WEBVTT

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So as I close up.

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I have two more poems.

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Over much of that
pandemic, I have had a gift

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to work alongside heroes,
colleagues, friends.

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Carmen Giménez and
Farid Matuk, we

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decided to do something that
I thought would never happen.

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And that was retranslated
and republish,

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through Noemi Press, "Akrílika,"
written by Juan Felipe Herrera.

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So for much of the
pandemic, we have

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been translating
the poems he wrote

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in Spanish between
essentially 1978 and 1981

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and then trying
to figure out how

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to do that in the 21st century,
but also exploring his archive,

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learning and
learning and hearing

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him give and give to us.

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It's been an honor.

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So I want to read a poem
from that I translated.

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But this is a Juan Felipe poem.

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So that means there's going to
be some involvement from you.

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Because there's always
involvement from you

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when you're working
with Juan Felipe.

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So I'm going to divide
the room into two parts.

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So if you're on this side of
the camera, I want you to say,

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"it is."

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So if I raise my hand over
here, you will all say--

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It is.

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And on this side of the
camera, when I raise my hand,

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I want you to say.

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the Earth.

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OK?

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So let's do one
practice before I start.

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It is.

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It is.

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The Earth.

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The Earth.

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OK.

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So there's not a part yet.

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When I turn my page, there's
going to be some parts.

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So for now, just relax.

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[LAUGHTER]

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Earth song for the campesinos
of Las Cabanas, El Salvador

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and for Phillippe Bourgois.

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It is the Earth
that growls and cuts

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with the teeth and eyes and
cosmic claws of a midnight

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jaguar.

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The pharaoh and his
trench militia and death

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candied chest.

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It is the Earth
that exposes truth

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with neon borealis and
birds and bodies laid

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bare between mean
mugs and molten jaw,

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the snitch in his
pipeline digits

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in colonizer clothes
and sweatshop labor.

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It is the Earth, a ride
or die for down women

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and marching men with
basins and connotations

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with salt and rage.

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It is the Earth that decides
the new orchards, the razors

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of blooms, of meat,
the cheese, the skin

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chills, the rhyming rattler and
fire-breathing guerrilla war,

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and snuffing out the plague the
web labyrinth, the fake tower.

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It is the Earth that snaps
red whips and gogo gadget

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bodies, unending fingers
and invisible limbs that

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swing and snap the last altar,
the white lie, the voice box.

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And the blade of the general,
the CEO of the salaried scab,

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it is the Earth with its
sorrel, its eggs, its seed that

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spreads its honey and
sweet and releases the rain

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and cleanses with its heat.

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It is the Earth that IDs
the formation of jets,

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the obelisk of
atrophy and chrome,

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the trenches of
commerce and mountains

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of munitions of mercenaries,
flag of leaflet, debris,

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and wrath at the heart
of the encampment,

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the tongue of the US president
forking a mucus of oil.

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Earth, deliver the women
of your blood like sons.

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The labors of your
limbs like lightning.

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The guerillas of your
mountains like tigers.

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Amid the gentrified
streets, the allies of fear,

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the refugee camps of Honduras,
the barrios of Guatemala,

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the jails of Argentina, the
lock of the lakes of Chiapas,

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the districts of El Salvador,
the avenues of Chile,

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the briars of Jamaica,
the hurricanes of Haiti,

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the luminous
rainforest of Brazil,

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the humid moonlight of South
Africa, the burning, the dying.

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To build an eruption of joy.

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To build a galaxy of liberation.

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To build a chorus of embrace.

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It is--

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The Earth.

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It is.

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It is.

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It is.

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The Earth.

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The Earth.

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It is the Earth.

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The Earth.

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The Earth.

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It is.

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It is.

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It is the Earth.

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It is the Earth.

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Earth, Earth, Earth, Earth.

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The Earth.

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It is.

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It is.

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It is.

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It is.

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It is.

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It is.

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The Earth.

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The Earth.

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The Earth.

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It is.

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The Earth.

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It is.

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The Earth.

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It is the Earth.

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It is the Earth that perennials.

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[APPLAUSE]

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