WEBVTT

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And now what are we going to do?

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We're going to read.

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What are we going to read?

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You read this one.

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And I'll read the thing.

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Wow.

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This one you picked, right?

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Oh, no, sorry, this one.

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OK, we're kind of
exploring, folks.

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We're exploring.

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El diario [INAUDIBLE].

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How much of the
diario you want to do?

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Oh, we're doing the diario.

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It's up to you.

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That was like the diario
for me right there.

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You want to do more diario.

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It's up to you.

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This is one you picked before.

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So if you want to do
it, we can to another.

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Let's go to another.

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OK.

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Let's see what happens.

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Let's see what happens.

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Yeah, there's going
to be something new.

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[GROAN]

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[LAUGHTER]

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I was remembering César
Vallejo, César Vallejo's poetry,

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and how complex it is and
how he changes things.

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And even the language is mixed
and explodes on the page.

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So that's where this feeling
for this title came about.

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He makes up words, neologisms.

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And there are neologisms
all over Akrílica too.

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Yeah, he makes up words.

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So let's see what happens.

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This is the title, "Ella quiere
el anillo como aquel quiere el

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traje de la cicatriz."

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Pero ella quiere el
anillo como aquel quiere

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el traje de la cicatriz.

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Pero yo quiero líquidos de
amantes de la música de una

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ventana cuando quebra, puertas
frescas, esmeraldas, ojos de un

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incendio contra el hielo,
todo que grita, torsos,

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pétalos de una
piedra inmortal de

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lluvia, piernas de un metálico
mar en búsqueda del piso

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de fruta, mil Marías con trenzas
de relámpago rubí y fusiles.

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Ella quiere el anillo como aquel
quiere el traje de la cicatriz.

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Pero yo quiero rimas moradas
de salitre de una celda cuando

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despedaza calendario cielos.

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La pared cortada con soles,
avispas, sotanas, alas de los

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acólitos que exploten.

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Ella quiere el anillo como aquel
quiere traje de la cicatriz.

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Pero yo quiero los mil lucios
consejas de panal topaz

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carrieras.

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She wants the ring like
he wants the scar suit.

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But she wants the ring like
that guy wants the scar suit.

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But me I want liquid
diamonds from the music

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of a shattering window.

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Fresh emerald doors, a
fire's eyes against ice.

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Everything that screams
the peeling torsos

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of an eternal stone of rain,
legs of an iridescent sea

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in search of a fruited floor.

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A thousand Marías with
lightning braids, ruby rifles.

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She wants the ring like that
guy wants the scar suit.

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But me I want bruised rinds
from the saltpeter of a cell

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when she tears apart calendar
heavens, the wall cut

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with suns, wasps, Catholic
wings of the acolytes.

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May they detonate.

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She wants the ring like
that guy wants a scar suit.

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But he, 1,000 lucios with
honeycombed eyebrows,

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topaz jaws.

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[APPLAUSE]

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Yeah, that was a
lot of fun, putting

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the word topaz in there.

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You got to put little
things that you really like.

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My mother, her favorite
stone was topaz, el topacio.

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So it had to go in there.

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Things like that, we have
favorite things and things

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that we remember.

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And then you can
just bring them out

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and you put them on that
poem and let it move around.

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Yeah.

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No, I'm thinking there's
something to be thought through

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here about the
relationship of translation

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to the first version where when
Juan Felipe worked with us.

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He had the same playful sense
of discovery and wonderment

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in re-encountering
his older poems, which

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meant he could hand off
that property to translators

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to re-articulate without
a lot of control.

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And that's an
interesting attitude

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to think about in a culture
that teaches us maybe

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that self ownership is the
highest form of achievement.

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Juan Felipe approached
his work at least with us

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with a sense of--

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Cool.

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Isn't that weird that I
put that word in there?

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And then you want to put
that other word in there.

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Great.

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You got it right there.

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You got me on that one.