![]() The text welcomes meaning-making from those who engage. I hope readers find enough in this excerpt to seek out more or return for multiple readings. The text slips easily from sound to sound and present to future to past and back again. These are open poems that reject tying the endings with a bow. The poems mirror a world that feels both intimate and international, too big and too small. While the book first appeared in Mexico in 2013, I believe it ’s just as timely now. Olson and Creeley’s attention to ear and breath is present throughout as the lines shift across the page. He’s the first with a complete Spanish translation of Charles Olson’s The Maximus Poems, as well as Robert Creeley’s Pieces and several others. Wallace Stevens is there, as well as Ezra Pound. The book weaves together quotes of poets ranging from Arnaut Daniel, an Occitan troubadour of the twelfth century, to Basil Bunting, who in turn looks to thirteenth century Japan for the poet turned hermit, Komo no Chomei. The speaker of these poems seems to be in a similar state of near and far - often in a liminal space on the verge of a greater understanding. At the same time, translation requires acceptance that there’s always more out of reach. The art of translation requires an eye for detail while maintaining a bird’s-eye view: I’d get caught up on a single word choice, then pull back and reread from the start for context. Soon thereafter, time became a confusing thing to measure - and it was good to have a project with which to shelter in place. I first read Es un decir, Ricardo Cázares’s seventy-five-page serial poem, in the fall of 2019. ![]() Then fades out without disrupting the sea In which the wind splattered the green stain On the map there’s no implication of grasslands Without touching the cobalt blue ink of the Atlantic ![]() Though “There are no impervious skins or membranes in ![]()
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