Translation

The Sap Declaration of Independence. A Poem by Amparo Arróspide. Translated from Spanish

September 23, 2019June 26, 2019 by Robin Ouzman Hislop

Editors Note: this piece is an extract and translation from the larger work of Valle Tietar a volume of poetry written in Spanish – here we can only provide a taste & glimpse of its originality, a work in defence of fauna & flora & to those for whome the Spanish tongue is available, where the book may be purchased, if so desired. www.elsastredeapollinaire.com

Chorus

To the people of Pain and to all peoples in the world

Today the SAP nation restores its lost and long-desired sovereignty, after centuries of trying in vain to coexist with the Spanish Sapiens

Apiens Apiens Apiens

The SAP nation, its languages and cultures have a most ancient history. For millennia it has exercised self-government in fullness, with the Stone being the highest expression of historical rights. During periods of freedom, granite gneiss has been,the column where our non-institutions were crystallized

Llized Llized Llized

Justice and individual and collective non-human rights are the basis for the constitution of the SAP REPUBLIC

Since the times of the Copious Mounts, the SAP policy has played a key role with an exemplary, loyal and democratic attitude

Ude Ude Ude

and with a deep sense of non-State

This allegiance has been met with the denial of recognition to the SAP and with a slave driver and herbicide discrimination. Millions of creatures, millions of creatures were and are tortured and killed

The non-human citizenship Statute could be a new stable and lasting framework for a bilateral relation between SAP and PAIN. But it is an agreement again and again broken by the Spanish Sapiens

Apiens Apiens Apiens

After listening to our non-citizens, the Stone, the Forest and the uncivil society called a referendum. Despite brutal arson fires to prevent it, a majority vote was cast in favour of the constitution of our REPUBLIC

Ublic Ublic Ublic

And NOW we, democratic representatives of the non-people, freely exercising our right to self-government and complying with the mandate granted by the non-citizens

WE CONSTITUTE the REPUBLIC of the SAP, as an independent and sovereign non -State, constitutional, democratic and antisocial

WE START the greening process

WE URGE the supra and subterranean international community, infernos and supernos, to intervene to stop the violation of law in progress and to witness the process still under negotiation

WE APPEAL to non-States and to human organizations to recognize our Republic

Ublic Ublic Ublic

WE URGE the Stone to adopt any necessary measures to implement this Declaration

WE APPEAL to each one of the non-citizens to make us worthy of the freedom we grant ourselves and to build a non-State that translates our collective desires into flight and whirlwind!

We, the Legitimate Representatives of the No People (signatures)

In Tietar Valley, on the 11th Maw (former October), 2033.

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

Robin Ouzman Hislop is Editor of Poetry Life and Times ; his publications include

All the Babble of the Souk , Cartoon Molecules and Next Arrivals, 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)

Inutile. A Poem by Noni Benegas. Translated from Spanish by Noël Valis

September 23, 2019April 12, 2019 by Robin Ouzman Hislop

Excerpt from Fragments of an Unknown Diary

Inutile Inútil

insolent insolente

insociable insociable

insecure filthy insegura sucia

cupriferous carbona soaked cuprífera carbona rehogada

lens lamina lente lámina

leavened levadiza

villain villana

vultiferous jerk vultífera fregada

insomniac insomne

maniac maníaca

criminoid désolée decisive criminante desolante decisiva

incisive incisiva

leeks mangled beef puerro ropa vieja

snitch soplona

salivating drooling dissolving salivada babeante borrosa

brute bruta

brutally brute abrutada brutal

malapertous malabuena

malapropous malhabida

beflavorous saborida

borealeous brisada

brumeous brumosa

lunar rapide lunar rápida

unmissed mal ida

unwelcome malvenida

seated seatless ensillada sin silla

second sally resalida

aligned ahilada

related recontada

recuperated recuperada

cured curtida

cooked cociente

crunched crujiente

stitched cosida

chosen elegida

papa loved papá amada

papa pretty papá linda

papa talk papá diálogo

papa love papá amor

papa always papá siempre

broken bashed bent rota estrujada revertida

exonerated exonerada

extracted extraída

launched lanzada

mama suppressed mamá elidida

mama scolded mamá reñida

mama twisted mamá torcida

mama out mamá fuera

mama far mamá lejos

mama hurry mamá prisas

mama hollow mamá hueco

mama never mamá nunca

mama old mamá vieja

mama death mamá muerte

mama space mamá espacio

mama freedom mamá libertad

mama voice mamá voz

mama laughing mamá riente

mama suffering mamá doliente

mama pardon mamá perdón

mama please mamá porfavor

mama plea mamá ruego

mama purchase mamá compra

mama vigilant mamá avizora

mama idea mamá idea

mama recuperate mamá recupera

mama leftover mamá sobras

mama rags mamá guiñapo

mama mummy mamá momia

mama whine mamá queja

mama fate mamá sino

mama loving mamá amante

mama late mamá tarde

garden gone jardín ido

gathered recogido

garden rigged jardín jarcias

never-ever jamases

garden grasped jardín asido

threads hilo

garden moon jardín luna

gleams riela

carp play lúdica carpa

sounds suena

pool star charco estrella

garden plot jardín tramo

peril trance

Works by Noni Benegas

Poetry

Argonáutica. Prologue José María Valverde. Barcelona: Laertes, 1984. (Platero Prize)

La balsa de la Medusa. Alicante: Caja de Ahorros Provincial de Alicante, 1987.

(Miguel Hernández National Prize for Poetry)

Cartografía ardiente: Madrid: Verbum, 1995.

Las entretelas sedosas: Montilla: Aula Poética Casa del Inca, 2002.

Fragmentos de un diario desconocido. Ferrol: Esquío, 2004. (Esquío de Poesía Prize)

De ese roce vivo: Madrid, Huerga&Fierro, 2009

Animales Sagrados: Barcelona, Igitur, 2012 ( Vila de Martorell Prize)

Lugar Vertical: Barcelona, Igitur, 2012 ( Ciutat de Palma, Rubén Darío Prize)

El ángel de lo súbito: A selection of poetry, whit an introduction by Benito del Pliego, Madrid, Fondo de Cultura Económica, 2013

Fragmentos de un diario desconocido. Reedition, Madrid, eMe, escritura de Mujeres en español, Ed. La Palma, 2017

Poetry in translation

Burning Cartography: A bilingüal selection spanish-english, introduced and translated by Noël Valis. Austin, TX, Host, 2007. Second edition with added poems in 2011

Animaux sacrés et autres poémes: A bilingüal selection spanish-french translated by Annie Salager, Sète, Al Manar, 2013 (Voix Vives, de Méditerranée en Méditerranée)

Criticism

Ellas tienen la palabra. Dos décadas de poesía española. (with Jesús Munárriz). Introduction by Noni Benegas. Madrid: Hiperión, 1997. 4th ed., 2008.

Ellas tienen la palabra. Las mujeres y la escritura. Collects the introduction to the anthology of the same name, a new prologue, articles, interviews and an epilogue. Madrid,Fondo de Cultura Económica, 2017

Ellas resisten. Mujeres poetas y artistas. Textos 1994-2019: Madrid, Huerga&Fierro, 2019

Bio: Translator. Noël Valis (born 24 December 1945) is a writer, scholar and translator. She is a Professor of Spanish at Yale University. She received her B.A. from Douglass College and earned a Ph.D. in Spanish and French at Bryn Mawr College. An Hon. Woodrow Wilson Fellow, she is a recipient of fellowships from the John Simon Guggenheim Foundation and the National Endowment for the Humanities. Valis is a Full Member of the Academia Norteamericana de la Lengua Española (an affiliate of the Real Academia Española) and a Corresponding Member of the Real Academia Española. In 2017 she won the Victoria Urbano Academic Achievement Prize (Premio Victoria Urbano de Reconocimiento Académico), given by the International Association of Hispanic Women’s Literature and Culture (Asociación Internacional de Literatura y Cultura Femenina Hispánica), for her work in Hispanic women’s and gender studies. Her translation of Noni Benegas’s poetry, Burning Cartography, was awarded the New England Council of Latin American Studies’ Best Book Translation Prize.

Robin Ouzman Hislop is Editor of Poetry Life and Times ; his publications include

All the Babble of the Souk , Cartoon Molecules and Next Arrivals, 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)

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

September 23, 2019December 31, 2018 by Robin Ouzman Hislop

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)

August 24, 2019November 19, 2018 by Robin Ouzman Hislop

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

3 Poems by Alisa Velaj, Limit, His Widow & He, Translated by Ukë Zenel Buçpapaj

August 24, 2019October 27, 2018 by Robin Ouzman Hislop

LIMIT

The woman watching the see is blind. For her, the sea waves are the soul waves.
From now on, the chopped light of the immense water container is what she will see
running deeper and deeper inside herself.

The blind woman and the ship that could never sail are of the same age.
The ship and her last lover have the same farsightedness.

Her last lover was a sailor and a fool. He heard only the melody
coming from the beating stick, turning a deaf to ear to all the island’s playing drums.

The blind woman and her last lover loved the flute sounds at dusk.

He never told her that the sea light had the shape of his destroying love for her.
However, she would willingly pretend that she had understood him.
She feared that he might also go blind if she told him the truth.

HIS WIDOW

His widow will continue to live her earthly years under the shadow of the emperor’s courtyard.

He, the most wonderful tree, left her soul empty with the crowds still conquered by him.

The crowds always look at his widow as a mantel of leaves.

When the blossoms wither, the mantel ceases to exist. At this moment even the crowds stop thinking.

In spring the mantel rejuvenates again. His widow gladdens because of the freshened memory of the citizens who never knew the dictator.

His widow loved the crowd and the leaf.

They both have short memory.

HE

He will not be able walk out of the house where he and the Eagle stay imprisoned.

He is there, and the guitar sounds coming from beyond the window, though tempting,
fail to encourage him.

He and the Eagle love and hate each other infinitely.

She will not pluck his eyes out, for he has given up watching since his childhood.
To both of them, light particles are as strange as colors.

She will not blind him, and he will cry one day, he will cry a lot because of her farewell.

At that moment he will be a child conscious of his loss, while the fir-trees will throw
thick shadows over the sadness of the undiscovered oases.

Alisa Velaj has been shortlisted for the annual international Erbacce-Press Poetry Award in UK in June 2014. Her works have appeared in more than eighty print and online international magazines, including: FourW twentyfive Anthology (Australia), The Journal (UK), The Dallas Review (USA), The Linnet’s Wings (UK) The Seventh Quarry (UK), Envoi Magazine (UK) etc etc. Velaj’s digital chapbook “The Wind Foundations” translated by Ukë Zenel Buçpapaj is published by Zany Zygote Review (USA). Her poems are also translated in Hebrew, Swedish, Romanian, French and Portuguese. Alisa Velaj’s poetry book “With No Sweat At All” (trans by Ukë Zenel Buçpapaj) will be published by Cervena Barva Press in 2019.

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

On the razor’s edge, Iceland. A Poem by Anna Maria Dall’Olio

August 24, 2019September 21, 2018 by Robin Ouzman Hislop



Islanda sul filo del rasoio

Sospiro.                                         Spuma sgorga.
Ghiacciaio fulminato
frana fiume fluente.

							Astronomico il debito statale.
                                                        Soverchi tassi d'interesse.
                                                        Basso livello medio salariale.

Vasti strazi nell'infero profondo.
Campi di lava.			O grano.
Fili d'erba sul filo del rasoio.

("Latte & Limoni", 2014)

On the razor’s edge, Iceland

Something sighed					    
a flowing river is falling 
foam flows out.

                                                                       Too high is the national debt
                                                                        too high are interest rates
                                                                        too low are median incomes.

The toxic torture in the deepest depths.
Either lava or corn fields.
On the razor’s edge, blades of grass.





Anna Maria Dall’Olio

She has been teaching English in Italian high schools since 1987. She devoted herself to fiction, poetry and playwriting. In 2005 she was ranked second in “Hanojo – via Rendevuo“, a Vietnamese cultural competition for the millennial celebration of Hanoj (1010-2010). Moreover, she was ranked first/second/third in lots of literary competitions for her Italian poems (2006-2018).She published a short novel, “Segreti” (“Secrets”, 2018). Besides, she published 5 collections of poems:”Sì shabby chic” (“So shabby chic”, 2018), “L’acqua opprime” (“Water oppresses”, 2016), “Fruttorto sperimentale” (“Experimental Food Forest”, 2016), “Latte & Limoni” (“Milk & Lemons”, 2014), “L’angoscia del pane” (“Bread is anguish”, 2010). Finally, She wrote “Tabelo” (“Table”, 2006), a play in Esperanto dealing with mobbing as a supreme artistic form.

Web site: www.annamariadallolio.it

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

Evolution. A Poem by Antonio Martínez Arboleda

February 11, 2019July 8, 2018 by Robin Ouzman Hislop

Animals programmed to kill:

Some demand entertainment
to appease the flames
of their DNA,
which they try to bypass
through consciousness
or convenience.

Others simply survive
without questioning their appetites
(They make great TV in their chase and struggle).

Meanwhile
the veggie rest
distil the fluids
of their neighbours:

A chain of convivial parasites.

And all this happening
in a Cosmos with lamps
that come and go
without rehearsal,
like the lights of the ceiling of a disco,

a Cosmos that keeps shifting
energy and mass
without remorse,
like accountants play with figures

The absent Developer
sated his thirst for creativity
in only six days,
leaving behind
a beautiful,
ugly,
random,
orderly,
bloody,
dusty,
tender,
holly rocky Mess.

His desk is covered by mountains
of meaningless,
timeless paperwork.

If Intelligence is just artificial,
what is then Faith?

Customer Services are down.

Don’t settle for evolution.

www.leeds.ac.uk/arts/people/Spanish Portuguese and_Latin American Studies/Antonio Martinez Arboleda

Antonio Martínez Arboleda:
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. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda. 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 Críticay 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.

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)

Close to Me. BLIKSOM. A Poem by Tatjana Debeljački. Translated from Serbian by Danijela Milosavljević

February 11, 2019May 23, 2018 by Robin Ouzman Hislop

SAVRŠENSTVO PERFECTION 完璧さ
New book Tatjana Debeljački タチアナ　デベリャスキー
Serbian English and Japanese
Translation by Mariko Sumikura
Artwork: Janoš Mesaroš

CLOSE TO ME

Togetherness disappears.
We are lost while leaving ourselves.
It’s too late for finding symbols.
The expression is a form of research
at the entrance of voice ventricles.
We sacrifice slow reasons to the quick words.
Parting is a chronicler with no chronicles.
Interpretations are hinted in the meanings of values .
Let’s not torture the lions with the inner space of the sky.
We have lost the gemstone.
The search is wasted effort.
We nurture the faith of case circumstances.
Cheek shows the traces of palms.
For too long we dream the threats of responsibility.
Ironic solution of doubting we have left for the end.
We demise traces for the orphans.
God was praised, unfortunately.
From the scriptures we take out when needed.
We did not realize that all is prone to cease.
And a deep gap between the kisses,
We did not admit.

The 25th contest for the best love song, traditionally held by the
Cultural centre in Ivanjica. The contest director is poet Miljan Despotovic

BLISKOM

Nestaje zajedništvo.
Gubimo se napuštajući sebe.
Kasno je za otkrivanje simbola.
Izraz je oblik istraživanja.
na ulazu govornih komora.
Razloge spore žrtvujemo brzim rečima.
Rastanak je hroničar bez hronike.
Tumačenja naslućujemo po značenjima vrednosti.
Ne mučimo tigrove unutrašnošću neba.
Dragi kamen smo izgubili.
Potraga je uzaludan trud.
Gajimo veru okolnosti slučaja.
Obraz pokazuje tragove dlanova.
Predugo sanjamo pretnje odgovornosti.
Ironično razrešenje sumnje ostavljamo za kraj.
Tragove zaveštavamo siročićima.
Bog je bio slavljen..
Iz zapisa izvlačimo po potrebi.
Nismo uvideli da sve je prolaznosti sklono.
I duboki jaz između poljubaca,
Nepriznavasmo.

25. Konkursa za najlepšu ljubavnu pesmu, koji tradicionalno organizuje Dom kulture iz Ivanjice.Selektor konkursa, pesnik Milijan Despotović

Excerpt from:
Critic/ 講評
LIFE IN CREATION
Tatjana Debeljacki: ‘Perfection’

Tatjana Debeljacki: ‘Perfection’, Cultural Centre, Ivanjicа, 2018.With her poem ‘Closeness’, Tatjana won the first prize at the love poem literary contest ‘Ripples of the Moravica’ in Ivanjica, 2017. In the explanation (as a member of the competition jury) I wrote: From the poetic letter “The Close One” in which everything speaks of love without ever mentioning this word directly, we open up thoughts, a series of special lessons and wisdom, with a message that loving others means loving oneself and “losing oneself from leaving oneself”. The poem consists of twenty thoughts, classic aphorisms, each of which could be a motto of a new poem. Love is here in a dilemma over what “is prone to transience”, it is what is needed to overcome the “gap between kisses”. Tatjana Debeljacki (Titovo Uzice, 19..) writes contemporary and haiku poetry and prose. She has published nine books. She lives in Uzice. Pozega, 6th February, 2018

Tatjana Debeljački, born on 23.04.1967 in Užice. Writes poetry, short stories, stories and haiku. Member of Association of Writers of Serbia – UKS since 2004 and Haiku Society of Serbia – HDS Serbia, HUSCG – Montenegro and HDPR, Croatia. A member of Writers’ Association Poeta, Belgrade since 2008, member of Croatian Writers’ Association- HKD Croatia since 2009 and a member of Poetry Society ‘Antun Ivanošić’ Osijek since 2011, and a member of “World Haiku Association“ – 2011, Japan. Union of Yugoslav Writers in Homeland and Immigration – Belgrade, Literary Club Yesenin Belgrade. Member of Writers’ Club “Miroslav – Mika Antić” – Inđija 2013, Writers’ Association “Branko Miljković“ – Niš 2014, and a member of Japan Universal Poets Association (JUNPA). 2013. “Poetic Bridge: AMA-HASHI (天橋） Up to now, she has published four collections of poetry: “A HOUSE MADE OF GLASS “, published by ART – Užice in 1996; collection of poems “YOURS“, published by Narodna knjiga Belgrade in 2003; collection of haiku poetry “VOLCANO”, published by Lotos from Valjevo in 2004. A CD book “A HOUSE MADE OF GLASS” published by ART in 2005, bilingual SR-EN with music, AH-EH-IH-OH-UH, published by Poeta, Belgrade in 2008. ”HIŠA IZ STEKLA” was translated into Slovenian and published by Banatski kulturni centar – Malo Miloševo, in 2013 and also into English, “A House Made of Glass” published by »Hammer & Anvil Books» – American, in2013. Her poetry and haiku have been translated into several languages.

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 (Leeds University)

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