(English & Spanish) A Poem by Antonio Arboleda. Vida. (Life)

Image: Calle Santo Domingo, Lorca (Spain), showing the house where Antonio was born and his mother, Lucia, in the balcony of their flat.
 
Life
 
To my father, Antonio Martínez Manzanera, who passed away on 28 March 2021
 
You leave behind a trail of victims.
 
How many voices,
unique children
delivered to your light,
did you end up strangling
with your own hands, Life?
 
You kept up the appearances
deceiving those humans
who believed themselves
boundless,
who felt accepted by the matter
of an uncanny universe
that turns out to be
just a sad arrangement
of rough stones and gases,
a universe that enslaves you,
Life,
as its precarious
exotic whim,
forcing you to leapfrog
through chosen planets,
and drag yourself
in travelling theatres
for your vanity,
and your honour,
Life.
 
My thinking carbon molecules,
the impression of my spirit,
are not members
of any ruthless club
of inert particles,
of empty energies,
of graceless big bangs
with no purpose,
with no story to tell.
 
Life,
if there exists a divine mystery,
sweet and tragic,
mother, parricide,
redeeming saviour,
defying the dark,
clumsy ways of physics
that must be you,
Life,
That must be you.
 
 
 
Vida
 
A mi padre, Antonio Martínez Manzanera, fallecido el 28 de marzo de 2021
 
Dejas a tu paso un reguero de víctimas.
 
¿Cuántas voces únicas,
hijas paridas en tu luz,
terminaste ahogando
con tus propias manos, Vida?
 
Tus apariencias engañaron
a más de uno,
que se creyó sin límites,
aceptado por un universo
que resulta estar hecho
de pedruscos y gases,
por un universo
del que no eres más
que lacaya en precario,
Vida,
capricho excéntrico
que de salto en salto se arrastró
por planetas elegidos,
teatros ambulantes
de tu vanidad,
y de tu honra,
Vida.
 
No es mi carbono pensante
ni el espíritu de mi impronta
miembro de ese club despiadado
de partículas inertes,
de vanas energías,
de big bangs
sin propósito, ni narrativa.
 
Vida,
si existe un misterio
y una divinidad,
dulce y trágica,
madre, parricida,
salvadora y redentora,
desafiando las artes oscuras
ramplonas
de las físicas
y las químicas
esa,
Vida,
eres tú.

 

Antonio Martínez Arboleda:
Antonio (Tony Martin-Woods) started to write poetry for the public in 2012, at the age of 43, driven by his political indignation. That same year he also set in motion Poesía Indignada, an online publication of political poetry. He runs the poetry evening Transforming with Poetry at Inkwell, in Leeds, and collaborates with 100 Thousands Poets for Change 100tpc.org/. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda at the University of Leeds. His project of digitisation of poetry, Ártemis, compiles more than 100 high quality videos of Spanish poets and other Open Educational Resources. http://www.artemispoesia.com/ .

He is the delegate in the UK of Crátera Revista de Crítica y Poesía Contemporánea , where he also publishes his work as translator from English into Spanish. He published his first volume of poetry in Spanish, Los viajes de Diosa (The Travels of Goddess), in 2015, as a response to the Great Recession, particularly in Spain. His second book, Goddess Summons the Nation Paperback , Goddess Summons the Nation Kindle Edition , is a critique of the ideas of nation and capitalism, mainly in the British Brexit context. It incorporates voices of culprits, victims and heroes with mordacity and rhythm. It consists of 21 poems, 18 of which are originally written in English, available in print and kindle in Amazon and other platforms. Editor’s note: further information bio & academic activities can be found at this link: https://ahc.leeds.ac.uk/languages/staff/91/antonio-martinez-arboleda

 
 
 
 
 
Robin Ouzman Hislop is Editor of Poetry Life and Times at Artvilla.com ; his publications include
 
All the Babble of the Souk , Cartoon Molecules, Next Arrivals and Moon Selected Audio Textual Poems, collected poems, as well as translation of Guadalupe Grande´s La llave de niebla, as Key of Mist and the recently published Tesserae , a translation of Carmen Crespo´s Teselas.
 
You may visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (University of Leeds)

Robin Ouzman Hislop Reads the Poetry of Noni Benegas Translated from Spanish by Noël Valis

From BURNING CARTOGRAPHY
The Poetry of Noni Benegas
Translated by Noël Valis

Another Light
For Paul Virilio

Groping through the house, blind steps
of chalk
with the light of dreams
suddenly opaque or radiant
Who shimmers that screen
in the darkened brain?
Like skin withering on the inside
the mystery of that glow persists

Otra luz
A Paul Virilio

A tientas por la casa con pasos
de tiza
con la luz de los sueños
tan pronto opaca o radiante
¿Quién alumbra esa pantalla
en el cerebro a oscuras?
Como la piel se aja desde dentro
el misterio de ese fulgor persiste

**

A Flower
For Ana Basualdo

The camellia sliver in the wake
of the boat at night
when the petal draws back
a trembling universe
like the line of flotation

**

Una flor
Ana Basualdo

La tenue camelia en la estela
del barco nocturno
cuando el pétalo descorre
un universo trémulo
como la línea de flotación

**

Traveling

Travelers who reach Medina de Raj-Kasar
are surprised to see its image repeated
–for instance—in the guide’s
topaz ring or in the pool-encircled moat
or even in the festive fountain’s inner courtyard
Travelers who reach Medina de Raj-Kasar
after crossing between two moons
the desert of Al-Ahmir
sigh before the delicate towers and dream
of filigreed chambers and soothful hookahs
Do travelers reach Medina
or someone reach Raj-Kasar at a precise moment
dusty curious indolent?
Medina de Raj-Kasar traveling toward the Atlas
of travelers
is pleasantly surprised before the fresh-faced passenger
standing intrepid in the middle
of the glittering oasis

**

Viajar

Los viajeros que llegan a la Medina de Raj-Kasar
se sorprenden al divisar su imagen repetida
–pongamos por caso—en el anillo de topacio
del guía o en la acequia que rodea el foso
o aun en la fuente que acoge el patio interior
Los viajeros que arriban a la Medina de Raj-Kasar
luego de atravesar entre dos lunas
el desierto de Al-Ahmir
suspiran ante las finas torres y sueñan
con el salón filigranado y el narguile conciliador
¿Llegan los viajeros a la Medina
alguien arriba en un momento preciso a Raj-Kasar
polvoriento curioso indolente?
La Medina de Raj-Kasar viajando hacia los viajeros
del Atlas
se sorprende gratamente ante el rubicundo pasajero
que se alza impávido en medio
del iridiscente oasis

**

Frida Kahlo
For Jan Lumas

Was it a work of art or her desire? a column
like harvested steel then fangs like jade
careening steeply
It beat with the bold haste
of temples foretold: the wind adrift
in teeth the eyebrows a buffalo bower
the stamp of the sphinx on asphalt
Was it a work of art or her desire? a column
of damp chalk posed day after day beneath the
agile pupil forever flowering

**

Frida Kahlo
A Jan Lumas

¿Era una obra de arte o su deseo ? una columna
de símil de acero segada más una alta carena
de colmillos de jade
Latía con la prisa impávida
de los templos futuros: el viento entornado
entre los dientes las cejas de dosel de búfalo
la impronta de esfinge sobre el asfalto
¿Era una obra de arte o su deseo ? una columna
de tiza húmeda posada día tras día bajo la
ágil pupila en floración perenne

**

Interruptions

Is it true her face keeps the impressions
of wakefulness,
the landscape seen through the train window
fleetingly deciphered;
is it true her face is interrupted?

Seated across from me
was the sacred icon
of an old Hollywood actress
old age stamped in her features,
not definitively decayed,
but very close.

In improbable transit
those features;
an abandoned aerodrome
with grass on the runway and wind
from the ends of the world.

But there is a canal
that boats go up, of liquid
crystal, oars and noises and houses
alive on its banks,

Her face swarms
swirling with malice.
Could she only have seen what she saw?
As if something were suspended
between two canals
in the stagnant waters of her cheek . . .

Is it true her face is interrupted,
what if the interruption isn’t a landscape or a sound
but simply me?


**

Interrupciones

¿Hasta qué punto su rostro guarda las impresiones
de la vigilia,
el paisaje visto a través de la ventanilla
descifrado por momentos;
hasta qué punto su rostro tiene interrupciones?

Sentada frente a mí
era un Buey Apis que era
una vieja actriz de Hollywood
pues anunciaba la vejez en sus rasgos,
no definitivamente añeja,
pero ya próxima.

De tránsito improbable
esos rasgos;
cerrado un aeródromo en desuso
con hierbas en la pista y viento
de techo del mundo.

Mas hay un canal
que las barcas remontan de cristal
fluido, remos y ruidos y casas
vivas en las orillas,

hay un hormigueo en su rostro
hecho de malicia y remolinos.
¿Sólo habrá visto lo que vio?
Si algo quedara en suspenso
entre dos canales
en el remanso de la mejilla . . .

¿Hasta qué punto su rostro tiene interrupciones,
si la interrupción no fuera paisaje o sonido
sino simplemente yo?

**

 

 
Noni Benegas, born in Buenos Aires and resident in Spain since 1977, is the author of seven books of poetry; a selection is collected in El Ángel de lo súbito, Ed. Fondo de Cultura Económica, (Madrid, 2014). Burning Cartography, Ed. Host, (Austin TX, 2007 and 2011) is a selection of these poems in English, and Animaux Sacrés, Ed. Al Manar (Séte 2013) in French. She has won the Platero Prize from the UN in Geneva; the Miguel Hernández National Prize for Poetry, as well as Vila de Martorell award, the Rubén Darío Prize from Palma in Mallorca, the Esquío Prize in Galicia. She is the author of the influential anthology of contemporary Spanish women poets Ellas tienen la palabra, Ed. Hiperión (Madrid, 2008, 4th edition) whose introductory essay, with a new prologue, articles, interviews and an epilogue has been recently collected by Ed. Fondo de Cultura Economica in 2017 with the same title. Ellas Resisten. Mujeres poetas y artistas (1994-2019) is a selection of her essays on women writers and artists published by Ed. Huerga & Fierro
 
 
Robin Ouzman Hislop is Editor of Poetry Life and Times ; at Artvilla.com
You may visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (University of Leeds)

La Cratera de Ártemis con Amparo Arróspide. Instituto Cervantes de Leeds

 
 
 
Amparo Arrospide (Argentina) is a Spanish poet and translator. She has published seven poetry collections, Mosaicos bajo la hiedra, Alucinación en dos actos algunos poemas, Pañuelos de usar y tirar, Presencia en el Misterio, En el Oido del Viento, Hormigas en Diáspora and Jaccuzzi, as well as poems, short stories and articles on literary and film criticism in anthologies and in both national and foreign magazines.
She has received numerous awards. Editor’s Note: see also Poetry, National Literature Prize 2018, Francisca Aguirre, Translated from Spanish by Amparo Arróspide & Robin Ouzman Hislop Her latest work Valle Tiétar is published by El sastre de Apollinaire Poesía,32 www.elsastredeapollinaire.com
 
 

Antonio Martínez Arboleda:
Antonio (Tony Martin-Woods) started to write poetry for the public in 2012, at the age of 43, driven by his political indignation. That same year he also set in motion Poesía Indignada, an online publication of political poetry. He runs the poetry evening Transforming with Poetry at Inkwell, in Leeds, and collaborates with 100 Thousands Poets for Change 100tpc.org/. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda at the University of Leeds. His project of digitisation of poetry, Ártemis, compiles more than 100 high quality videos of Spanish poets and other Open Educational Resources. http://www.artemispoesia.com/ .

He is the delegate in the UK of Crátera Revista de Crítica y Poesía Contemporánea , where he also publishes his work as translator from English into Spanish. He published his first volume of poetry in Spanish, Los viajes de Diosa (The Travels of Goddess), in 2015, as a response to the Great Recession, particularly in Spain. His second book, Goddess Summons the Nation Paperback , Goddess Summons the Nation Kindle Edition , is a critique of the ideas of nation and capitalism, mainly in the British Brexit context. It incorporates voices of culprits, victims and heroes with mordacity and rhythm. It consists of 21 poems, 18 of which are originally written in English, available in print

and kindle in Amazon and other platforms.

Editor’s note: further information bio & academic activities can be found at this link: https://ahc.leeds.ac.uk/languages/staff/91/antonio-martinez-arboleda

 

Carmen Crespo’s Poem Tesserae Read by Robin Ouzman Hislop

Tesserae translated from the Spanish award winning Teselas by Carmen Crespo by Robin Ouzman Hislop & Amparo Arróspide, this is an audio version of the original translated text in Spanish & English, which can be purchased at Tesserae Carmen Crespo Amazon.com
 

 
 
 

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Amparo Arrospide (Argentina) is a Spanish poet and translator. She has published seven poetry collections, Mosaicos bajo la hiedra, Alucinación en dos actos algunos poemas, Pañuelos de usar y tirar, Presencia en el Misterio, En el Oido del Viento, Hormigas en Diáspora and Jaccuzzi, as well as poems, short stories and articles on literary and film criticism in anthologies and in both national and foreign magazines.
She has received numerous awards. Editor’s Note: see also Poetry, National Literature Prize 2018, Francisca Aguirre, Translated from Spanish by Amparo Arróspide & Robin Ouzman Hislop Her latest work Valle Tiétar is published by El sastre de Apollinaire Poesía,32 www.elsastredeapollinaire.com
 
 
 

 

Robin Ouzman Hislop is on line Editor at Poetry Life & Times at Artvilla.com. His numerous appearances include Cold Mountain Review (Appalachian University, N.Carolina), The Honest Ulsterman, Cratera No 3 and Aquillrelle’s Best. His publications are collected poems All the Babble of the Souk, Cartoon Molecules, Next Arrivals & Moon Selected Audio Textual Poems. A translation from Spanish of poems by Guadalupe Grande Key of Mist and Carmen Crespo Tesserae, the award winning (X111 Premio César Simón De Poesía), in November 2017 these works were presented in a live performance at The International Writer’s Conference hosted by the University of Leeds. UK. A forthcoming publication of collected poems Off the Menu is expected in 2020

 

You may visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (University of Leeds)

 

El Cazador A Poem by Amparo Arróspide with Piano by Jackson


 

 
Dave M Jackson is the Admin at Artvilla.com where his works are featured extensively.
 
 

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Amparo Arrospide (Argentina) is a Spanish poet and translator. She has published seven poetry collections, Mosaicos bajo la hiedra, Alucinación en dos actos algunos poemas, Pañuelos de usar y tirar, Presencia en el Misterio, En el Oido del Viento, Hormigas en Diáspora and Jaccuzzi, as well as poems, short stories and articles on literary and film criticism in anthologies and in both national and foreign magazines.
She has received numerous awards. Editor’s Note: see also Poetry, National Literature Prize 2018, Francisca Aguirre, Translated from Spanish by Amparo Arróspide & Robin Ouzman Hislop Her latest work Valle Tiétar is published by El sastre de Apollinaire Poesía,32
 

Amparo Arróspide Reviews Goddess Summons the Nation Collected Poems by Tony Martin Woods

Goddess Summons the Nation Paperback
Goddess Summons the Nation Kindle Edition
 

 
Goddess summons the Nation
 
a book of poems written with the vocation of songs and minstrelsy, articulated in four chapters with revealing titles, Substructure, Superstructure, Demolition and Flowers. Full of irony, the poetic voice, which is an ethical, indignant voice, wants the written script to transcend in spoken writing (The grapes / don’t die / in the vineyard / with the harvest / in the summer. // They transcend / and translive / victorious / in the wine, // like the poem in the song … ). This book talks to the reader in short, concise verses, with lexicon of the perspective of one who stands on the brink of historical abyss (The West bleeds to death /…). To paraphrase Ezra Pound, this book has style, that is to say, limpidity, as opposed to rethoric; where the poet in dealing with his own time, sees that language does not petrify in his hands; he has prepared for new advances along the lines of true metaphor, that is interpretative metaphor, or image, as diametrically opposed to untrue or ornamental metaphor. These poems daringly address Brexit and Trump, the policy of closing borders and xenophobia, and a nation that appears personified in female allegories – I am the matriot / the highest patriot / I serve my shares / I sooth my country /…, and cyborgs who leave a planet in ruins ( his brain compressed in a zip folder / stored in a private cloud // No memories / just data / …), our own planet from which figs also flee (with millions of figs like me, like you / away from a supernova / of stupid national greed / … ). In one poem, Time to leave Brexit, we can also read the condensed intention of the book: I’ve never been an island, / Nor a chunk of it. / I could never be one / Cause I’m a social being / made of flesh / And emotions. Images of flesh and bone, and emotions that readers will share.
 
Editor’s Note: see also Artvilla.com Goddess Summons the Nation. By Tony Martin Woods.
 
Goddess summons the Nation
 
un poemario escrito con vocación de cancionero y de mester de juglaría, articulado en cuatro capítulos con títulos reveladores, Substructure, Superstructure, Demolition y Flowers. Pleno de ironía, la voz poética, que es una voz ética, indignada, y que pretende que la escritura escrita trascienda en la escritura hablada (The grapes/don´t die/in the vineyard/with the harvest/in the summer.// They transcend/and translive/victorious/in the wine,// like the poem in the song/…). Se interpela al lector en versos breves, concisos, con léxico de nuestro tiempo y una temática actual de quien se sitúa al borde del abismo histórico (The West bleeds to death/…). Parafraseando a Ezra Pound, este es un libro con “style, that is to say, limpidity, as opposed to rethoric”, donde el poeta “in dealing with his own time, sees to it that language does not petrify in his hands; he has prepared for new advances along the lines of true metaphor that is interpretative metaphor, or image, as diametrically opposed to untrue or ornamental metaphor”. Los poemas se atreven con el Brexit, con Trump, con la política de cierre de fronteras y xenofobia, con una nación que aparece personificada en alegorías femeninas – I am the matriot/ the highest patriot/ I serve my shares/ I sooth my country/, y con cíborgs que abandonan un planeta en ruinas (his brain compressed in a zip folder/stored in a private cloud// No memories/just data/…), planeta del que también huyen los higos ( with millions of figs like me, like you/ away from a supernova/of stupid national greed/…). En uno de sus poemas, Time to leave Brexit, también podemos leer la intención condensada del libro: I´ve never been an island,/Nor a chunk of it./ I could never be one/Cause I´m a social being/made of flesh/And emotions… Imágenes de carne y hueso, y emociones que compartirán lectores y lectoras.
 
 

 
 
 
Antonio Martínez Arboleda:
Antonio (Tony Martin-Woods) started to write poetry for the public in 2012, at the age of 43, driven by his political indignation. That same year he also set in motion Poesía Indignada, an online publication of political poetry. He runs the poetry evening Transforming with Poetry at Inkwell, in Leeds, and collaborates with 100 Thousands Poets for Change100tpc.org/. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda at the University of Leeds. His project of digitisation of poetry, Ártemis, compiles more than 100 high quality videos of Spanish poets and other Open Educational Resources. http://www.artemispoesia.com/ . He is the delegate in the UK of Crátera Revista de Crítica y Poesía Contemporánea , where he also publishes his work as translator from English into Spanish. He published his first volume of poetry in Spanish, Los viajes de Diosa (The Travels of Goddess), in 2015, as a response to the Great Recession, particularly in Spain. His second book, Goddess Summons The Nation, is a critique of the ideas of nation and capitalism, mainly in the British Brexit context. It incorporates voices of culprits, victims and heroes with mordacity and rhythm. It consists of 21 poems, 18 of which are originally written in English. It is available in print and kindle in Amazon and other platforms. Editor’s note: further information bio & academic activities can be found at this link: https://ahc.leeds.ac.uk/languages/staff/91/antonio-martinez-arboleda
 
 
 
 

 
 
Amparo Arrospide (Argentina) is a Spanish poet and translator. She has published seven poetry collections, Mosaicos bajo la hiedra, Alucinación en dos actos algunos poemas, Pañuelos de usar y tirar, Presencia en el Misterio, En el Oido del Viento, Hormigas en Diáspora and Jaccuzzi, as well as poems, short stories and articles on literary and film criticism in anthologies and in both national and foreign magazines. She has received numerous awards. Editor’s Note: see also Poetry, National Literature Prize 2018, Francisca Aguirre, Translated from Spanish by Amparo Arróspide & Robin Ouzman Hislop

Homage to Francisca Aguirre – The Lullaby Poems (Translated from Spanish)

Francisca Aguirre, Premio Nacional de las Letras 2018 El jurado la ha elegido 
“por estar su poesía (la más machadiana de la generación del medio siglo)
entre la desolación y la clarividencia, la lucidez y el dolor"

Francisca Aguirre, National Literature Prize 2018
The jury chose it "because its poetry is (the most Machadian* of the generation 
of the half century) between desolation and clairvoyance, lucidity and pain"

* In the tradition of Antonio Machado

https://elpais.com/cultura/2018/11/13

Francisca Aguirre was born in 1930 in Alicante, Spain, and fled with her family to France 
at the end of the Spanish Civil War, where they lived in political exile.  When the Germans 
invaded Paris in 1942, her family was forced to return to Spain, where her father, painter 
Lorenzo Aguirre, was subsequently murdered by Francisco Franco's regime.  
Aguirre published Ítaca (1972), currently available in English (Ithaca [2004]), when she was 
42 years old. Her work has garnered much critical success, winning the Leopoldo Panero, 
Premio Ciudad de Irún, and Premio Galliana, among other literary prizes.  
Aguirre is married to the poet Félix Grande and is the mother of poet Guadalupe Grande.



From "NANAS PARA DORMIR DESPERDICIOS"

LULLABIES TO LULL THROWN AWAYS

by FRANCISCA AGUIRRE

Translated by Amparo Arrospíde & Robin Ouzman Hislop ***

NANA DE LAS SOBRAS                                                                             A Esperanza y Manuel Rico Vaya

canción la de las sobras, eso sí
                      que era una nana para dormir el hambre.
Vaya canción aquella
                      que cantaba mi abuela con aquella voz
que era la voz de la misericordia
disfrazada de voz angelical.
                             Porque la voz de mi abuela
nos cantaba la canción de las sobras.
                             Y nosotras, que no conocíamos el pan,
cantábamos con ella que
                             las sobras de pan eran sagradas,
las sobras de pan nunca se tiran.

Siempre recordaré su hermosa voz
cantando aquella nana mientras el hambre nos dormía.
                                         **
LULLABY FOR LEFTOVERS                                                          To  Esperanza and Manuel Rico

Well, a leftovers song,
                    that truly was a lullaby to lull hunger to sleep.
Wow, that song 
                    my grandmother sang with a voice
that was the voice of mercy
disguised as the voice of an angel.
                              Because my grandmother´s voice
sang for us the leftovers song.
                              And we, who did not know bread,
sang together with her that
                              bread leftovers were holy,
bread leftovers shall never be thrown away.

I will always remember her beautiful voice
singing that lullaby while hunger lulled us to sleep.

                                                                                                       **

NANA DE LAS HOJAS CAÍDAS                                                                       
                                                                                                                       A Marián Hierro
Casi todo lo que se pierde tiene música,
                                                             una música oculta, inolvidable.
Pero las hojas, esas criaturas parlanchinas
que son la voz de nuestros árboles,
                    tienen, como la luz, el agua y las libélulas
una nana secreta y soñadora.
                    Lo que se pierde, siempre nos deja
                       un rastro misterioso y cantarín.

Las hojas verdes o doradas
              cantan su desamparo mientras juegan al corro.
Cantan mientras los árboles las llaman
como llaman las madres a sus hijos
sabiendo que es inútil, que han crecido
                     y que se han ido a recorrer el mundo.

                                                                                                      ****

LULLABY FOR FALLEN LEAVES
                                                                                                                     To Marián Hierro

Almost everything which is lost has a music,
                                                                     a hidden, unforgettable music.
But leaves, those chattering creatures
who are the voices of our trees
                       have -- like light, water and dragonflies --
a secret dreamy lullaby.
                                   That which is lost to us, always leaves
                                           the mysterious trace of its song.
Green or golden leaves
                        sing of their neglect as they dance their ring a ring of roses.
They sing while trees call to them
as mothers do calling their children
knowing it is futile, as they have grown up
                                     and left to travel the world over.
                                                                                          
                                                                                                                               **

NANA DE LAS CARTAS VIEJAS

Tienen el olor desvalido del abandono
y el tono macilento del silencio.
Son desperdicios de la memoria, residuos de dolor, 
                                                   y hay que cantarles muy bajito
para que no despierten de su letargo.
En ocasiones las manos se tropiezan con ellas
                                                  y el pulso se acelera
porque notamos que las palabras	
                                                 como si fueran mariposas
quieren bailar delante de nosotros
y volver a contarnos el secreto
                                                 que duerme entre sus páginas.
Son las abandonadas,
                                 los residuos de un tiempo de desdicha,
relatan pormenores de un combate
                                 y al rozarlas oímos el tristísimo andar
de los presos en los penales.

                                                                                                         **

LULLABY FOR OLD LETTERS

They give off the helpless smell of neglectfulness
and the emaciated tone of silence.
They are memory´s cast offs, residues of pain
                                                   and should be sung to in a low croon
so as not to awaken them from their lethargy.
Sometimes your hands chance upon them
                                                   and your pulse races
because we realize that words
                                                   wish to dance before us
as if they were butterflies
and tell us again the secret
                                                  sleeping inside their pages.
They are the neglected,
                                                  the remnants of unhappy times,
recounting the details of a struggle
                                                  and as we brush them we hear the saddest steps
of prisoners in jails.

                                                                                                          **

NANA DEL HUMO

La nana del humo tiene muchos detractores,
casi nadie quiere cantarla.
                                            Muchos dicen que el humo los ahoga,
otros piensan que eso de dormir al humo
                                            no les da buena espina,
que tiene algo de gafe.
                                   El humo no resulta de fiar:
en cuanto asoma su perfil oscuro
todo son malas conjeturas:
                                             se nos está quemando el bosque,
aquella casa debe de estar ardiendo.
El humo es un extraño desperdicio,
                                             tiene muy mala prensa.
Es un abandonado,
                                   es un incomprendido;
casi nadie recuerda que el humo es un vocero,
un triste avisador de lo que se nos avecina.
Y por eso, cuando lo escucho vocear con impotencia
yo le canto la nana del silencio
                                   para que no se sienta solo.
                                                                                                            

                                                                                                                       **

LULLABY FOR SMOKE

The lullaby for smoke doesn´t get many supporters,
almost nobody wants to sing its song.
                                               Many say smoke stifles them,
others think to lull smoke to sleep
                                               makes them queasy, 
that it´s a bit of a jinx.
                                  Smoke is not trustworthy:
as soon as it rears its dark head
it conjures up conjectures
                                                        -- a forest fire,
a house burning down.
Smoke is a weird remain,
                                             it´s got bad reports.
It´s a reject,
                                  it´s a misunderstood thing;
almost nobody remembers smoke is a herald,
a sad forwarner of what looms over us.
That´s why, when I hear it calling out helplessly,
I sing to it the lullaby for silence
                                             so that it doesn´t feel so lonely.


                                                                                                     ***
Translators:

Amparo Arrospide (Argentina) is a Spanish poet and translator. She has published 
seven poetry collections, Mosaicos bajo la hiedra, Alucinación en dos actos y algunos 
poemas, Pañuelos de usar y tirar, Presencia en el Misterio, En el Oido del Viento, 
Hormigas en Diáspora and Jaccuzzi, as well as poems, short stories and articles on 
literary and film criticism in anthologies and in both national and foreign magazines. 
She has received numerous awards. 

Robin Ouzman Hislop is Editor of Poetry Life and Times his publications include 
All the Babble of the Souk and Cartoon Molecules collected poems and Key of Mist 
the recently published Tesserae translations from Spanish poets Guadalupe Grande 
and Carmen Crespo visit Aquillrelle.com/Author Robin Ouzman Hislop about author. 
See Robin performing his work Performance (University of Leeds) and his latest 
Collected Poems Volume at  Next-Arrivals