{"id":6232,"date":"2017-12-09T21:01:24","date_gmt":"2017-12-09T21:01:24","guid":{"rendered":"https:\/\/www.artvilla.com\/plt\/?p=6232"},"modified":"2019-02-11T07:58:21","modified_gmt":"2019-02-11T07:58:21","slug":"sur-mama-and-other-poems-by-luz-pichel-translated-from-castellano-and-gallego","status":"publish","type":"post","link":"https:\/\/www.artvilla.com\/plt\/sur-mama-and-other-poems-by-luz-pichel-translated-from-castellano-and-gallego\/","title":{"rendered":"Sur Mama and other Poems by Luz Pichel Translated from Castellano and Gallego"},"content":{"rendered":"

Editor’s Note: although we include the originals in this text, to introduce the poems of Luz Pichel, she is a Galician poet, a region in Spain with its own language (Gallego) which although bears similarities\u00a0to Spanish (Castellano) is strikingly different. Luz Pichel mixes both languages in her work, but we as translators, have translated both into English, (apart from the little French ditty On The Bridge of Avignon in the first poem) hence the footnotes will often indicate the original Gallego scripts in the texts.<\/em><\/strong><\/p>\n

(1.)<\/p>\n

the south mama mar\u00eda<\/strong><\/p>\n

i did not take you to the south\u00a0 \u00a0 \u00a0nor to the southern station\u00a0 \u00a0 \u00a0 so you could see\u00a0 \u00a0 \u00a0floor 0
\nfloor 1\u00a0 \u00a0 floor 2\u00a0 \u00a0 \u00a0\u00a0the general view<\/em> 1<\/em>\u00a0 \u00a0 \u00a0 \u00a0prices maps tickets tours
\nsouthern pages\u00a0 \u00a0 \u00a0 news\u00a0 \u00a0 \u00a0 the such a pretty cross<\/p>\n

I have to go one summer with you to the heavens to see the southern
\ncross mama
\nthe south in all the languages of the world\u00a0 \u00a0 \u00a0 your name
\nmother in all the stars\u00a0 \u00a0 \u00a0 in all
\nthe ways of milk
\nin our lovely rude tongue mother<\/em> 2<\/em>
\nsouth in french listen well\u00a0 \u00a0 \u00a0 \u00a0 sur la table 3<\/em><\/p>\n

a girl opened on the sacrificial table<\/em> 4<\/em><\/p>\n

sur le pont d’avignon
\nl’on y danse\u00a0 \u00a0 \u00a0 \u00a0 \u00a0l’on y danse <\/em><\/p>\n

sur-face
\nwhat do they make?
\nwho makes the south?
\nwho builds the south?
\nwho profits from the south?
\nwho profits?<\/em> 5<\/em><\/p>\n

les beaux messieurs font comme \u00e7a
\net puis encore comme \u00e7a<\/em>
\n(bang bang bang
\na piggy gesture)
\nsur le sable<\/em> 6\u00a0<\/em> \u00a0 \u00a0 the cobra of fear crawled
\non the sand he left engraved his\u00a0 \u00a0 \u00a0SS<\/p>\n

the general view mama\u00a0 \u00a0 \u00a0 \u00a0 these will be the plots of memory
\nl’on y dance tous en rond<\/em><\/p>\n

les militaires font comme \u00e7a
\n(bang, bang bang
\na homicide\u00a0 \u00a0 \u00a0a child)
\net puis comme \u00e7a
\nles beaux messieurs e les militaires<\/em><\/p>\n

the building of the south mama patricia mare m\u00e2e<\/em> 7<\/em>
\nour south their south les belles dames<\/p>\n

les belles dames dansent
\nelles font comme \u00e7a
\net puis encore comme \u00e7a<\/em><\/p>\n

the south mama eva mam\u00e1 \u00e1lvaro rafa\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 guadalupe\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 francisca
\nrosal\u00eda\u00a0\u00a0\u00a0\u00a0 alfonsina\u00a0\u00a0\u00a0\u00a0 federico\u00a0\u00a0 emily\u00a0 luis
\nch\u00e1mase mam\u00e1 manuel
\nmam\u00e1 manuela\/
\nwhere your migrant shins\u00a0 \u00a0 \u00a0 \u00a0grew
\nskinny on the sacrificial table<\/em> 8<\/em><\/p>\n

one day we will go all together there to the south mamai
\nthey still have to see us dance on the cobra’s SS
\ne puis encore<\/em> 9<\/em>\u00a0 \u00a0 dance
\nwe’re all going to be prima ballerinas mama
\nnoelina<\/p>\n

the musicians will do like this like this like this
\nand still again if it is the case like this another time \/ comme \u00e7a<\/em> 10<\/em><\/p>\n

**
\nvista xeral 1
\nna nosa lingua ruin bonita nai 2
\non the table 3
\nsobre da mesa do sacrificio abr\u00edase a rapaza aquela 4
\nque fan?
\nquen fai o sur?
\nquen constr\u00fae o sur? quen aproveita o sur?
\nquen se aproveita? 5
\non the sand 6
\nmother mama 7
\nonde medraron as t\u00faas canelas migratorias
\nfracas na tabla do sacrificio 8
\nand then again 9
\ne os m\u00fasicos far\u00e1n as\u00ed e as\u00ed e as\u00ed
\ne despois a\u00ednda si es caso outra vez as\u00ed\/ comme \u00e7a 10<\/p>\n

(1.)<\/p>\n

el sur\u00a0\u00a0\u00a0\u00a0 mam\u00e1 mar\u00eda<\/strong><\/p>\n

al sur no te he llevado\u00a0\u00a0\u00a0\u00a0 ni a la estaci\u00f3n del sur\u00a0\u00a0\u00a0\u00a0\u00a0 para que vieras\u00a0\u00a0\u00a0\u00a0 planta 0
\nplanta 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 planta 2\u00a0\u00a0\u00a0\u00a0 vista xeral\u00a0\u00a0\u00a0\u00a0\u00a0 los precios los mapas los tickets los recorridos las
\np\u00e1ginas\u00a0\u00a0\u00a0\u00a0\u00a0 del sur\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 las noticias\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 la cruz\u00a0 tan guapa<\/p>\n

he de ir un verano contigo al cielo a ver la cruz del sur mam
\nel sur en todas las linguas do mundo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 tu nombre
\nde madre\u00a0\u00a0\u00a0\u00a0 en todas las estrellas\u00a0\u00a0\u00a0\u00a0 en todas
\nlas vias de la leche\u00a0\u00a0\u00a0\u00a0 para que veas
\nna nosa lingua ru\u00edn bonita nai
\nsur en franc\u00e9s escucha bien\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sur la table<\/p>\n

sobre da mesa do sacrificio abr\u00edase a rapaza aquela<\/p>\n

sur le pont d\u2019avignon
\nl’on y danse\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 l’on y danse<\/em><\/p>\n

sur–face
\nque fan?
\nquen fai o sur?
\nquen constr\u00fae o sur? quen aproveita o sur?
\nquen se aproveita?<\/p>\n

les beaux messieurs font comme \u00e7a
\net puis encore comme \u00e7a <\/em>
\n(bang bang bang
\nun gesto guarro)
\nsur le sable se arrastraba la cobra del miedo
\nsobre la arena dejaba grabadas\u00a0\u00a0\u00a0\u00a0 sus eses<\/p>\n

vista general mama\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 estas ser\u00e1n las eras de la memoria
\nl’on y dance tous en rond<\/em><\/p>\n

les militaires font comme \u00e7a
\n(bang, bang bang
\nun homicidio\u00a0\u00a0\u00a0\u00a0 un ni\u00f1o)
\net puis comme \u00e7a
\nles beaux messieurs e les militaires<\/em><\/p>\n

construcci\u00f3n del sur mam\u00e1 patricia mare m\u00e2e
\nel nuestro el de ellas les belles dames<\/p>\n

les belles dames dansent
\nelles font comme \u00e7a
\net puis encore comme \u00e7a<\/em><\/p>\n

o sur mam\u00e1 eva mam\u00e1 \u00e1lvaro rafa\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 guadalupe\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 francisca
\nrosal\u00eda\u00a0\u00a0\u00a0\u00a0 alfonsina\u00a0\u00a0\u00a0\u00a0 federico\u00a0\u00a0 emily\u00a0 luis
\nch\u00e1mase mam\u00e1 manuel
\nmam\u00e1 manuela\/
\nonde medraron as t\u00faas canelas\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 migratorias
\nfracas na\u00a0 tabla do sacrificio<\/p>\n

un d\u00eda vamos a ir todas juntas all\u00e1 hasta el sur\u00a0\u00a0 mamai\u00a0\u00a0 para que sepas
\na\u00fan nos han de ver danzar sobre la ese de la cobra e puis encore danzar
\nvamos a ser todas unas bailarinas de primera mam\u00e1 noelina<\/p>\n

e os m\u00fasicos far\u00e1n as\u00ed e as\u00ed e as\u00ed
\ne despois a\u00ednda si es caso outra vez as\u00ed\/ comme \u00e7a<\/p>\n

(2.)<\/p>\n

I give you a herb<\/strong>
\nyou said
\ninside a letter<\/p>\n

take this leaf grandma I found it
\nit has dust
\nher name is luz\u00a0 1<\/em><\/p>\n

a tiny green thread an oval drawing
\nand the moon rolling down a rock
\nsmell of orange blossom<\/p>\n

this is called orange he said it is something to eat
\nI bought it at the cattle fair for you<\/p>\n

a chick being hatched is not easy either
\nif there is no ear of wheat
\nif there is no waiting
\nif there is no space<\/p>\n

some when they are hatched their roost is spoiled
\nthey go<\/p>\n

luz\u00a0 \u00a0 \u00a0 but the leaf\u00a0 \u00a0 \u00a0 \u00a0has nerves covered
\nin dust but
\ndo not then get confused\u00a0 \u00a0 \u00a0 but blow<\/p>\n

the woman picked up an ear of wheat from the ground
\nan ear of wheat has little flour but
\nit will make sense<\/p>\n

orange falls the moment you passed by
\nit rolls\u00a0 \u00a0 \u00a0 \u00a0smells<\/p>\n

I wanted to make a simple thing to give you
\nto give them
\nto give you
\nto make an old age
\na death even
\na thing like the spiral peel of an orange
\nunspoiled
\n(unlike the pedros\u00b4 baby girl
\nwho came badly)
\nsometimes the peel is torn<\/p>\n

take\u00a0 \u00a0 \u00a0 luz\u00a0 \u00a0 \u00a0 \u00a0an orange look I found it in the air
\nand luz is not luz either
\nneither is a leaf that falls
\n– hayu hayun\u00e1 hayuna\u00ed there! (someone celebrates something)<\/p>\n

a woman on the door step gazes out
\nto far far away
\nher name was orange\u00a0 \u00a0 \u00a0 \u00a0 \u00a0she peeled well\u00a0 \u00a0 \u00a0 \u00a0 she came out unspoiled
\nshe had been learning simply to fall
\nin a spiral\u00a0 \u00a0 \u00a0 \u00a0on herself<\/p>\n

1. Light.<\/p>\n

(2.)<\/p>\n

te regalo una hierba<\/strong>
\ndijiste
\ndentro de una carta<\/p>\n

toma esta hoja abuela la encontr\u00e9
\ntiene polvo
\nse llama luz<\/p>\n

un hilito verde un dibujo ovalado
\ny la luna rodando por una roca
\nolor a azahar<\/p>\n

esto se llama naranja dijo es cosa de comer
\nen la feria la compr\u00e9 para ti<\/p>\n

un pollito naciendo tampoco es f\u00e1cil
\nsi no hay espiga
\nsi no hay espera
\nsi no hay espacio<\/p>\n

algunos cuando nacen se les rompe la casa
\nse van<\/p>\n

luz pero\u00a0 \u00a0 \u00a0 la hoja tiene los nervios\u00a0 \u00a0 \u00a0 \u00a0cubiertos
\nde polvo entonces
\npero no confundirse\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0pero soplar<\/p>\n

la mujer recog\u00eda del suelo una espiga de trigo
\nuna espiga de trigo poquita harina tiene pero
\ntendr\u00e1 sentido<\/p>\n

naranja cae en el momento en que t\u00fa pasabas por all\u00ed
\nrueda\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 huele<\/p>\n

yo quer\u00eda hacer una cosa sencilla para darte
\npara darles
\nparo daros
\nhacer una vejez
\nuna muerte incluso
\nuna cosa as\u00ed como la piel en espiral de una naranja
\ncuando se logra entera
\n(la ni\u00f1a de los de pedro no se logr\u00f3 tampoco
\nven\u00eda mal)
\na veces se desgarra la piel<\/p>\n

toma luz una naranja mira la encontr\u00e9 en el aire
\ny luz tampoco es luz
\ntampoco es una hoja que cae
\n— \u00a1hay\u00fa hayun\u00e1 hayuna\u00ed all\u00e1! (alguien celebra algo)<\/p>\n

una mujer en el umbral se asoma al otro lado
\nmira desde muy muy lejos
\nse llamaba naranja\u00a0 \u00a0 \u00a0 \u00a0 \u00a0pelaba bien\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 sal\u00eda entera
\nhab\u00eda ido aprendiendo a caer sencillamente
\nen espiral\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0sobre s\u00ed misma<\/p>\n

(3.)<\/p>\n

Babe\u00a0 \u00a0 \u00a0 \u00a0take flowers to Chekhov\u00b4s grave<\/strong>
\ntake\u00a0 \u00a0 \u00a0 \u00a0 a little branch
\nif you go to russia one day\u00a0 \u00a0 \u00a0 \u00a0do that
\nyou go and take flowers\u00a0 \u00a0 \u00a0 \u00a0 but there
\nwhen you grow up
\na seagull\u00a0 \u00a0 \u00a0 \u00a0 \u00a0at a beach\u00a0 \u00a0 \u00a0 \u00a0give her flight
\nso when you go to russia you ask
\ndo you know where\u00b4s\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Chekhov\u00b4s grave
\nit must have a painted\u00a0 \u00a0 \u00a0 \u00a0 \u00a0sea bird<\/p>\n

he went cold<\/p>\n

she was the apple of his\u00a0 \u00a0 \u00a0 \u00a0 eye
\nshe closed his eyes
\nwide open\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0like
\nportals of a house\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0without people
\nlike a hot cross bun she crossed his eyelids
\nand she said to herself\u00a0 \u00a0 \u00a0 \u00a0 said\u00a0 \u00a0 \u00a0 told herself
\nI\u00b4ll go dad\u00a0 \u00a0 \u00a0 I\u00b4ll go\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0leave
\nin peace
\nI \u00b4ll go
\neven if it rains<\/p>\n

then\u00a0 \u00a0 \u00a0 \u00a0 the little one put four
\nslices
\nof bread inside a bag
\na small bottle of water\u00a0 \u00a0 \u00a0 \u00a0 only four of bread only
\n\u00b4cos it would get hard\u00a0 \u00a0 \u00a0 \u00a0 \u00a0inside a bag
\nshe started walking\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 into the hill
\nwithout anyone seeing her
\n\u00b4cos it was not proper\u00a0 \u00a0 \u00a0 \u00a0 \u00a0to wait to grow up
\nto go and put some flowers\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 over a
\ngrave in russia<\/p>\n

(3.)<\/p>\n

nena\u00a0 \u00a0 \u00a0 \u00a0ll\u00e9vale flores a la tumba de chejov<\/strong>
\nll\u00e9vale\u00a0 \u00a0 \u00a0 un ramito
\nsi vas a rusia un d\u00eda t\u00fa\u00a0 \u00a0 \u00a0 \u00a0 lo haces
\nvas y le llevas flores\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 pero all\u00e1
\ncuando seas grande
\nuna gaviota\u00a0 \u00a0 \u00a0 \u00a0 \u00a0en una playa\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00e9chala a volar
\ndespu\u00e9s vas a rusia\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 preguntas
\nusted sabr\u00e1 d\u00f3nde\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0la tumba de chejov
\ndebe de tener pintado un\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 p\u00e1jaro marino<\/p>\n

se qued\u00f3<\/p>\n

ella era la ni\u00f1a de los ojos\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0de \u00e9l
\nle cerr\u00f3 los ojos
\nque los ten\u00eda\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 as\u00ed
\nportales de una casa\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 sin gente
\nle hizo la cruz del pan\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 sobre los p\u00e1rpados
\ny se dijo a s\u00ed misma\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 dijo\u00a0 \u00a0 \u00a0 \u00a0dijo para s\u00ed
\nhe de ir pap\u00e1\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 he de ir\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0marcha tranquilo
\nhe de ir
\naunque llueva<\/p>\n

entonces\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 la peque\u00f1a\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 cuatro rebanadas
\nde pan en una bolsa
\nbotellita de agua\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0s\u00f3lo cuatro de pan s\u00f3lo
\nque se iba a poner duro\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0en una bolsa
\nech\u00f3 a andar\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0monte adentro
\nsin que la viera nadie
\npues no era del caso\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 esperar a ser grande
\npara ir a poner unas flores\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0encima de una
\ntumba en rusia<\/p>\n

(4.)<\/p>\n

harriet tubman was born araminta ross<\/strong>
\nmaria was born agnieszka
\nnorma was born conchita
\nfern\u00e1n was born cecilia
\npocahontas was born matoaka
\n\u00e1lvaro was born \u00e1lvar
\nrapha\u00ebl was born rafita
\nhypatia of alexandria was born a martyr
\nannika was born anita
\nrachael was born raquel
\nandrzej naceu 1<\/em> andr\u00e9s
\nchristine was born george
\ncarla was born carlos
\nlucas naceu lilia
\nmary shelley was born mary godwin
\ndolly naceu dolly non sa\u00edu \/ she never left
\nthe roslin institute<\/p>\n

1. was born<\/p>\n

(4.)<\/p>\n

harriet tubman naci\u00f3 araminta ross<\/strong>
\nmar\u00eda naci\u00f3 agnieszka
\nnorma naci\u00f3 conchita
\nfern\u00e1n naci\u00f3 cecilia
\npocahontas naci\u00f3 matoaka
\n\u00e1lvaro naci\u00f3 \u00e1lvar
\nrapha\u00ebl naci\u00f3 rafita
\nhypatia de alejandr\u00eda naci\u00f3 m\u00e1rtir
\nannika naci\u00f3 anita
\nrachael naci\u00f3 raquel
\nandrzej naceu andr\u00e9s
\nchristine was born george
\ncarla naci\u00f3 carlos
\nlucas naceu lilia
\nmary shelley naci\u00f3 mary godwin
\ndolly naceu dolly non sa\u00edu \/ no sali\u00f3 nunca
\ndel roslin institute<\/p>\n

(5.)<\/p>\n

harriet tubman\u00a0 \u00a0 \u00a0 \u00a0rests her head\u00a0 \u00a0 \u00a0 \u00a0 lays it<\/strong><\/p>\n

on the train track\u00a0 \u00a0 \u00a0 \u00a0and sleeps\u00a0 \u00a0 \u00a0 she leads ahead\u00a0 \u00a0 \u00a0 because she knows languages \u200b\u200bunderstands the signs\u00a0 \u00a0 \u00a0bears the beatings\u00a0 \u00a0 \u00a0 knows the underground rail ways and sees what cannot be seen\u00a0 \u00a0 \u00a0 and dreams what cannot be dreamt\u00a0 \u00a0 \u00a0next to harriet\u00a0 \u00a0 \u00a0 \u00a0all the others sleep\u00a0 \u00a0 \u00a0 over the track\u00a0 \u00a0 \u00a0non return trips are long\u00a0 \u00a0 forests are very scary bugs and smugglers are very scary\u00a0 \u00a0 some countries are far too far they are so far away\u00a0 \u00a0 \u00a0 some mornings never reach a train\u00a0 \u00a0 station\u00a0 \u00a0 never never arrive\u00a0 \u00a0 \u00a0they pass by\u00a0 \u00a0 in the darkness things look like bundles\u00a0 \u00a0 \u00a0 the ones who move carrying linen bags or with a little old lady on their\u00a0 shoulders\u00a0 \u00a0 \u00a0 they look like wolves\u00a0 \u00a0 \u00a0mist\u00a0 \u00a0 \u00a0on her palm a woman has written a verse in orange ink\u00a0 \u00a0 \u00a0 \u00a0the train track is not a cosy pillow\u00a0 \u00a0 \u00a0 \u00a0the cold doesn\u00b4t let you keep your ideas safe\u00a0 \u00a0 \u00a0 sleep and dream\u00a0 \u00a0 \u00a0 the message read\u00a0 \u00a0 \u00a0 the deeper the dream\u00a0 \u00a0 \u00a0the farther it takes you\u00a0 \u00a0 \u00a0little foreigner<\/p>\n

(5.)<\/p>\n

descansa a cabeza harriet tubman p\u00f3usaa<\/strong><\/p>\n

na v\u00eda do tren\u00a0 \u00a0 \u00a0e dorme\u00a0 \u00a0 \u00a0ela vai por diante\u00a0 \u00a0 \u00a0porque sabe linguas\u00a0 \u00a0 \u00a0entende os letreiros\u00a0 \u00a0 \u00a0aguanta os paus \/ los palos\u00a0 \u00a0 \u00a0co\u00f1ece os cami\u00f1os de ferro sub da terra\u00a0 \u00a0 \u00a0e ve o que non se ve\u00a0\u00a0 e so\u00f1a o que non se so\u00f1a\u00a0 \u00a0 \u00a0a caronci\u00f1o \/ a la vera de harriet\u00a0 \u00a0 \u00a0as outras dormen todas\u00a0 \u00a0 \u00a0sobre da v\u00eda\u00a0 \u00a0 \u00a0as viaxes sen retorno fanse largas\u00a0 \u00a0 \u00a0as fragas \/ bosques meten moito medo meten medo os bichos e os estraperlistas\u00a0 \u00a0 \u00a0alg\u00fans pa\u00edses est\u00e1n lonxe de m\u00e1is \/\u00a0 quedan tan tan lejos\u00a0 \u00a0 \u00a0 \u00a0algunhas ma\u00f1\u00e1s \/ ma\u00f1anas non chegan nunca \u00e1 estaci\u00f3n dun tren \/\u00a0 no llegan nunca nunca\u00a0 \u00a0pasan na escuridade as cousas semellan vultos\u00a0 \u00a0 \u00a0os que se moven cargando con sacos de li\u00f1o \/ lino ou cunha velli\u00f1a ao lombo \/ una viejecita sobre los hombros\u00a0 \u00a0 \u00a0 \u00a0semellan lobos\u00a0 \u00a0 \u00a0 n\u00e9boa \/\u00a0 niebla\u00a0 \u00a0 \u00a0 \u00a0 na man aberta ten escrito a muller un verso con tinta de cor laranxa\u00a0 \u00a0 \u00a0 a v\u00eda do tren non \u00e9 unha almofada xeitosa \/ una almohada agradable no es la v\u00eda de un tren\u00a0 \u00a0 \u00a0 o fr\u00edo non permite acomodar as ideas sen perigo \/ peligro\u00a0 \u00a0 \u00a0 durme e so\u00f1a\u00a0 dic\u00eda a mensaxe\u00a0 \u00a0 \u00a0 o so\u00f1o canto m\u00e1is fondo m\u00e1is lonxe te leva \/ m\u00e1s lejos te transporta\u00a0 \u00a0 \u00a0 \u00a0 \u00a0extranxeiri\u00f1a
\n 
\n 
\nTranslations Amparo Arr\u00f3spide & Robin Ouzman Hislop
\n 
\n 
\nBio Photo. Luz Pichel & Amparo Arr\u00f3spide. November 2017. Madrid.
\n 
\n 
\n\"\"<\/a>
\n 
\n 
\nLuz Pichel<\/strong> was born in 1947 in Al\u00e9n (Lal\u00edn, Pontevedra), a tiny village in Galicia. Al\u00e9n means “beyond” and also means “the beyond”. There she learned to speak in a language that could die but does not want to. Those who speak that language think that it is always others those who speak well.<\/p>\n

She is the author of the poetry books El p\u00e1jaro mudo<\/em> (1990, City of Santa Cruz de la Palma Award), La marca de los potros <\/em> (2004, XXIV Latin American poetry prize Juan Ram\u00f3n Jim\u00e9nez), Casa pechada<\/em> (2006, Esqu\u00edo Poetry Award ), El p\u00e1jaro mudo y otros poemas<\/em> (2004), Cativa en su lughar \/ Casa pechada <\/em>(2013), Tra (n) shumancias <\/em>(2015) and Co Co Co \u00da <\/em>(2017).
\nPart of her work Casa pechada<\/em> was translated into English and Irish in the anthological book To the winds our sails: Irish writers translate Galician poetry,<\/em> Salmonpoetry, 2010, ed. Mary O’Donnell & Manuela Palacios.<\/p>\n

Neil Anderson translated into English Casa pechada<\/em>. Several poems appeared in his blog (re) voltas<\/em>; July, 2014.<\/p>\n

Several poems from Casa pechada <\/em>appeared in the American magazines SALAMANDER, No. 41, year 2015, and PLEIADES, vol. 36, Issue 2, p. 117, year 2016, in English translation by Neil Anderson.
\n 
\n 
\nAmparo Arr\u00f3spide<\/strong> (born in Buenos Aires) is an M.Phil. by the University of Salford. As well as poems, short stories and articles on literature and films in anthologies and international magazines, she has published five poetry collections: Presencia en el Misterio, Mosaicos bajo la hiedra, Alucinaci\u00f3n en dos actos y algunos poemas, Pa\u00f1uelos de usar y tirar <\/em>and En el o\u00eddo del viento.<\/em> The latter is part of a trilogy together with Jacuzzi<\/em> and Hormigas en diaspora<\/em>, which are in the course of being published. In 2010 she acted as a co-editor of webzine Poetry Life Times, where many of her translations of Spanish poems have appeared, she has translated authors such as Margaret Atwood, Stevie Smith and James Stephens into Spanish, and others such as Guadalupe Grande, \u00c1ngel Minaya, Francisca Aguirre, Carmen Crespo, Javier D\u00edaz Gil into English. She takes part in poetry festivals, recently Centro de Poes\u00eda Jos\u00e9 Hierro (Getafe).
\n 
\n 
\nRobin Ouzman Hislop<\/strong> is Editor of\u00a0Poetry Life and Times<\/a>\u00a0his publications include\u00a0All the Babble of the Souk<\/em>\u00a0<\/a>and\u00a0Cartoon Molecules<\/em>\u00a0<\/em><\/a>collected poems and\u00a0Key of Mist<\/em>\u00a0<\/em><\/a>the recently published\u00a0Tesserae<\/em>\u00a0<\/em><\/a>translations from Spanish poets\u00a0Guadalupe Grande\u00a0<\/a>and\u00a0Carmen Crespo\u00a0\u00a0visit Aquillrelle.com\/Author Robin Ouzman Hislop\u00a0<\/a>about author. \u00a0See Robin performing his work\u00a0Performance (Leeds University)<\/a>\u00a0.<\/p>\n

 <\/p>\n

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

Editor’s Note: although we include the originals in this text, to introduce the poems of Luz Pichel, she is a Galician poet, a region in Spain with its own language (Gallego) which although bears similarities\u00a0to Spanish (Castellano) is strikingly different. Luz Pichel mixes both languages in her work, but we as translators, have translated both … Read more<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[50,770,803,802,801,796,366,754,401,43,52,771,388],"tags":[805,804,18,136,3,95,127],"_links":{"self":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/6232"}],"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=6232"}],"version-history":[{"count":16,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/6232\/revisions"}],"predecessor-version":[{"id":6835,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/posts\/6232\/revisions\/6835"}],"wp:attachment":[{"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/media?parent=6232"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/categories?post=6232"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artvilla.com\/plt\/wp-json\/wp\/v2\/tags?post=6232"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}