMeanwhile, speakers deliver not always understandable messages.
\n 
\n 
\n***
\nTHE PICKAXE AND THE WORM (*)
\n 
\nThe pickaxe can cut the worm but chooses not to do it, putting him gently aside.
\n 
\n(*) Almost from William Blake
\n 
\n***
\n 
\n 
\nEscenas. Scenes.<\/strong>
\n 
\ni.
\nUn hombre solitario, camina en l\u00ednea recta mientras un incendio, a sus espaldas, calcina su presente;<\/p>\n

su presente que se elonga, calcinado, mientras los pasos se repiten, r\u00edtmicamente, ajenos a toda sensaci\u00f3n t\u00e9rmica o corporal.<\/p>\n

i.
\nA solitary man proceeds in a straight line whilst a fire behind him burns to ashes his present,<\/p>\n

a present that as it stretches is burnt to ashes, whilst his steps rhythmically repeat themselves, detached from any thermal or corporal sensation.<\/p>\n

ii.
\nUna mujer, a lo lejos, realiza el trayecto mas lento entre el horizonte y las nubes de sus ojos;<\/p>\n

nubes a medio camino entre el horizonte y la bruma, cerebral, que impregna de amarillo el espacio entre el horizonte y sus propios ojos.<\/p>\n

ii.
\nA woman in the distance travels a slower trajectory between the horizon and the clouds in her eyes,<\/p>\n

clouds halfway between the horizon and the cerebral haze which impregnates yellow space between the horizon and her own eyes.<\/p>\n

iii.
\nLa visi\u00f3n de un gato, absorto, tenso en la potencia que lo habita:<\/p>\n

que dibuja una ventana en cada muro; que convierte en hipotenusa cada movimiento del gato, tenso, absorto en la visi\u00f3n de su propio movimiento.<\/p>\n

A Juan Luis Mart\u00ednez.<\/p>\n

iii.
\nThe cat’s vision, absorbed, tense in the power that inhabits him:<\/p>\n

a vision that draws a window on each wall; and that turns into hypotenuse each movement of the cat, tense, absorbed in the vision of its own movement.<\/p>\n

To Juan Luis Martinez.<\/p>\n

iv.
\nUn autom\u00f3vil, abandonado, viaja sin pausa por una larga carretera;<\/p>\n

una costanera interminable por la que el autom\u00f3vil vaga, ensimismado, con dos soles sobre el horizonte como testigos oculares.<\/p>\n

iv.
\nAn automobile, abandoned, travels non stop the long motorway:<\/p>\n

an endless esplanade, where the automobile roams engrossed with two suns on the horizon as ocular witnesses.
\n 
\n 
\nEscenas 1 Scenes 1<\/strong>
\n 
\ni.
\nUn hombre, a la distancia, pareciera caminar en c\u00edrculos mientras a su espalda, las huellas dibujan un trazado ortogonal:<\/p>\n

trazado que se extiende, circular, mientras sus pasos se alejan, ajenos a toda intenci\u00f3n geom\u00e9trica o lineal.<\/p>\n

i.
\nA man, in the distance, would seem to walk in circles, whilst at his back his tracks draw an orthogonal sketch:<\/p>\n

a sketch that extends circularly as his steps walk away, oblivious to any geometrical or linear intention.<\/p>\n

ii.
\nUna mujer, entre la bruma, pareciera dibujar el horizonte con sus pasos sobre la arena:<\/p>\n

trayecto lineal, hipn\u00f3tico, donde los ojos son un recuerdo borroso que ti\u00f1e de amarillo cuanto existe en la memoria.<\/p>\n

ii.
\nA woman amidst the mist would seem to draw the horizon as if with her steps on the sand:<\/p>\n

a hypnotic linear trajectory, where the eyes are a blurred memory tinting in a yellow haze all what can be remembered.<\/p>\n

iii.
\nUn gato, absorto, se solaza con la visi\u00f3n de su propio movimiento.<\/p>\n

desplazamiento lineal que elimina muros, obst\u00e1culos, oxidando en su fuerza cuanto se interpone entre el gato y su visi\u00f3n.<\/p>\n

iii.
\nAbsorbed, a cat takes pleasure in the vision of its own movements:<\/p>\n

a linear displacement that eliminates walls and obstacles, oxidising in its strength,
\nall that stands between the cat and its vision.<\/p>\n

iv.
\nUn barco, a la deriva, se deja adormecer por la trama r\u00edtmica de la marea:<\/p>\n

secuencia de olas a medio camino entre la costanera y el horizonte, entre los que el barco agota sus posibilidades de existir.<\/p>\n

iv.
\nLulled by the rhythmic weavings of the tide, a boat drifts drowsily:<\/p>\n

wave sequences, midway between the esplanade and the horizon, where the boat exhausts its possibilities to exist.
\n 
\n 
\nEscenas 2 Scenes. 2<\/strong>
\n 
\ni.
\nUn hombre, bajo la lluvia, camina sin detenerse hasta que el agua, gota a gota, moja su mirada:<\/p>\n

mirada h\u00fameda que ve cargado de amarillo el espeso cielo gris del centro del invierno<\/p>\n

i.
\nIn the rain a man walks non stop until the water drop by drop wets his gaze:<\/p>\n

a wet gaze that sees charged by yellow the dense grey sky of the winter\u2019s core.<\/p>\n

ii.
\nUna mujer, bajo el cielo del invierno, no detiene sus pasos que la acercan a las nubes:<\/p>\n

sucesi\u00f3n de nubes grises entre las que la mujer se detiene, con sus pies sobre la arena<\/p>\n

ii.
\nA winter’s sky doesn’t stop a woman’s footsteps beneath bringing her closer to the clouds:<\/p>\n

a succession of grey clouds that stay between the woman with her feet on the sand.<\/p>\n

iii.
\nUn \u00e1rbol, desnudo en el invierno, ense\u00f1a al viento su estructura:<\/p>\n

a un ge\u00f3metra, que encuentra en ella el sentido de la vida.<\/p>\n

iii.
\nStripped by winter, a tree shows the wind its structure:<\/p>\n

to a geometrician, who finds in it the meaning of life.<\/p>\n

iv.
\nLas luces de su arboladura son los \u00fanicos puntos visibles de un barco, entre la niebla de la bah\u00eda:<\/p>\n

luces que se confunden con las del tendido el\u00e9ctrico de la ciudad, apenas unos metros mas arriba.<\/p>\n

iv.
\nRigging lights are the only visible points of a ship in the fog of a bay:<\/p>\n

lights which get confused with a city’s electric lights suspended just a few meters above.
\n 
\n 
\nEscenas 3. Scenes. 3<\/strong>
\n 
\ni.
\nUn rostro, desvaneci\u00e9ndose, aun conserva rasgos que lo vinculan a la especie:<\/p>\n

pertenencia laxa, cuya disoluci\u00f3n a la luz de la tarde pone en jaque a la especie, que lo ignora, embotada en su rutina.<\/p>\n

A Foucault<\/p>\n

i.
\nA fading face still retains traits that link it to its specie:<\/p>\n

a lax belonging, whose late afternoon dissolution checkmates the specie, which, dulled by routine, it’s unaware of.<\/p>\n

To Foucault<\/p>\n

ii.
\nLos anos del hombre desintegr\u00e1ndose, espasm\u00f3dicamente, mientras sus huellas se acercan a los dominios del arquetipo;<\/p>\n

territorio geom\u00e9trico, sin edad, que encanta la consciencia y troquela los anos del hombre.<\/p>\n

ii.
\nThe years of man disintegrate in spasms as his footsteps approach the domain of the archetype;<\/p>\n

in an ageless geometrical territory delighting consciousness and indenting the years of man.<\/p>\n

iii.
\nUna calle dando tumbos, ebria, entra en el v\u00e9rtigo de un viaje circular:<\/p>\n

que desorienta a las puertas, psicoactiv\u00e1ndolas, haciendo lineal el trayecto de pajeros y peces que deambulan por la calle, delirante, en el cenit del periplo<\/p>\n

iii.
\nA street staggers along inebriated entering the vertigo of a circular journey:<\/p>\n

disorientating, psychoactivating doorways, turning lineal the trajectories of birds and fish that roam the street deliriously in the zenith of the trip.<\/p>\n

iv.
\nUn espejo, al fondo de un pasillo, es desbordado por los destellos de una imagen triangular;<\/p>\n

triangulo equil\u00e1tero, evanescente, que entrega su identidad al espejo aferr\u00e1ndose, difusamente, a un vago anhelo de eternidad.<\/p>\n

A Borges<\/p>\n

iv.
\nA mirror at the end of a corridor is overwhelmed by the glimmers of a triangular image;<\/p>\n

an evanescent equilateral triangle surrendering its identity to the mirror clutching dimly a vague desire for eternity.<\/p>\n

To Borges
\n 
\n 
\nLOS POEMAS DEL HIELO. THE ICE POEMS.<\/strong>
\n 
\ni.
\nEl cielo solo existe en los espejos retrovisores. Delante, el asfalto se extiende sin fin aparente troquelado por el ritmo hipn\u00f3tico del trazado discontinuo.<\/p>\n

El sol es un detalle. Solo uno m\u00e1s para el que rueda por el asfalto mientras el cielo sigue existiendo \u00fanicamente en el cristal de los espejos.<\/p>\n

i.
\nThe sky only exists in the rear view mirrors. Ahead, the asphalt extends without apparent end indented by the hypnotic rhythm of the continual broken road lines.<\/p>\n

The sun is a mere detail to he who rolls on the asphalt as the sky goes on existing only in the glass of the mirrors.<\/p>\n

ii.
\nLa carretera solo existe en la retina del viajero. Fuera, rueda y asfalto son una unidad que constituye en s\u00ed misma el movimiento.<\/p>\n

El ojo reconoce apenas borrosas se\u00f1ales de ruta mientras la retina vaga por otros campos. Por otros \u00e1reas de la conciencia en movimiento.<\/p>\n

ii.
\nThe motorway only exists in the retina of the traveller; outside wheel and asphalt are a unit, which constitutes itself as the motion.<\/p>\n

The eye recognises only blurred route signs, as the retina wanders in other fields, other areas of consciousness in motion.<\/p>\n

iii.
\nEl silencio sincopado del habit\u00e1culo de un coche define la existencia del conductor, cuya presencia otorga sentido a la maquina.<\/p>\n

Un sentido que se entremezcla con el trazado discontinuo, con el sol que incide sobre el y con el conductor, definido entre el silencio y la sincopa.<\/p>\n

iii.
\nThe syncopated silence of the car’s compartment defines the existence of the driver, whose presence gives sense to the machine.<\/p>\n

A sense that blends the continual broken road lines, the sun on them and the driver defined by silence and syncopation.<\/p>\n

iv.
\nLa mirada del conductor de un veh\u00edculo que rueda. Su extensi\u00f3n en un \u00e1rea delimitada por el horizonte y el trazado discontinuo.<\/p>\n

Por el sol al fondo. V\u00f3rtice que define la existencia del conductor, de su mirada y la del veh\u00edculo que rueda.<\/p>\n

iv.
\nThe driver’s sight in a rolling vehicle, its range on the area marked by the horizon and the continual broken road lines;<\/p>\n

by the sun, afar, a vortex that defines the driver’s existence, his sight and the rolling vehicle.<\/p>\n

v.
\nEl asfalto de la carretera como requisito necesario del movimiento. Su existencia
\np\u00e9trea definiendo a un individuo.<\/p>\n

Sujeto que viaja, insomne, consciente de deber su existencia al movimiento engendrado por la interacci\u00f3n del asfalto y de la rueda.<\/p>\n

v.
\nThe asphalt of a motorway being a necessary requirement for motion, whose stony surface defines an individual.<\/p>\n

A sleepless subject, who travels aware it owes its existence to the motion engendered by the interaction of asphalt and wheel.<\/p>\n

vi.
\nEl movimiento de un veh\u00edculo solo existe entre el trazado discontinuo y el sol, que define la presencia de lo visible.<\/p>\n

Movimiento materializado en la consciencia a trav\u00e9s de la retina, en le que el sol troquela cuanto tiene posibilidad de existir.<\/p>\n

vi.
\nThe motion of a vehicle only exists between the continual broken lines and the sun defining the presence of what is visible.<\/p>\n

A motion materialised in consciousness through the retina, in which the sun impresses all possibilities of existence.<\/p>\n

vii.
\nLa noci\u00f3n de un conductor y de una m\u00e1quina. De su desplazamiento sobre el asfalto blando de una carretera.<\/p>\n

Incisi\u00f3n de una marca en el asfalto. Huella que definir\u00e1 la presencia de conductor, maquina, asfalto y carretera.<\/p>\n

vii.
\nThe concept of a driver and a machine. Their motion over the soft asphalt of the motorway.<\/p>\n

Incision of a mark in the asphalt. A trace that will define the presence of the driver, machine, asphalt and motorway.<\/p>\n

viii.
\nLa mirada de un sujeto en movimiento sobre la luz, que materializa la presencia de lo real.<\/p>\n

La conciencia del conductor que debe su existencia al movimiento y al sol: atravesado en el horizonte por el trazado discontinuo.<\/p>\n

viii.
\nA subject\u2019s sight in motion on light materialises the presence of the real.<\/p>\n

The driver’s consciousness, which owes its existence to motion and the sun: crossed on the horizon by the continual broken road lines
\n 
\n 
\nVARIACIONES SOBRE FRAGMENTOS DE LA HISTORIA VERADERA DE LA CONQUISTA DE NUEVA ESPA\u00f1A, DE BERNAL DIAZ DEL CASTILLO<\/strong>
\n 
\nVARIATIONS ON FRAGMENTS OF THE TRUE HISTORY OF THE CONQUEST OF NEW SPAIN BY BERNAL DIAZ DEL CASTILLO.
\n<\/strong>
\ni.
\nTanta vara y piedra y flecha nos arrojaban, se\u00f1or, que todo el suelo estaba cubierto de ellas y aun el cielo oscurec\u00edan cuando pele\u00e1bamos de d\u00eda.<\/p>\n

Y derrocaban nuestras murallas, se\u00f1or, y aunque arremeti\u00e9ramos reciamente matando treinta o cuarenta de ellos en cada embestida, tan enteros y con mas vigor que al principio acomet\u00edan.<\/p>\n

i.
\nSo many spears, rocks and arrows they hurled at us, my liege, that the ground was covered and even the sky darkened by them as we fought throughout the day.<\/p>\n

They knocked down our walls, my liege and though we retaliated stoutly killing thirty or forty at each onslaught, yet as a whole they stormed us with even more vigour than before.<\/p>\n

ii.
\nSesentiseis de los nuestros nos tomaron en aquel desbarate, se\u00f1or, y nos her\u00edan a todos, tanto a los de a caballo como a los de pie.<\/p>\n

Y ve\u00edamos como los sub\u00edan a lo alto del gran templo para sacrificarlos, se\u00f1or, y los pon\u00edan sobre unas piedras delgadas y con grandes navajones de pedernal, les aserraban los pechos y le sacaban los corazones bullentes para ofrecerlos a sus dioses, que all\u00ed ten\u00edan<\/p>\n

ii.
\nSixty six of us, they took from that disaster, my liege, both those on horseback and those on foot.<\/p>\n

And we saw how they climbed to the top of their great temple to slaughter them, my liege, to lay them on thin stone slabs and with great flint shards sever their breast to draw forth their pulsing hearts as an offering to the Gods they had there.<\/p>\n

iii.
\nDesde lo alto del templo, se\u00f1or, hac\u00edan sonar un gran tambor que se o\u00eda en dos leguas, que tenia el sonido mas triste, como instrumento de los demonios:<\/p>\n

Y ven\u00edan muchos escuadrones a echarnos mano y cerraban con nosotros tan reciamente que no aprovechaban estocadas ni cuchilladas; ballestas ni escopetas y daban en nosotros, se\u00f1or, llenos de heridas y corri\u00e9ndonos la sangre.<\/p>\n

iii.
\nFrom the top of the temple, my liege they made a great drum roll you could hear from two leagues, it had a most sad sound, as though an instrument of demons:<\/p>\n

they came in many squads closing us in at hand so that neither neither slash nor thrust, shotgun nor crossbow was of avail, and so they struck us, my liege, full of wounds and running in our own blood.
\n 
\n***
\n 
\n\"andres<\/a>
\n <\/p>\n

<\/a>Andres Fisher <\/b><\/span><\/span>was born in Washington DC in 1963. At an early age he moved to Chile where he was raised. In 1990 he moved to Madrid, Spain, where he got his PhD and started publishing poetry and related work. Since 2004 he\u2019s back in the US where he teaches at Appalachian State University, Boone, NC, and he still spends 2 or 3 months a year in Madrid. His last book of poetry is <\/span><\/span>Series<\/i><\/span><\/span>, collected poetry 1995-2010 (Ed. Amargord. Col. Transatl\u00e1ntica, 2010). In 2009 appeared his bilingual anthology of Haroldo de Campo\u2019s poetry, <\/span><\/span>Hambre de Forma <\/i><\/span><\/span>(Ed. 27 letras, Madrid) and in 2010 <\/span><\/span>Caballo en el Umbral,<\/i><\/span><\/span> anthology of Jose Vi\u00f1als\u2019 poetry done collaboratively with Benito del Pliego (Ed. Regional de Extremadura, M\u00e9rida). In 2013 appeared <\/span><\/span>Entremilenios <\/i><\/span><\/span>(Ed. Amargord. Col. Transatl\u00e1ntica), a translation into Spanish of Haroldo de Campo\u2019s posthumous book. Also in 2013 was released <\/span><\/span>C\u00edrculo de Hueso<\/i><\/span><\/span>, translations into Spanish of the poetry of Lew Welch (Varasek eds.) done with Benito del Pliego and recently in 2014, they have published <\/span><\/span>Objetos y Retratos. Geograf\u00eda<\/i><\/span><\/span>, translations into Spanish of a sample of Gertrude Stein\u2019s poetry (Ed. Amargord. Col. Transatl\u00e1ntica)<\/span><\/span><\/p>\n

 
\n***
\n 
\n\"OLYMPUS<\/a>
\n 
\nRobin Ouzman Hislop (UK) Co-editor of the 12 year running on line monthly poetry journal Poetry Life and Times. (See its Wikipedia entry at Poetry_Life_and_Times<\/a>). He has made many appearances over the last years in the quarterly journals Canadian Zen Haiku, including In the Spotlight Winter 2010 & Sonnetto Poesia. Previously published in international magazines, recent publications include Voices without Borders Volume 1 (USA), Cold Mountain Review, Appalachian University N Carolina, Post Hoc installed at Bank Street Arts Centre, Sheffield (UK), Uroborus Journal, 2011-2012 (Sheffield, UK), The Poetic Bond II & 111, available at http:\/\/www.thepoeticbond.com\/<\/a> and Phoenix Rising from the Ashes a recently published Anthology of Sonnets: The Phoenix Rising from the Ashes<\/a>. He has recently completed a volume of poetry, The World at Large, for future publication. He is currently resident in Spain engaged in poetry translation projects.robin@artvilla.com<\/a> and you can also visit Face Book site at PoetryLifeTimes<\/a><\/strong><\/p>\n

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

CASTILLA X i. Grandes segadoras trabajan en los campos mientras aviones cruzan el cielo, lentamente, sobre ellos. ii. Las mismas monta\u00f1as se alzan en lontananza sin embargo otros veh\u00edculos ruedan por los caminos. iii. Donde antes fue la bestia, hoy es el motor mientras el hombre es el mismo que siembra, cosecha y muere.   … Read more<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[541,770,780,781,808,796,366,754,401,43,52,771,388],"tags":[18,136,3,95,127],"_links":{"self":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/2291"}],"collection":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/comments?post=2291"}],"version-history":[{"count":80,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/2291\/revisions"}],"predecessor-version":[{"id":3961,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/2291\/revisions\/3961"}],"wp:attachment":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/media?parent=2291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/categories?post=2291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/tags?post=2291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}