WEBVTT 00:00:00.000 --> 00:00:01.470 align:middle line:90% Hi, Rosa. 00:00:01.470 --> 00:00:03.450 align:middle line:90% Hi, Gabe. 00:00:03.450 --> 00:00:08.670 align:middle line:84% So when you were reading the Cecilia Vicuna translations, 00:00:08.670 --> 00:00:12.270 align:middle line:84% I kept hearing echoes of poems that I 00:00:12.270 --> 00:00:19.290 align:middle line:84% love from Monica de la Torre, I think Daniel Borzutzky also. 00:00:19.290 --> 00:00:24.180 align:middle line:84% And there's this thread of playfulness, 00:00:24.180 --> 00:00:28.050 align:middle line:84% also light and darkness, seriousness 00:00:28.050 --> 00:00:30.619 align:middle line:90% mixed with being funny. 00:00:30.619 --> 00:00:32.369 align:middle line:84% And then I'm not sure what my question is, 00:00:32.369 --> 00:00:33.810 align:middle line:90% but I'm coming from that, right? 00:00:33.810 --> 00:00:36.030 align:middle line:84% But I mean, do you see that also? 00:00:36.030 --> 00:00:37.260 align:middle line:90% Am I making that up? 00:00:37.260 --> 00:00:42.540 align:middle line:84% No, I read with Monica de la Torre. 00:00:42.540 --> 00:00:47.460 align:middle line:90% She's a poet and translator. 00:00:47.460 --> 00:00:51.570 align:middle line:84% And I read here in Tucson not too long-- 00:00:51.570 --> 00:00:53.700 align:middle line:84% I mean, it was maybe a couple of years ago. 00:00:53.700 --> 00:00:55.590 align:middle line:84% And she read it from her new book-- 00:00:55.590 --> 00:00:56.340 align:middle line:90% what is it called? 00:00:56.340 --> 00:01:00.240 align:middle line:84% The happy-- it's happy something. 00:01:00.240 --> 00:01:02.670 align:middle line:84% I'm trying to remember the title of it. 00:01:02.670 --> 00:01:06.480 align:middle line:90% But she has all of these-- 00:01:06.480 --> 00:01:10.530 align:middle line:84% she has like a poem to a-- what is it called? 00:01:10.530 --> 00:01:14.220 align:middle line:84% An aeron chair, those famous chairs, says aeron chair. 00:01:14.220 --> 00:01:16.830 align:middle line:84% So she has a poem that's about that chair. 00:01:16.830 --> 00:01:23.550 align:middle line:84% And she has these list of interview questions. 00:01:23.550 --> 00:01:26.880 align:middle line:84% And it's all about the ridiculousness of this sort 00:01:26.880 --> 00:01:28.780 align:middle line:90% of corporate environment. 00:01:28.780 --> 00:01:32.070 align:middle line:84% And so after the reading, I said-- 00:01:32.070 --> 00:01:33.490 align:middle line:90% no actually, she read first. 00:01:33.490 --> 00:01:36.240 align:middle line:84% And then when I read, I read the translation 00:01:36.240 --> 00:01:42.720 align:middle line:84% of the "New Erotic Designs for Furniture" poem. 00:01:42.720 --> 00:01:44.970 align:middle line:84% And she didn't know about that poem. 00:01:44.970 --> 00:01:51.087 align:middle line:84% But it was an interesting connection between those two. 00:01:51.087 --> 00:01:52.170 align:middle line:90% But I think that there's-- 00:01:52.170 --> 00:01:56.550 align:middle line:84% Monica de la Torre and Daniel Borzutzky-- 00:01:56.550 --> 00:02:03.120 align:middle line:84% I mean Daniel Borzutzky also his family is Chilean 00:02:03.120 --> 00:02:07.620 align:middle line:84% but he translates Raul Zurita who 00:02:07.620 --> 00:02:10.560 align:middle line:84% is of the same generation as Cecilia Vicuna. 00:02:10.560 --> 00:02:12.960 align:middle line:84% And they're all coming out of this avant garde 00:02:12.960 --> 00:02:21.210 align:middle line:84% tradition of poetry, and also performance, and performances 00:02:21.210 --> 00:02:24.982 align:middle line:84% as political and social activism. 00:02:24.982 --> 00:02:26.940 align:middle line:84% So I think there's all these connections there. 00:02:26.940 --> 00:02:30.660 align:middle line:84% And when we asked Daniel Borzutzky 00:02:30.660 --> 00:02:35.580 align:middle line:84% to write the introduction to The New and Selected, 00:02:35.580 --> 00:02:37.740 align:middle line:84% he was really excited because it's been-- she's 00:02:37.740 --> 00:02:40.740 align:middle line:90% been such an influence for him. 00:02:40.740 --> 00:02:43.380 align:middle line:84% And so it's interesting to create 00:02:43.380 --> 00:02:46.500 align:middle line:84% these kind of genealogies, because it's not necessarily 00:02:46.500 --> 00:02:49.590 align:middle line:90% that the work is always similar. 00:02:49.590 --> 00:02:52.410 align:middle line:84% But there are these ways in which 00:02:52.410 --> 00:02:56.670 align:middle line:84% they're being influenced by similar histories, 00:02:56.670 --> 00:03:01.830 align:middle line:84% and also histories of like trauma, the history 00:03:01.830 --> 00:03:05.460 align:middle line:84% the shared history of trauma that Daniel Borzutzky's 00:03:05.460 --> 00:03:13.470 align:middle line:84% family shares with Cecilia because of the golpe de estado, 00:03:13.470 --> 00:03:15.660 align:middle line:90% the coup d'etat in Chile. 00:03:15.660 --> 00:03:18.012 align:middle line:90% 00:03:18.012 --> 00:03:19.470 align:middle line:84% But yeah, that's definitely there's 00:03:19.470 --> 00:03:23.160 align:middle line:84% all those connections there for sure. 00:03:23.160 --> 00:03:24.690 align:middle line:90% And then the bodies right? 00:03:24.690 --> 00:03:26.790 align:middle line:90% I mean, the disappeared bodies. 00:03:26.790 --> 00:03:28.870 align:middle line:84% I think that's maybe something else. 00:03:28.870 --> 00:03:30.580 align:middle line:84% There's so many disappeared bodies. 00:03:30.580 --> 00:03:32.790 align:middle line:90% And I think Borzutzky-- 00:03:32.790 --> 00:03:34.710 align:middle line:84% because there are so many disappeared bodies, 00:03:34.710 --> 00:03:37.140 align:middle line:84% it isn't just like that their disappeared bodies 00:03:37.140 --> 00:03:38.670 align:middle line:90% in her poems. 00:03:38.670 --> 00:03:41.430 align:middle line:84% There are disappeared bodies in history. 00:03:41.430 --> 00:03:45.180 align:middle line:90% 00:03:45.180 --> 00:03:48.870 align:middle line:84% And she mentions this too, it's like how many bodies disappear 00:03:48.870 --> 00:03:52.570 align:middle line:84% in the poems, meaning that they never make it into the poems, 00:03:52.570 --> 00:03:54.250 align:middle line:90% then they disappear. 00:03:54.250 --> 00:03:58.050 align:middle line:84% So she's trying to acknowledge that the bodies that 00:03:58.050 --> 00:03:59.940 align:middle line:84% are actually disappeared, how do you 00:03:59.940 --> 00:04:01.350 align:middle line:90% make them present in the poems? 00:04:01.350 --> 00:04:04.230 align:middle line:90% 00:04:04.230 --> 00:04:04.900 align:middle line:90% Thank you. 00:04:04.900 --> 00:04:05.400 align:middle line:90% Thank you. 00:04:05.400 --> 00:04:06.567 align:middle line:90% Thank you for that question. 00:04:06.567 --> 00:04:19.320 align:middle line:90% 00:04:19.320 --> 00:04:20.010 align:middle line:90% Hi, Rosa. 00:04:20.010 --> 00:04:21.300 align:middle line:90% Hi, Charles. 00:04:21.300 --> 00:04:25.650 align:middle line:84% I wonder-- has your work been translated? 00:04:25.650 --> 00:04:29.580 align:middle line:84% And if it has, how does that relate 00:04:29.580 --> 00:04:32.850 align:middle line:84% to be the translated and not the translator? 00:04:32.850 --> 00:04:36.310 align:middle line:84% And what have you learned from that experience? 00:04:36.310 --> 00:04:37.960 align:middle line:90% Yeah, it's a great question. 00:04:37.960 --> 00:04:42.300 align:middle line:84% So there's a poet in Cuba who's translated 00:04:42.300 --> 00:04:45.210 align:middle line:84% some of Undocumentaries and published them. 00:04:45.210 --> 00:04:47.160 align:middle line:90% And he sent me-- 00:04:47.160 --> 00:04:49.280 align:middle line:84% It's interesting he couldn't get the poems to me. 00:04:49.280 --> 00:04:51.405 align:middle line:84% He had to send it through a friend. 00:04:51.405 --> 00:04:53.700 align:middle line:84% The email in Cuba can sometimes be tricky. 00:04:53.700 --> 00:04:56.310 align:middle line:90% 00:04:56.310 --> 00:05:00.780 align:middle line:84% But the two people who've been really working with my poems-- 00:05:00.780 --> 00:05:04.230 align:middle line:84% one is Andrea Cote-Botero who's a Colombian poet, who 00:05:04.230 --> 00:05:06.540 align:middle line:90% teaches at UTEP. 00:05:06.540 --> 00:05:10.710 align:middle line:84% And Paula Cucurella who's a Chilean poet, who's 00:05:10.710 --> 00:05:12.210 align:middle line:90% also now teaching at UTEP. 00:05:12.210 --> 00:05:14.850 align:middle line:84% And it's been an interesting experience. 00:05:14.850 --> 00:05:16.350 align:middle line:84% And one of the things that I learned 00:05:16.350 --> 00:05:19.740 align:middle line:84% from working with Cecilia Vicuna, Lila 00:05:19.740 --> 00:05:24.990 align:middle line:84% Zemborain, and Lourdes Vazquez is that they really trusted me. 00:05:24.990 --> 00:05:32.250 align:middle line:84% And they even trusted the growing pains 00:05:32.250 --> 00:05:33.750 align:middle line:84% that I went through as a translator. 00:05:33.750 --> 00:05:35.670 align:middle line:84% I started very young as a translator. 00:05:35.670 --> 00:05:37.320 align:middle line:84% So even I was learning with them, 00:05:37.320 --> 00:05:39.640 align:middle line:84% like I was learning to translate with their work. 00:05:39.640 --> 00:05:42.510 align:middle line:84% And I think that requires a lot of trust. 00:05:42.510 --> 00:05:46.950 align:middle line:84% But they allowed me to experiment 00:05:46.950 --> 00:05:48.330 align:middle line:90% and to do different things. 00:05:48.330 --> 00:05:50.700 align:middle line:90% And I mean in all of them. 00:05:50.700 --> 00:05:52.725 align:middle line:84% I mean sometimes in the same room. 00:05:52.725 --> 00:05:55.620 align:middle line:90% 00:05:55.620 --> 00:05:58.470 align:middle line:84% Cecilia has said this to me that I would do something 00:05:58.470 --> 00:06:02.730 align:middle line:84% in the translation that made her want to change the original. 00:06:02.730 --> 00:06:05.980 align:middle line:84% So it was very porous, that experience. 00:06:05.980 --> 00:06:09.660 align:middle line:84% And so I think I tried to bring that to my experience 00:06:09.660 --> 00:06:14.400 align:middle line:84% with working with translators of my work into Spanish. 00:06:14.400 --> 00:06:16.560 align:middle line:84% And some of it has been translated into Portuguese. 00:06:16.560 --> 00:06:21.630 align:middle line:84% It was just a few poems for Brazilian anthology. 00:06:21.630 --> 00:06:25.470 align:middle line:90% But I find that-- 00:06:25.470 --> 00:06:27.690 align:middle line:90% I'm a Capricorn. 00:06:27.690 --> 00:06:29.910 align:middle line:90% So I'm a control freak. 00:06:29.910 --> 00:06:34.020 align:middle line:84% And Raquel Gutierrez was telling me there's the moon rise. 00:06:34.020 --> 00:06:36.390 align:middle line:84% There's all the other rising and the things that go up 00:06:36.390 --> 00:06:36.970 align:middle line:90% and things-- 00:06:36.970 --> 00:06:38.100 align:middle line:90% I don't know. 00:06:38.100 --> 00:06:40.890 align:middle line:84% But she said there's this other part of me 00:06:40.890 --> 00:06:42.720 align:middle line:90% that undercuts the Capricorn. 00:06:42.720 --> 00:06:46.030 align:middle line:84% But I'm someone who really likes to control things. 00:06:46.030 --> 00:06:47.295 align:middle line:90% So I don't think I'm as-- 00:06:47.295 --> 00:06:49.830 align:middle line:90% 00:06:49.830 --> 00:06:53.550 align:middle line:84% I think I do try to sometimes suggest things 00:06:53.550 --> 00:06:55.360 align:middle line:90% as I'm seeing versions of it. 00:06:55.360 --> 00:06:57.990 align:middle line:84% But I try to remember, I try to remember 00:06:57.990 --> 00:07:05.700 align:middle line:84% that if all of these poets hadn't allowed me to experiment 00:07:05.700 --> 00:07:09.060 align:middle line:84% and do those things, I wouldn't be the translator I am. 00:07:09.060 --> 00:07:11.790 align:middle line:84% So to try not to jump into quickly, 00:07:11.790 --> 00:07:13.930 align:middle line:84% to let them go through the process, 00:07:13.930 --> 00:07:15.780 align:middle line:84% and then if I have a few suggestions 00:07:15.780 --> 00:07:20.010 align:middle line:90% to make towards the end I do. 00:07:20.010 --> 00:07:21.570 align:middle line:90% But it's a very odd thing. 00:07:21.570 --> 00:07:27.630 align:middle line:84% And I realize now often when I've worked with these poets, 00:07:27.630 --> 00:07:29.820 align:middle line:84% and I've asked them very direct questions. 00:07:29.820 --> 00:07:35.070 align:middle line:84% Sometimes I was temping in the Wall Street area, when I first 00:07:35.070 --> 00:07:37.980 align:middle line:84% started working as a translator for Cecilia Vicuna. 00:07:37.980 --> 00:07:41.370 align:middle line:84% So I would walk over to her apartment. 00:07:41.370 --> 00:07:44.100 align:middle line:90% This was like back-- 00:07:44.100 --> 00:07:46.560 align:middle line:90% I would fax translations to her. 00:07:46.560 --> 00:07:48.540 align:middle line:90% I was like fax versions. 00:07:48.540 --> 00:07:52.500 align:middle line:84% I did a lot on the boss's dime, I have to say. 00:07:52.500 --> 00:07:56.190 align:middle line:84% I don't know, the former boss is not going to see this, right? 00:07:56.190 --> 00:08:00.270 align:middle line:90% But I would just fax things. 00:08:00.270 --> 00:08:02.250 align:middle line:84% And then I would meet her afterwards. 00:08:02.250 --> 00:08:07.468 align:middle line:84% And she would have comments for me. 00:08:07.468 --> 00:08:09.010 align:middle line:84% I forgot where I was going with this. 00:08:09.010 --> 00:08:16.265 align:middle line:84% We were talking about giving freedom for doing this. 00:08:16.265 --> 00:08:17.890 align:middle line:84% I don't know, what was I talking about? 00:08:17.890 --> 00:08:20.010 align:middle line:84% So I went-- now, I'm like getting wrapped up 00:08:20.010 --> 00:08:22.950 align:middle line:90% in my temping days. 00:08:22.950 --> 00:08:26.430 align:middle line:90% None of that is important. 00:08:26.430 --> 00:08:28.368 align:middle line:84% So yeah, I had such limited time. 00:08:28.368 --> 00:08:29.160 align:middle line:90% That's what it was. 00:08:29.160 --> 00:08:30.540 align:middle line:90% I had such limited time. 00:08:30.540 --> 00:08:34.350 align:middle line:84% I was like working these jobs that 00:08:34.350 --> 00:08:36.210 align:middle line:90% were not related to poetry. 00:08:36.210 --> 00:08:39.880 align:middle line:84% And so I'd get to Cecilia's apartment. 00:08:39.880 --> 00:08:42.299 align:middle line:84% And I would say, OK, I have all of these questions. 00:08:42.299 --> 00:08:44.280 align:middle line:90% So like what is this word here? 00:08:44.280 --> 00:08:45.420 align:middle line:90% What is this doing? 00:08:45.420 --> 00:08:49.050 align:middle line:84% And if any of you -- have any of you met Cecilia Vicuna? 00:08:49.050 --> 00:08:53.070 align:middle line:84% So she's not going to go directly to the answer. 00:08:53.070 --> 00:08:56.010 align:middle line:84% So it's like sometimes things could be resolved quickly, 00:08:56.010 --> 00:08:59.250 align:middle line:90% but these stories would start. 00:08:59.250 --> 00:09:01.860 align:middle line:84% Her husband at the time would just be like, 00:09:01.860 --> 00:09:06.300 align:middle line:90% you guys are not wrapping it up. 00:09:06.300 --> 00:09:08.790 align:middle line:90% This is what's happened. 00:09:08.790 --> 00:09:11.520 align:middle line:84% And so we go through these whole conversations. 00:09:11.520 --> 00:09:14.260 align:middle line:90% And it didn't solve the problem. 00:09:14.260 --> 00:09:16.740 align:middle line:84% And I think that I had this kind of mentality. 00:09:16.740 --> 00:09:17.970 align:middle line:90% I was like I was paid. 00:09:17.970 --> 00:09:19.780 align:middle line:84% Not by her by the hour, but I had 00:09:19.780 --> 00:09:24.647 align:middle line:84% this idea this very American idea of efficiency. 00:09:24.647 --> 00:09:25.480 align:middle line:90% And I went in there. 00:09:25.480 --> 00:09:27.520 align:middle line:84% And it was like that's not the process 00:09:27.520 --> 00:09:29.330 align:middle line:90% that she was looking for. 00:09:29.330 --> 00:09:34.330 align:middle line:84% So I have to remember that, the resistance to that efficiency, 00:09:34.330 --> 00:09:37.480 align:middle line:84% and letting the conversation take you 00:09:37.480 --> 00:09:41.320 align:middle line:90% into unproductive areas. 00:09:41.320 --> 00:09:43.870 align:middle line:84% And so yeah, I keep trying to remember that. 00:09:43.870 --> 00:09:46.780 align:middle line:84% As a person, that's not my inclination. 00:09:46.780 --> 00:09:50.080 align:middle line:90% I'm like that. 00:09:50.080 --> 00:09:52.970 align:middle line:84% As my former students, probably know. 00:09:52.970 --> 00:09:53.470 align:middle line:90% Yeah. 00:09:53.470 --> 00:10:02.880 align:middle line:90% 00:10:02.880 --> 00:10:04.100 align:middle line:90% Hello, Professor Alcala Rosa. 00:10:04.100 --> 00:10:05.100 align:middle line:90% I'm so happy to see you. 00:10:05.100 --> 00:10:08.490 align:middle line:90% [SPEAKING SPANISH] 00:10:08.490 --> 00:10:13.300 align:middle line:84% OK, I have a question regarding poetry and translation as well. 00:10:13.300 --> 00:10:18.150 align:middle line:84% So my question is how your work as a translator 00:10:18.150 --> 00:10:21.030 align:middle line:90% affect your work as a poet. 00:10:21.030 --> 00:10:23.850 align:middle line:84% I mean do you see in your artwork 00:10:23.850 --> 00:10:27.330 align:middle line:84% any trace of Cecilia Vicuna or any other poet 00:10:27.330 --> 00:10:31.030 align:middle line:90% that you have translated? 00:10:31.030 --> 00:10:33.180 align:middle line:90% Yeah. 00:10:33.180 --> 00:10:36.030 align:middle line:84% Yeah this is a question I get a lot. 00:10:36.030 --> 00:10:38.880 align:middle line:84% And it's almost like when people tell you 00:10:38.880 --> 00:10:41.100 align:middle line:90% your kid looks just like you. 00:10:41.100 --> 00:10:46.190 align:middle line:84% And you're like-- she looks just like her father. 00:10:46.190 --> 00:10:47.940 align:middle line:84% And I still feel that, whether my daughter 00:10:47.940 --> 00:10:50.370 align:middle line:90% looks anything like me. 00:10:50.370 --> 00:10:53.190 align:middle line:84% But I often don't see the similarity 00:10:53.190 --> 00:10:55.780 align:middle line:84% if people point out these kind of things. 00:10:55.780 --> 00:11:01.710 align:middle line:84% I will say that what Cecilia and I share 00:11:01.710 --> 00:11:11.220 align:middle line:84% is work that is very focused on-- 00:11:11.220 --> 00:11:14.228 align:middle line:84% that has a certain amount of social and political awareness. 00:11:14.228 --> 00:11:16.770 align:middle line:84% And I think that's one of the things that drew me to her work 00:11:16.770 --> 00:11:20.730 align:middle line:84% initially, and one of the reasons I've 00:11:20.730 --> 00:11:22.900 align:middle line:90% continued to work with her. 00:11:22.900 --> 00:11:24.660 align:middle line:84% So I think that maybe some of our-- 00:11:24.660 --> 00:11:27.390 align:middle line:84% we have some shared concerns, although I think our aesthetic 00:11:27.390 --> 00:11:30.060 align:middle line:90% is very different. 00:11:30.060 --> 00:11:35.970 align:middle line:84% With Lila Zemborain, I translated a book of hers 00:11:35.970 --> 00:11:38.880 align:middle line:84% with Monica de la Torre, we co-translated it, 00:11:38.880 --> 00:11:46.440 align:middle line:84% called [SPEAKING SPANISH] Mauve Sea Orchids. 00:11:46.440 --> 00:11:51.930 align:middle line:84% She writes all of these poems in which she reflects on-- 00:11:51.930 --> 00:11:55.140 align:middle line:84% she tries to capture the movement of her body 00:11:55.140 --> 00:11:55.860 align:middle line:90% through water. 00:11:55.860 --> 00:11:57.120 align:middle line:90% She's an avid swimmer. 00:11:57.120 --> 00:12:00.180 align:middle line:90% And she has a house on-- 00:12:00.180 --> 00:12:04.410 align:middle line:84% I'm trying to remember, it's like part of the Hamptons. 00:12:04.410 --> 00:12:07.290 align:middle line:84% So she calls it the unHamptons, the part that she's in. 00:12:07.290 --> 00:12:13.388 align:middle line:84% It's like the more the ragged edges of the Hamp-- 00:12:13.388 --> 00:12:14.430 align:middle line:90% I forget what part it is. 00:12:14.430 --> 00:12:16.905 align:middle line:84% But she would go swimming every day in the ocean. 00:12:16.905 --> 00:12:19.770 align:middle line:90% 00:12:19.770 --> 00:12:22.860 align:middle line:84% And she wrote all of these poems about swimming, 00:12:22.860 --> 00:12:27.660 align:middle line:90% her body moving through water. 00:12:27.660 --> 00:12:34.684 align:middle line:84% And at that time, I was reading translation theory, 00:12:34.684 --> 00:12:37.000 align:middle line:84% and reading a lot of postcolonial theory, 00:12:37.000 --> 00:12:38.710 align:middle line:90% and translating her work. 00:12:38.710 --> 00:12:41.350 align:middle line:84% And I wrote this book that brought 00:12:41.350 --> 00:12:48.280 align:middle line:84% a lot of those theoretical references and also water 00:12:48.280 --> 00:12:51.070 align:middle line:84% references into a poem, into a book called The Lust 00:12:51.070 --> 00:12:53.230 align:middle line:90% of Unsentimental Waters. 00:12:53.230 --> 00:12:55.420 align:middle line:84% And I didn't realize that was happening at the time. 00:12:55.420 --> 00:12:57.587 align:middle line:84% It was until people started asking me that question. 00:12:57.587 --> 00:12:58.660 align:middle line:90% I'm like, oh, of course. 00:12:58.660 --> 00:13:00.385 align:middle line:90% That's how it came together. 00:13:00.385 --> 00:13:03.310 align:middle line:90% 00:13:03.310 --> 00:13:06.130 align:middle line:84% And I think there's just this experience too, 00:13:06.130 --> 00:13:07.660 align:middle line:90% I didn't plan it. 00:13:07.660 --> 00:13:11.080 align:middle line:84% But I've done other things beside this. 00:13:11.080 --> 00:13:13.180 align:middle line:84% But the poets that I focused on have 00:13:13.180 --> 00:13:16.450 align:middle line:84% been Latin American women poets living in the US. 00:13:16.450 --> 00:13:18.340 align:middle line:84% And there's something about being 00:13:18.340 --> 00:13:21.340 align:middle line:84% a writer who's in this kind of liminal position. 00:13:21.340 --> 00:13:24.280 align:middle line:84% Where she's, in some ways, really not publishing 00:13:24.280 --> 00:13:26.320 align:middle line:84% in her own country in Spanish, but she's 00:13:26.320 --> 00:13:29.350 align:middle line:84% in this place where she's expected to publish in English 00:13:29.350 --> 00:13:32.140 align:middle line:84% but she writes in Spanish, and how does she kind of navigate 00:13:32.140 --> 00:13:34.570 align:middle line:84% that, probably something that you're familiar with, 00:13:34.570 --> 00:13:36.318 align:middle line:84% and some of the students in your program. 00:13:36.318 --> 00:13:38.110 align:middle line:84% How do you bring those two worlds together. 00:13:38.110 --> 00:13:40.920 align:middle line:90% 00:13:40.920 --> 00:13:43.330 align:middle line:84% And so I think there's a kind of affinity 00:13:43.330 --> 00:13:46.420 align:middle line:84% of understanding that position of someone who's 00:13:46.420 --> 00:13:48.130 align:middle line:90% caught between languages. 00:13:48.130 --> 00:13:50.740 align:middle line:84% And I write a lot about that in my work too. 00:13:50.740 --> 00:13:53.080 align:middle line:84% So sometimes affinity isn't clear. 00:13:53.080 --> 00:13:55.930 align:middle line:84% Like I was thinking of Jack Spicer's After Lorca, 00:13:55.930 --> 00:13:58.060 align:middle line:84% which we were just talking about in my class. 00:13:58.060 --> 00:14:01.780 align:middle line:84% It's not that Spicer's work is like Lorca's, but you 00:14:01.780 --> 00:14:05.920 align:middle line:84% could see why he chose to do that book, what 00:14:05.920 --> 00:14:07.060 align:middle line:90% that affinity was. 00:14:07.060 --> 00:14:10.060 align:middle line:84% And it wasn't just that he was like this representation 00:14:10.060 --> 00:14:11.860 align:middle line:90% of someone cut down by fascism. 00:14:11.860 --> 00:14:13.700 align:middle line:90% It was something else there. 00:14:13.700 --> 00:14:15.670 align:middle line:90% Yeah Thank you. 00:14:15.670 --> 00:14:18.950 align:middle line:90% Thank you very much. 00:14:18.950 --> 00:14:21.400 align:middle line:90% [APPLAUSE] 00:14:21.400 --> 00:14:24.000 align:middle line:90%