Friday, August 31, 2007

How To Tell If U Have Crabs



Verbs predators
(2007)
must believe in the book to write.
The writing time is the time of that belief . Edmond

Jabès

POETIC

Suddenly the poet's face curdles larvae.
Such is its lightness.

have to remove them one by one, the poem
to reverse its course,
to calm the maelstrom of injuries.

have been many cries squatting,
curve nature of the funeral.

The front is on the ground. Happiness is a
affiliation not-so day.

By rooting the last Fortunio
will have to cut the poem that forces, such as tooth
, trance voracious.

The poem will grow in your own forgiveness. Shall
crossings, pursuits, travel. A flush of certain slavery.

And the pain? Will they recover
for the book to grow in the book?
Why pits of the future tear? Retype

is to be sad and tense,
abundant until the end.



AM WHAT I SAY NO

I am what I say without a source to back.

still unresolved black smell of my uprooting.


I say that I inherited the clavicle of the enlightened,
my race was once smeared with salt.

honor I commend the deterioration in the smoke gets worse
places without a name.

But all that regret is gag.

flashes do not come from antediluvian
in family portraits no women hardwoods.
The beards of the great-great
not hide exceptions.
alibi just in my blood for rust,
crazy self-absorbed, bent backs.

inheritance can not instill more than sting.

My ancestors were planted with sleepless faces, knowing
The eyes would still wired.

learned wandering but no consolation. They lived
mourning, fierce and wretched
between shades of nuisance.



SYLLABLES NATIVE

The words that throw
unhappiness over our bodies are animal
lavish biographical disorder.

language I can not imagine my father who tread in their penultimate
wheezing,
or that I breathe with
ammonia shock when I come over the insult.

the mother had already loaded with the otherness of ridicule, the humiliation
omens say no cardinal.

syllables contained Nobody admonished the womb.



POETIC

Snow that my ancestors weathered relic
is unfortunate that I shudder.

No gaping or nostalgia landscape
comply
darkness to claim a place in my clothes,
my mess, my stench.

Nothing tops, peninsulas,
swamps, sandy treacherous.
not even a bird in the abyssal stupor.

No spine or cornered mound.

story I tip-if true, and vertigo are in the glossary
steep from a distance.

The landscape that curse
-called intangible
is no landscape-
to ditch veins on the hands, torso
that cooks with sugary armor.

And the snow, which should tow the dream
accuses me from clearly inadequate, as if it were compelling
pale, viscous
admire all horizon,
be the time, retaliation.



ORPHAN'S ATTEMPT

trips say about me as something separate,
but it is not to flee but to me elsewhere.

stuns me the permanence of certain households, licking
sharp shoulders stretches broken off. Never

I approached the canals
outdoors for fear of a final.

I take even a few tracks:
go to an island in the middle
has a lake and in it another island. Crossing a desert
overwhelmed with crows,
a mountain of coffins.

not required to tell about the brevity of a tear, I
distilled into sentences increased.

not know what bile from the cows come home, what is the concoction
indispensable to repose. Of the trips

chew the flow brings me
of returns I have copied the thicket.

Any attempt crossing is orphaned.



STATE OF EXILE

There is a string of verbs emancipated.

all mine. The foul and light.
all love him, I bit, I cradled.

inaccuracies are mine, the mud
unabated,
wires home blood curdle. My

which deprives,
greedy sap one evening,
crumbling bones in the womb.

Minutiae take them to disgust me, exile me.

The losses will start me wrong, I will
gifts or time.

If I go over yet harmonious
fear in another port
messed me new hope.


POETIC


never saw crops of saffron, bastard
no complaints.

More red is the omen that blindness.

manuals warn never
the outcome of a defendant when it clears.
They stop in fictitious names,
twist a world without favors.

Not so books of poetry,
not stop, do not drive, do not promote;
mass of twitches, stony
Haggard of the tribe.



OFFICE OF GUARDIAN

The son returned from a trip to the southern marshes.
I must say that your turtle is dead.

I swear I changed daily water, lettuce and offered
flash of my hours of fever.

even talked to the lonely reptile
on the human inability to hold on to the equinoxes. Produced

waves in lowest cove dove
pebbles and plastic soldiers,
that did not miss the excitement of three in the afternoon.

vain attempt: dawn hit the turtle.


dilution took me thinking, in my childhood buried birds and dogs, still hurts
visiting their absence.

newborn Explaining the flows come from
that death is a muscle exercised without utensils.

Secretly I thank the animal has given up, no good
guardian of another future.
never recovered his calm, his agency liar

courage to take guns home in the dark.



FEVER

The child becomes worse during the siesta.
His eyelids slip on warm poisons. The weakness

requires water, abandonment. Weep no burn

purple tongue and premature aging.

roots oozing from his throat.


has been seven nights of toil at the foot of helplessness.

The child knows nothing of proparoxytone faces.

The father wants to sleep, again thresholds.
The mother is a former clarity.
not support
boiled closure hours. Fierce
desencontradas, are bowed with shouts galore
older than his indifference.

The small, mock-infected and refuses to swallow.

trouble will come.
Hunger shall without delay its mission to scab.
It will even forgiveness.



ANNIHILATION the green
Alexis Romero

When a tree falls in front of one
is because in some remote place is a home
bribed by the cold.

recent Foliage not give up, leave
then the wisdom of the sap. Nor

sudden downpours
dramatic end with the future of the cups.


But a tree, say a fir tree, an acacia, a saman-
not reverse the order of the designs,
not shaken in the severity of the fog, the infinite is not intended
doze of deserts.

A tree falls apart without grace, never fear torture
error.

If you look at your fatigue,
if we reach to witness his gnashing last,
is a habit to lapse into another identity.

never understood the curse of
persist in greenness of annihilation. We
long
sustained by the excesses of last week,
outside the foliage.
When a tree has died beside us, very nearly
when we lash out,
forget the loneliness of this little disaster, shameless
moan
rests on only the birds, squirrels and who will pick him
useless mess of leaves.



RUINED THE DAY

Travel / or birth.
Travel / or the wreck.
Travel / or surrender. Guardo

substance. I am making gates

of improvised circumstances.

There are many ways to disengage.

I start half.

I have undertaken other rave:
me out of my house, ripped me clothes
,
tattooed me a number,
me gassed, incinerated
me, made me
. I went

wolf meat,
poured into gall,
believing.

I said 'I was in the jaws. "

Lie was light,
the shelter,
the fierceness of the visions. Lie

the call, which will
.
also the scar left by the snake. Perhaps

asked if I wanted to write,
loose, care
a mountain. Yes
could.

Nobody wanted to know if he returned whole.

disgusted me early. I was given hours
raw.

I was skeptical, I had groped
head. Vi

twist bread, a cry.

So my final words and blackened, grinding
my nonsense,
gravel lying on the bodies, toning
no shade, no desire.

And despite everything, a rumor
tongue inside, deep inside
,
small
awkward,
disinherited.



STATE OF GRACE

poetry every day ominous,
how to be saved,
how Announces faith.

sinremedio is decanted in the beginning, in boasting
poisonous.

is the first big disappointment.

writing ameliorates the true findings, fossil
his illusion.
runs from vermin. Always someone


cradled my inability to take shelter.

Motherhood has spit a few hours.
is why I watch, tide
groomed,
interrupted
in disgusting state of disgrace.



POETIC

Plows poems,
plows and plows the edges one evening in Istanbul.

O in Bucharest, which matter. Same

'll never, never again go
another scale that is not specific.

The flight is shaped in the waist, never
feet, as they believe the abandoned.

never crosses a river with hips asleep,
is not a repeat of the fronds.

why lie to the contention
carries the risk of leave flowers or scruples.

The wandering is in the poem that rumination unhappy.
And the poem, beyond
glazed beast, guess deserter,
is always in step.



THE REVERSAL OF LISTENING

evening has come saturnine get rid of the listener, just spur launch
interior. We have been wickedness

leaden, diners

givers of a family that comes to safety.

The listener will get lost forever.
not I him.

epithets abdicating leafy
serve us when they attend
longings,
precede insurance.

like silence to evil.

My hope is quiet.
poems are no more cheats.
That remains the burning house why.



POETIC

Finally the most horrific stories and are opting
mana precipice of hesitation.

So pour one in us:
of anguish to the play.

Identity is in the fur of the book,
not the case, or lean
antonyms future
to undress or fatigue.

Heather Harmon Streaming




Autopsy (2005)
Nothing, not even a picture of a corpse,
helped us modest.

EM Cioran
()
Bodies are beautiful,
rooted in the mud with gentle memory irrefutable. Corpses
phalanges whose
are gifts and they seem to eternity.

pity that the meeting with them
-so docile, so imperfectly-
materials be sustained under the folds of books
all prohibited.

"If a man guilty of capital offense
,
has been executed and he hung on a tree,
his body will not let pass the night in the tree;
wise bury him that day, because a hook is
a curse from God.
So you do not defile the land
the LORD thy God giveth thee for an inheritance "
(Deuteronomy 21:22)

A corpse is unclean, the unspeakable. Damn
in which any party concludes accused of pain.

"He who touches its carcass shall be unclean until the evening"
(Leviticus 11:24).

And that long afternoon inadvertently founds a likeness
it is that we look, as you look.
why the body should be buried.
Lest we kneel his putrid and eager armor.


()
We have been so often punished.
By looking back,
sales in a vacuum. Fear prevents

remain with the meat stopped, breathing
a body that is dropping.

A corpse is the hasty assumption of sin.
love a body, but little
death looming over him,
we throw it away, forget it.

No matter how vast was the time desired.

Those who have stayed with the corpse, sleepless
harassed by the fog, acknowledged the sting
paramount.

His exile is forever, the gap, the impossible
alibi.

The body must return to the thirsty, pour
his desert.


()

occurred in Atlanta during the early summer setbacks.
A girl of twenty-two months old
spent at least five days frolicking around
decomposed corpse his mother.

Miracle is the name of the girl. Miracle
the precipice, his unguarded skin.

The police found a Sunday night.

The Atlanta Journal Constitution reported that the girl
endured this task
speared by a few foods that reached a closet, not far from the corpse
which raged no longer touch.

Lawarna Stevenson, mother, died of torture
natural, according to the autopsy.
warned the family that took up little of the girl, as if such complaint

we substitute the insults of so many displaced hours.

After two days in the hospital,
Miracle, loss of future helmet hell
was given in custody to the father.


()
A body decomposes almost twice as fast
in the air than when it is driven into the water.
and decomposition in contact with air
is itself about four times more steeply when the body
happens underground.
depth clemency poured in the flesh, certain safeguards
umbilical pronouns.

The first cells to die are the neurons of the skin
still survive one more day, resist the uterus
few months.

is not true that nails and continue to lengthen hair,
for more beautiful and glaciers that had been his forgetfulness.

The language could transmigrate mouth,
the liquor of the lungs to be expelled by all the loops.

bacteria in the stomach arise
not await the triumphs of the funeral;
the pancreas has the portent of devouring itself.

Also in his latest body
gentle blue-green emitting gases, insolence

exaggerated to a size that has been the trickle of infamy.

Not only hosts lash home:
bumblebees and worms respond to the call. Poor

brown meat, repeated Yesterday, oozing tiny
conclusions!

After a year, are just bones and teeth,
with any trace of clinging fabric.
And a tear from their relatives, only one-, sulfur
, venerante.

bones still half-century delay in taking minutiae.

The suspect beef is earthy, but alludes.
Her waist is inside the sapwood
wretched fear. Therefore
not named here the soul, the bat transitional
nest in the salt, reckless
thundering by on the horns of the chest, trying to thrash
which denies
sink the heat up early in the pit.

So much has to whip the body in his game? How
length remake of his tyrannical immobility? It seems
betting on a future beauty
the contradiction of the joys.

Sorcery miasma extended a trail.
That we have been. That will be.
What we see and gangrene, which admitted
palabrones lime. Ceremony
faded again and forever. Trailer
relieving the duties of eternity.

Time Travel In Poptropica



The order of the branches
(2004)
Any conversation begins with a lie


Adrienne Rich

"There is a God that lies in the realm of hard wheat. We never required. Love the "I invoke
fled for addiction. We are afflicted offspring, a mop-rot language
- Assurances that not enough?



"The austerity of the words that I pronounce today will eventually scare you away. I can only correct me in disappointment
"If you're close to that silence would be useless to pretend
-sacrifice. We throw without understanding the primal nakedness, retaliation of certain withdrawals



duty -passion to continue, the duty of the word, the derision
- So many?
"So many and many more, on pain of that beauty back to its inhospitable flows, which the beasts of carrion
learn


" We went to virtue. Morons Domenico word for boasting of what happens in vain
"The worst is to be dignified and devoid of foundation
-Vertebrates in disgust. Sufficient rigor both



"I give you back the grip rests
- And sleep forever on the cot of my poison? "So I met

- May intemperance whisper me, I cover the impudence! I will be diligent and treacherous herald, neat sink when words



- What stage has staked the fatigue? Crumb What will bring it home? Is it you who defends the sound of the words tanned? Do you of ignorance?
"I wanted to carry the imperceptible: phrases that matured by dint of ignition. Nothing like your insolence, insult your thirst for



-centuries with his eyes wandered to the land constrained, gripped by a strange ordeal. My loneliness was marked by gestures, name calling, contempt
- Why sink in front of me? "If I rebelled
is

match

- Who is behind a mass of muscles patched by hatred? Who fired from rooftops assuming that the distance should be embedded by the fog? Who transposes the grammar of aberrations? Who in this terredad?
"And to me, your another bite, who saves me from the commandments, who I splinter the face so that street?



- I, I curse and falls, to twist the course of an ant to see it go crazy, I attest that there are words flooded in fog flags as magnolias gasping at the margins of the common misfortune
- Your nonsense?



"Speak your hunger, the spread
" I forgot how to lie
"Speak, if you can, bleed the
- And say that I insisted, who now runs a home for vultures? "Much more

" I forgot how it violates the transparency



"If only encouragement to stay-would estimate defect
windows as if it were the season
arrogance, you will say that there comes the grim
"I aspire to the wickedness that give the windows closed, the rusted gates
-The worst of it-The human

Baby Birth Congratulation Message



Health
(2002)
Try to enter the death with open eyes

Marguerite Yourcenar


the family waits on the line
in the womb groomed
of an emergency room

expected plaintive string

then disarm as many days
pain
brewing stubborn

pain and sick to die
no better or despair




the dying
calls us to recapitulate his life as it is forced


to breathe himself up to his confession
is second hand

no will to hide certain loyalties

in the vastness of goodbye
truth is always a scandal



if the patient comes from his closure
know that there leggy nurses
that summer raged with burns
clean it is still wise to seek a drink and think


grotesque ceremonies if it comes back

if if you want to encourage

we will fall from the sky


perhaps quieter fill awkward


hope I can talk to

less robust confusion contemplate the world on fire

to keep to his resurrection



comes to the tremendous sadness


still in the back snoring can be emitted dense



nothing matters all the same make love with the doctor

wheezing saline drinking chest of
overwhelmed

seems that a whirl head part you
and returning to the familiar paraphernalia has changed forever


the world can be another
with just whistle a sonata

and above that
-as if it were not sometimes laugh-
stool remains a humiliating air that exudes comfort




splendid hero the agonizing torture
underpins its strength potions

for dark solstice retraces his intoxication
for

bribing foreign visit as prime


secretaries visit him as a priest visiting a rabbi



fuck all
answers from a narrow sandy imperfect
jubilant
lie far from the Eden

all languor
makes it easy grin

arrogance


the patient's heart pump with parsimony


ours arrhythmias succumbed to the scorching sun

summer traffic on Friday committed

words



soul if there is paradise transitional health


a day meat

supports and one day just
to

claudique

the family expects a tightrope
more united than ever
more rotten than before

his memory will be the wrong

at their parties will
nitrate
remember some quietly allowed
as he repents



much diminished now consider

recognize their strengths
just what was never was good


honorable charitable

-added using a chronology embarrassing

discourages the triviality of the moment

all sentimentality is as repugnant
hope was shortly before
as it will then

nostalgia


end up face down any furor unforgettable

with foliage combined in a minimum of daring past


" Who will restore the days
denied?

how
break out the hard exile?



the family waits on the line
the verdict hematologic
respiratory width
count
hopes



disease is the finding lewd

of those who fear the holiday
contortion of scrambling days sweetish

breeze deserved the stinging

to perfection



not always
hospitals are captive animals
gagged kingdom

treacherous rescue for many it is a haven where they accumulate cracks




operating rooms are a sermon in that landscape

unfortunate condition comprising

is entered with the same horizontal body
atrinca death that comes out


Eye
toning on some under some little truth

renewing the thrill


the road between the family and the viscous
site is a very slow midnight
a hint of stubbornness
a luxury that conspires



blood feeds
of ill omens

is
salt river sky
earthy word that wrestles with the useless
record

sunrises if I only knew the weak
the log that will fly the cliffs
punish him if I


hated only


flee and even soothes
the dying

ever wanted to believe in dragons
Cyclops that

acorralarían in silence but knows there is no language
depopulated absurd how many joys


be dormant now repent

squanders his bed moaning now


comprises the excess of her amazement



the family resists the tightrope

no longer in doubt
or variation of fear

not tear or

trembling shoulders sunken

its warmth modesty reached
the beautiful face of those who surrender

then take comfort in forgetfulness

was never waiting in vain

the home burn on the forehead but
will be slight

Which Wwe Diva Has The Biggest Boobs




Eve (2000)
Miro camera.
My smile is made of salt. A salt
where I stand.

Raymond Carver


I become ceremonious
have left to interest
noises the silence of the other

prefer a glass hanging around my house without breakfast unfinished

brag about it to be quite lonely
quite old after all

even without sufficient gait perhaps

Furthermore

mood recovers

for now I do not aspire to more routine
my unmade bed and reassembled
a certain exuberance that leads to closed windows
the bite of salt
harassed me to brush my teeth begging
after many days
ceremonies too many closures




if left
a man only after and eternity


fixed in its minimum condition


discarded if
never stay for more postponed the trip
the

shatters if there is infinite and we saw we
and explain to me the secret
just keeps lighting and just full of bull


if there
and could get away

not want to snuggle up only one without words


A Miguel Angel Campos




have been uncertain
sinful strife have led to that terrible fear dislodged


have
fifty-four years to complete just half

jumps I have been assigned to be famous



even venerable but have not encountered a few bleeding
morning but did not get


never get turned thirty fifty


seventy years may be horrendous mock




on the eve of any important event
except anger and my deserts

defend his teeth to escape the permit in case I get bored
lack the journey amended

spoken with many shying

insist my applause
the delay that crumb

expected symptoms of a rash heat back



I use make up by black sandals and chew on film

seems to me to go dry


dismembered rock or male dress



enough fist

enjoyment
downplaying everything came
everything was strange word now


that contained my weakness

ways to hurry and have




something
revenge on climate
my body and unnecessary habit
tribal sight close

begins
gloating extract anything worth anything


laziness travels I do not want to go out to fetch the salt
a border

seduce me
the austerity of my room finally
bats crack the tub
that warm surge the three p.m.

but the sensitivity is high
a negligible possibility
prefer hardened me haggard

shower contempt



lost the rigor of the flight

just say when godliness is bone


say a little more time performing there with the brash but only


have the courage to look for the only window that gives
south
and tremble for blood
fit us all for mourning


then it may hold delays



words fall to be grumpy gate
reduced membership



a river walk along the river
be


through the same face


be fairly sane at least bearable


silent night

Emblem Guild Ragnarok



Trastienda
(1991 )
ends up becoming a
in what I hate most

Juan Gustavo Cobo Borda


one likes to lie down on any attempt

best known


particular universe sky

unhappy then get elected


the keys offer
air


give an appointment within

fled into


virgin said to touch the unknown


peek

vigil ceremony blows

longed for revenge

merit even if we drop the soul

us

forever pursue
understand
for decency
what hurts most

devour until the scandal
sensed reckless
beds
end
hopelessly




belong to the other side of the knife
to the memory of certain modesty


my trip is the fiend
drunkenness
wound

prepared meat
check

the gods speak




by those words hung hunger I

of broken decks
night




not talk about escapes
because I get them back


intact native
disaster
not know


skin in all, water gate





because my house

good clothes
presence distracted

desirable corners

hold anyone to repent

this kind of dialogue

nothing




terrestrial mine offices



naked stroking the other

repeat the things I love and hate





you end up loving the nuisance


bodies we are called saints or whores


try
low ceilings tribute


carelessness of the unspeakable

Adderall Legal Alternatives



family Masks
(1991)

And we get out from under our beds
our family larger masks
Saint-John Perse



someone must keep my folly

be

stem from none will be chosen




no questions only you become nausea




to the outside
patience inherit my loneliness


a destination you grant them shamelessly


school learn to multiply gains
maps

expect above all learn to surrender



'll

last enemy

grandparents believe in banks
eaten away by hatred

nothing will be more absurd than our past



wanted
promise less desolate land

a house without puddles

my crusts break your I breed you
future prince Lord of powerful desert


sadness in you will be forever moaning




doubt if ever

embark
by insomniac delirium
route to remember that I fought to banish you for making me a belly
unbroken



name you

to domesticate a time that we relieve



my efforts will be useless
nights will
sharp blows the absence

bitter about the wrinkles out of bed


speak of lies countries massacred by the sweetness and talk



speak to

apologize but I do not think




your mother will be very lonely woman
of those who read not to die



walk around the house to learn that your body will not hold more joys

your breasts will swell when


halftime that ended the life

Washington Dc Travestis



A city force
(1990)
Because desire is a question whose
nobody knows response

Luis Cernuda
belong

a race of women are destroyed



midnight voices torn
profiles suggest


are they the ones with the sad reputation

of abandoning the fall


those who know them

times
appointed need not be exhausted



forget



with many roots

calling from your body still intact
waiting


challenge

tell me

traffic

fire cracks
deserved

keeping me

back near my name

interrupted many times by strangers without mission

with traces of water on the hands and those crazy

that empire behind me



those who were busted

image in

shore corridor that leads to start





broken in the beginning
landless
no one who follows me to the only door

pierced the skin



anyway needed
grow without encountering
ask the heavens
another land



express my views

otherwise go for the low


always collecting water outside


hurt your cattle

invaded me full of



River
without
homeless or patio to wait





there is a time of hope and high streets

a man

a dream an angel to write


always in the wood of desire



in the farthest corners of what I can not say




one woman shadow intended

that as I repeated their faces


cracks in a street with no name

resist

to lie to make us good
the tree just hang

fear and desire as no one asks

when we left holding the eyes
roots
started the return



allow strangers to guess what stops us



this
call him escape

but I insist that hurts

what scares
wound is not closed on the table
or the womb of a virgin
amazed

talk about rocking and dropping the desire to throw a


complete with
body language with a country going through gender
invalid nicknames

without admitting improper matters


clings to these walls sustained in the flesh to force city

Gay Cruising Areas Mornington Peninsula




Luba (1988)
Strange unaccustomed
the time I was born.
not exercise more Strange
craft newcomer.

Pizarnik



I took his inheritance
age
bankrupt sad abandonment trades

their dead

II

more drunk and more alone suffering
travel distances incomplete
not resist another street
his fist burning home exhausted



III
corridors dialog
day following memory
am


IV
almost stops time in that house
naming
quietly bit by a moan of gases
a difficult morning


V
the long border and crossed naked

that his memory
homeland

late night

VI
not speak of the first windows to bare his fatigue


for it is all rubble
chosen time


VII
change of shade
to force me to have an inheritance
that is only part of the body times

always trying to piggyback one second sleepless

stay elsewhere


VIII changed
a border village girls hiding

desire in their long skirts

a little shade a little scary


and Luba trapped in a beautiful portrait
single



forever

IX came from far


dragged his eyes leak and losing fur


X
looking
time that the land belonged to

carried away by a lip another
surprised at his eternity


XI hits

looks and cries


painful wounds moist space to breathe


XII
up the old chandelier

repeating the prayers of our parties most feared

sinks on his forehead
the bitter shame of having been a strange site
wall of glory
ash



XIII
understand that this insomnia
invented across the world

those houses back waiting for another death who do not support


XIV
arrested in doors
fearsome
expected a letter challenging his eternity




XV
try to remember tonight


shadows fall will open the clutter in the bite of his birds will be happy


sorry


XVI
hurt this desire mourning dawn

feather picking in courtyards outside


desire to be her seventeenth




anywhere near or on my tongue
consummate the sins of their history

do to force me to dwell
where no one goes and I

monitors an eyelid
a mountain of salt
woman


XVIII
scares me Bloodwood
frightening spirits

unspeakable sentence of memory



membership
XIX
their officiant am Prowler Saturday

fire is not afraid or cry
travel

walk along shaded roofs
nightmares can not stop my word I'm

of scar scar
looking for something that hurts us


XX
portraits in my flesh
pursue some of that age we used discrete
seem all fine


the only spot left by the desire

used to support any war in the most terrible
most beloved



XXI
sound far
father's footsteps that he saw her lying back

ocean for not attending
to fatal drunken


XXII
approached me

painful tongue amassed a speech to foreign ports
abandoned houses on the edge of the sensed



XXIII is a site tied to his flesh trembling
site
and women happy where anything reminds




XXIV assists
Luba to stop what I am


roots again suffers

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In all places, under all the signs
(1987)


must
count slowly to return the body founded

of clay might arise
hand corner above the breasts covered


water
announcing dates conducive to distance

but we never do

is then easier to be other

Heartaches And Heart Disease



In one center
(1986)


unwind
tunnels back
to creak early


random knots made


blow me now I'm in your palm
extend in precipitation
of

the last moment of fall always




come a

wall with four shadows

the window is the door

its abyss
eye

enter and leave with challenges


dreams stuck to step


might expect to renew the sunset

dance that incites debris




in all places


under all signs


his face grow
Extended


no right to speak out to repeating






you are running away from your old hand


leave behind the word straight
gesture re not




'm in offal of
bird

embarked on a dream of moons of sulfur

nightfall
-gentle on the back-
creates
sphinxes in column one step

snuggles me cry based on

How Much Does A License Renewal Cost In Ohio



Thirty missing soles
(1985)



origin to the center column
only

thirty thirty thirty soles harpies


missing after
moon exploded in my face then nothing


consumed in your face




TRANSLATIONS

CATALAN

(Peter Twin Selection and translation)


the book Luba

XIII
Alces
old candlestick
Repeating the prayers of our parties

most feared

Afon
your face

the bitter stench of having been a strange

Siege of glory

Wall

Ash


XIV
One
is transiting
We are the same places

future nightmares
Cuts
an ocean

stops in the mouth


XXIII
'm officiating
their fire Saturday
saltamàrgens
s'esglaia
not call or in shadow
Travel
Recórrec
ceilings
their nightmares
My word
fails to stop's
I
scar
in scar
Looking for something
we hurt


the book Masks family

IV wanted
promise

desolate lands within a home without basal

my scabs cracked your future
t'engendraré
desert princes and mighty lord of sorrows

you remain in doubt moaning centuries



IX
this is My certainty
my escape

delirium
bodies that tamed the dagger


your blood empouada

the time inlassable

back to the masks
family


XII
you I shall wear the site
my failures


see nothing there there will be nothing but

entenders



ENGLISH


Miami Beach Sunstroke

(translation and selection of Guillermo Parra)

Poet and critic Harry Almela Discusses Jacqueline Goldberg's collection sunburn in Miami Beach (Caracas: Fondo Editorial Fundarte, 1995) in the essay "A plea for disappointment"
" sunburn in Miami Beach marks a point of departure in her work. It is Perhaps one of the MOST Venezuelan important collections of poetry of That Decade, Despit That the Overwhelming silence accompanied its publication. Firstly, and from the point of view of the development of Goldberg's poetics, this book represents a deepening of a secular vision of family habits and of the banalization of bourgeois themes. Secondly, within this collection one can find, in all of its crudity, the routines and tastes of a middle class that was very prominent during the last two decades. This is a middle class fascinated by its ascent and by the access to consumer goods that mark and determine its members. These goods are usually characterized by poor taste and occasionally border on kitsch. At times, these poems remind us of Robert Altman's film, Three Women. In this book, there's also an amplification of Goldberg's poetic vocabulary which, from this point on, employs Words That Are Often Avoided by poets, Because of Their sound whether or Because of What They signify. The use of everyday language Characterized That this generation of poets this depends on amplification of common words
[...]." The collection is made up of 24 untitled poems, from Which I Have the Following eight selected for translation. Goldberg's book opens with an epigraph by Sam Shepard: "The people here / has become / the people / who pretends to be."

(1)
the balcony is a chunk of Collins Avenue to view


Reduced to extremes no one notices

lunch
DURING ITS
we watch
blend of bathing suits we've got towels

tuna sandwiches Diet Coke

we pause at the dry shot
of an airplane over the bay


(2)
the blonde ladies
shop at Bay Harbor

they choose silk scarves
they'll wear for less than two hours

the shoes are made from Italian leather
the hats brought over from dear England

the Victoria's Secret babydolls
aqua green fuscia black
cost as much
as popcorn tons


(3)
Mr. Jones guards entrances and exits

no other name will do
--for an English course protagonist
worthy of that role--

Mr. Jones is a guachman
ripit egein

Mr. Jones
and his shifts as a doorman
listens bearer of old corpses
maker of strokes and deals
artificial respirator

Mr. Jones-glassdoor

single entrance


(4)
Isaac Baschevitz Singer
spent winters
in the Surfside Tower

we'd see him at his window
two floors down
in checkered shorts and a T-shirt

a nurse
pushed his walker
on certain stretches of the beach

at the time, I couldn't have guessed
that the Nobel laureate chewed gum
and no longer wrote


(5)
Benjamín blew out the seven candles
on a shrivelled apple pie

he denied the necessity of gifts
he serenely accepted the meager party

but he still ended up crying

now I think about the dread
of a McDonald's birthday
of an unbearable and sloppy hug
from grandma
two aunts
three cousins
and five waiters


(6)
uncle Morris died in Manhattan
near the river and the bridges

he chose the casket himself
planned out his final migration

he settled everything
so we could sustain
our weeping as long as needed

weep for him
only a while

because he also insured
future family disputes

his only legacy left to the river and the bridges
hospital window vision

so near the river and the bridges


(7)
my grandmother said she had been
to the Moulin Rouge
and to the Copacabana

also to the Teatro Baralt
when Gardel unveiled
El día que me quieras

she recalled Miami's beaches
as languid pools
at the shores of a shore
without window grown hotels
without so many entrenched old people

she saw herself
inventing scenes
drinking beer
in honor of no one else


(8)
heating up pizza in a microwave at midnight
is a bad omen

boiling water in a bronze baby bottle
weighs the bitter moments

spying on the fat neighbor between shades
warms the ghosts

writing just because
for pure lies
churns the guts
draws smoke
kills the good plague


The Poetics of Jacqueline Goldberg  

By Francisco Javier Pérez

The title announces the disturbance. Attractive and terrible, Verbos predadores (Editorial Equinoccio, Universidad Simón Bolívar/Editorial Boker, 2006), a book of books the gathers all the poetry published by the writer between 1986 and 2006, wants to be seen as a summary of a poetry and poetics achieved in tune with the best of Venezuelan literature today. One and the other, poetics and poetry, consistently run through the pages of this work of high caliber and voracious spirit. The collection that gives the book its title, Verbos predadores [Predatory Verbs], the latest of her work and written with conclusions, announces the metabolic edge of a poetry that exists at the limits of many digestions conquered with bites by words that devour all the securities of happiness and ruminate all their implacable desperation.

Five texts with identical syntagma announce a guide for the laconic and sublime method of understanding poetry and invoking a personal epistemology; a form that sees the world by means of forms. Given all the risks, this poetry theorizes convinced and pleased within an unquestionable knowledge, harvested by a pain recuperated “so that the book might grow within the book.” The poem is a structure that dictates misfortunes that create riddles and dense cavities of the spirit’s maps. The poem’s calligraphy traces the scribe’s diction, which is nothing more than an illegible “boreal invalidity,” possible only with the help of others who allow spelling to arise. The poet recognizes that she writes carried by tremors and that with them she is able to gain height with severity and insolence.

The scientific eye arrives at the unseen (“I never saw saffron plots, / nor their bastard complaints”), at the colors of the oracle (“Augury is redder than blindness”), at the poverty of manuals (“they never warn / of the outcome of the accused when the sky clears”) and the fascination with false names (that “twist a world without favors”). Theory proceeds to assess books of poetry as entities that “don’t cease,” “don’t lead” and “don’t bring about.” Each book of poetry is, effectively, a “jumble of tensions” and “the tribe’s exhausted field of stones.”

Born to loot, this poetics of acknowledgment now boasts of having sown the poems and that they will always be an escape forged in the waist and not in the feet, “as the forsaken believe.” The poem is an unhappy, deserting beast that is always passing through. “In the end the most horrible stories choose themselves / and a precipice flows from hesitation,” she prays at the entrance to the final poetics. “This is how the other pours itself into us: / from anguish to comfort,” seems to be the kind coda. “Identity is found in the book’s coat, / not in arguments, / nor in lean antonyms / we undress of their future or their tiredness” and, again, the animal book is recognized by its coat.

The bloody mission accomplished and worn out, will there be any salvation left for the word, since it is verbs that prey on existence? Here we have a poetry that doesn’t believe in renouncing life in the poem and that denies the postponement of suffering behind aesthetics. The hour of agony has arrived and this Reminds us magnificent poetry Without Contemplations. Its goal is to announce the carnivorous truth.

El Nacional , 21 July 2008


How To Put Images To Pivot

Jacqueline Goldberg TO CRITICISM

Poetry and Its Double

By Luis Moreno Villamediana

review seems inevitable predators Verbs (London: Equinox / Universidad Simón Bolívar, 2007) as an exercise in reversals and advances. In this context, the word Exercise does not have to do with a desired skill but with sheer flutter: what Jacqueline Goldberg is interested in the complex itinerary, globe and their inaccuracies, and not mere compliance or closure. Read the author's statements at the beginning of the book deal is only one possibility, "because I defend the poem as process, as a look that only from this is able to decipher the last voice, I present my books is based on the most recently hitherto unpublished, completed in 2006 and the title of this volume-to the original, published in 1986 "(14). This walk is unambiguous and perhaps inconvenient, it is based on an equation biased: the poetic and autobiographical gloss. This retrospective elucidation has, however, one advantage: it shows that at all times the personal is unstable. Abide by Jacqueline Goldberg proposed process involves, therefore, a first shock, to disrupt the order of presentation of his books, for whatever reason, and we are told that the chronology is not an absolute value, that genealogy can be admitted only as movable thesis. After such acceptance is not a distemper verbs indicate that predators actually claimed the procedure was called "a system boustrophedon continually appeals to exchange the cover and colophon; finally, it passed.

In this reading project, an imaginary midpoint is as good as any dimension. Of the thirteen books of poetry by Jacqueline Goldberg, Trastienda (1991) is the number seven, of the twenty-five poems of that work, this is the number thirteen: I GET THIRSTY




looking a bit sad maybe a bolero
(247)


numerological superstition is less important here than grammar. Unlike other texts on these lines as soon as it is not default. In the early books of Goldberg, in many cases you may feel that what seems contention is, rather, legerdemain: what is absent is not really a suspicion of confusing and endless universe, but the profession of literature retracted. In the above lines is a narrative: they manage to guess the heartbreak and without hesitation to face the details of a story. There is also a symmetry in the verses and a confrontation of contents at the beginning, the security of desire and distress, then, the hesitation before the remedy. In the final adverb meets a principle of writing.

What can be reviewed after that milestone, in either direction, perhaps confirms some insights. In Luba (1988), the migration path is declared incomplete and her grandmother is a strange Goldberg whose heritage has been truncated. In verbal fragments simultaneously vital and it becomes apparent what it is, with all of its shadow and fear. In Health (2002), the bias is organic: the body is an imperfect machine, disposable, punishable, its decomposition is the best sign of a poetics that resists the simple efficiency or simple beauty. In family Masks (1991), the future is the repetition of the folly and despair, and last, a simulation absurd the moment in the right half is a critical stage, utopia made by the spoof of illusion and nostalgia. What came before is configured as a legend indifferent, what will happen can be a matter for personal revenge, taking the place of its own founding myth. This defines the work of Goldberg predation.

In books such as Autopsy and Verbs predators, both of 2006, the body and its fragility is the origin of "the resonances and babbling." Artaud's expression: with it summarizes some trace elements to the theater as a spectacle of a temptation. The will of Jacqueline Goldberg is no different in the pages of these poems. The anatomy and text are for her fever scene: "Suddenly the mouth of the poet larvae curdles" (21). In several poems, even the title, "Poetics", what we read is just the count of certain cruelty suffered or favored: the ferocity of exile and orphanhood, gloom and repudiation, of the brief poem. These lines are more apparent abundance of all the scores, working with nature while developing and slope. What defines these books is, therefore, the double sign of body and corruption poetry and sublimity. As a good illustration pages Autopsy know how to combine the news story and the Old Testament. The impurity advocated by the ancient wisdom is to compensate for more recent events: on the one hand we read the story of women who lived for several days with the corpse of his brother. In that compromise can be abbreviated temptation, accepted the work of Goldberg.

I think the depth of Verbs predators, both as a single volume collection of books, is that advocacy of literary and somatic hesitation. Somehow, in your space is restored to ruin their educational objectives, the promotion of building energy negative: "Any destruction is touching, even one that sleeps in the trees and devastates the honorable station of lightning", we find a apart from the order of the branches (110). What emerges here is ironically, perhaps the force of his own defection. What Goldberg may have left Jacqueline becomes set: a meticulous plan of what it returns. If you read from cover to cover, if we start from the center and stayed, if we reverse any plan chosen, every time we come to the oxymoron of poetry that is exposed is disappearing, "a rumor in language" (55). For several years now, Jacqueline Goldberg pointed out "the green of annihilation", the fertility of any catastrophe, even their own: have there dignity.

Published http://500ejemplares.blogspot.com



words about words

Jacqueline Goldberg's poetic

For Javier Perez Franciscpo

The title opens the disturbance . Attractive and terrible predators Verbs (Equinox Publishing, University Simón Bolívar / Editorial Boker, 2006), a book of books that gathers all the poetry published by the writer from 1986 to 2006, wants to be seen as the sum of poetry and reached for a poetic tune with the best of this Venezuelan literature. Over and over, poetics and poetry, are in persistence in the pages of this work high tessitura and voracious spirit. The book's title to the book, Verbs predators, the last of the letters and written Finally, he announced the limited metabolism of a poetry that is at the limit of many digestions won a bite of words that devour all the assurances of happiness and cud all their unrelenting despair.

Five identical texts guiatura phrase to announce a parka and sublime poetry management to understand and invoke their personal epistemology, a how he sees the world through forms. Given all the risks, this poetry theorizes convinced and find solace in a unquestionable, harvested by pain recovered "for the book to grow in the book." The poem is a structure that dictates woes puzzle makers and dense pockets of the mind map. The calligraphy of the poem imitates the diction of the type that is just an unreadable "disability lights", only possible with the help of others who favor the spelling. The poet acknowledges that writing led by tremors and rallied them with austerity and insolence.

The scientific eye turns into the unseen ("I never saw crops of saffron, / no complaints bastard "), in the colors of the oracle (" More red is the omen that blindness "), in the weakness of the manual (" never warn / the outcome of a defendant when it clears ") and the fascination false names ("twisted a world without favors"). The theory goes to value books of poetry as entities that "do not stop", "no lead" and "not conducive". Each book of poetry is, in effect, "bundle of twitches" and "stony Haggard of the tribe."

born to prey, this poetic recognition now boasts of having plowed the poems and that these are always a forged flight at the waist and not feet, "as they think the abandoned. "The poem is an unfortunate beast deserter who is always in step." Finally the most horrific stories are opting / mana and a precipice of hesitation, "reads the porch of the final poetic." So pour another in us / of anguish to the play "seems to be the gentle coda." Identity is in the fur of the book, / no arguments, / or antonyms lean / to undress or tired-looking "and again The book is recognized by animal fur.

Mission Accomplished bloody and exhausted, "will be salvation by the word, since verbs are those who prey existence? Here is a poetry disbelievers in the renunciation of life in the poem, which denies the postponement of suffering following the aesthetics. The hour of death has arrived and is wonderful poetry reminds us mercilessly. Carnivorous proclaim the truth is your goal.

Posted in El Nacional, July 21, 2008




A tongue in
rumor
(text book launch, held on July 3, 2007)

By Gina Alessandra Saraceni


A work meeting is not a complete work: Open is a journey that traces "the time of writing" an author, which indicates the crystallization and transformations of this writing, while their faults and promise, of what is waiting to be written.

A work meeting is also an autobiography of himself, of his being in-work and its work done: continuum that does not aspire to an end but the movement and left open the search space of the word, they do a word for a future place unfinished. Verbs

predators (20061986) meets the poetic works of Jacqueline Goldberg from his latest collection of poems which is published here for the first time and gives the title to set up the first written twenty years ago. This is a write your own book Archaeology and invites the reader to take the slow walk of a poetic work through a retrospective movement, reading back that crosses the body of writing from its most recent voice to its first babbling.

recounting his genealogy work and risk to show the continuities, obsessions, findings that weave the fabric of its history book that rewrites itself through an inverted way forward from the present into the past as if to retrace Road construction was a way of looking at itself through a "rear vision" can capture what at the time could not see, so only the future can reveal. Read

Jacqueline Goldberg's work as the reverse path involves tracking the different layers that form the strata that its derivatives have been created, and aims not only to read but also backward read inwards towards the inside of poem, to its body bone is missing, the fault that every poem is trying to say.

back inside, genealogy and archeology form an undecidable simultaneous calls us to enter into this volume to explore the poetic memory of one of the strongest voices and prolific of the new generation of Venezuelan poets.

chronological choosing investment as a way of ordering his poetry, he risks moving backward, to subvert the idea of \u200b\u200bprogress that all work is collected or complete, and propose the retrospection, rewriting, excavation as another way to return to his own poetic memory and look critically . Verbs

predators is also the story of a voice and that voice learns how to speak multiple languages \u200b\u200bthat are articulated in each book of poems for mixing, include, combined, betray. Voice

outsider who experiences different discursive registers, which explores different topics, the origin, the family, the uprooting of bourgeois culture, motherhood, loving relationship, sickness, death, daily life, among others, is not met, saying "I"-although many of the works set out from the first person singular, but you need to assume the debt with the "we" that made it. Voice

declaring at fault and that is built from the lack but no pleasure or delight in her nakedness, existential, cultural, emotional, "does not appeal to lack and" the ultimate weather "to justify their inadequacies and orphans, but rather lies in the incomplete and precarious, as is reluctant to stay, a challenge.

There is no regret or resignation to the uncertainty and the failure to make reality and being, nor frustration at not achieving the fullness of the song. "Groping" is to Goldberg a way of speaking, "wandering", a form of writing ("the wandering is in the poem that rumination unhappy"), "tremor", a way to defy common sense places ("... if you do not shake

not write .... ") The poem is always in step "as well as the poetic self that seeks the roots of his blood to show their dissatisfaction with the family and cultural-heritage-that is. "I start half," says this voice that recognizes the inter-site space and its niche: being "between" things, to inhabit the "between" the language implies a resistance the totalizing narrative that closes on itself with the aim of revealing a truth, also a permanent resistance to a state of satisfaction and fulfillment. Goldberg debunks

traps and rituals that "hold" the individual roles and conventions that make "being" denied, deconstructs, suspicious of certainties and truths that constitute us and our complicity with those beliefs and values \u200b\u200bthat we ensure a place: "In the road of life everything should be denied / to stay", recognizes the inadequacy of language to translate the reality and not surrender to this limit, but rather, it takes to learn to speak another Therefore, every time.

His is a poetic inadequacies and dissatisfaction: here the mother, daughter, granddaughter, lover, writer, women, foreign, will look at themselves with watchful eye, capture the breaking point, the tear that through the building they inhabit, are known for paying an inheritance and try to respond to the responsibility that this legacy requires showing the need to question and assume a critical way.

In this sense, the work of Goldberg interacts closely with other voices of Venezuelan contemporary poetry as Yolanda Pantin, Martha Kornblith, Carmen Green, Beverly Rego Pérez, Gabriela Kizer and draws an unexpected connection with poets as Vicente Gerbasi and Antonia Palacios.

His poetry challenges us from different places and spaces, shows how "writing ameliorates the true findings", how his spots and failures question the transparency of language ("Poems bore / with its morass of final infamy"), how "thirst" and "desert", disease and weather conditions are more critical to gain experience of self and a word with which the subject is named. Verbs approaching predators is then simultaneously read all the poems of Jacqueline Goldberg and read a new book that rewrites the past to give them another life, to show that the "repetition" of the word, returning from a writing his memory there is a finding: find the openness of the past and its works, its potential unprecedented and unexpected that shows how the sense of the poetic word is still true.


Paper Published Literature, El Nacional, July 7, 2007


Verbs predators

Jason Maldonado

One of the key words I can think of to refer to the poetics of Jacqueline Goldberg is "forceful" and the inevitable question how it is possible to achieve such forcefulness with this soon so overwhelming. I always knew who he was, his books and so on, but who knows why I had never read. I got my hands Verbs predators (courtesy of Equinox Publishing which is doing a fantastic job) and I've fallen in love with a poetic one, and I dare say unattainable. I was lucky in recent days to talk to her for a while and told her personally how it was I may have lost all this time off from work ...

In any case and out of the story, the forcefulness with which I mean his work will take turns in various emotions ranging semantic from those produced by exile, to indifference, from death to life fatua, the painful love of a mother: How to explain to the child just come from the flow / that death is a muscle exercised without utensils, says in his poem " Guardian's Office "to the painful love of a woman: IF THERE WILL BE A MAN / one only after / and eternity, says in his book Eve.

Various feelings are covering all the poetry in this anthology Goldberg has the advantage of seeing the intersection of emotion over all the books present, where even the future is an understatement curse / which we gather ourselves, as stated in "Quagmire."

In a book to another the word carried in his poetry is accurate and at no time is hazardous in any his verses. His poetic voice is clear, direct and reiterated in his capacity as speaker voice. One I highly intimate, lonely and remote that it is not surprising, seen from a distance up to grace: I had beautiful breasts / to swing / inflamed as a miracle ... I had / to tell the truth / treasures adverse / no longer strange. Treasures of youth in the recent past are not forgotten and transmutes the sublime essence of his pleasure in sadness, until very recently / dug graves in strategic spots on my skin ... in my fingers / sticks bold / then aged the sad dare / to call the touch.

In the poem "The gift or the bat," the poet says that "the poems drill" and it's just that what Jacqueline Goldberg through her lyrics, is a constant in his work, a drill that makes you think and feel to the delight of the reader. A poem also seems self in its own immanence correspond to what they transmit, as is well noted in the following verses of "Poetics": The rancid is the poem that rumination unhappy. / And the poem, beyond, / beast glazed guess defector, is always in step. Poetry as a passing phase but a footprint Despite the indelible "vidriocidad" and it is just that, the game of words and the verse is in a constant limit, a border that could mean this or that, be happy or sad at the same time be a " Guess deserter "factual or fact.

are many topics that we find in Verbs predators, disease and family, nostalgia and disgust, but certainly all handled with consummate skill in word surprised by the peculiar brevity of a haiku. Jacqueline Goldberg in one of his poems says talk of a / Ashamed ... and that / it sucks, but I do not know what you think when others speak louder than her on her work. The least I can do is reiterate my admiration for the encounter with his poetry and close with one of his poems.

OFTEN SHOULD bathe

to wear

crossed places

by language

say

sudo nightmares

I do not exist

I regret

but I do not regret


Librería Sónica: Marzo del 2009.

http://palabrasyescombros.blogspot.com/2009/03/verbos-predadores.html


De una entrevista a Enrique Vila-Matas

El grupo de Facebook "Leyendo a Enrique Vila- Matas" hizo en 2009 una entrevista en línea al escritor español. Y en ella nombra a varios poetas venezolanos, incluida Goldberg:

G. - understand that you have read and personally known to Venezuelans as Ednodio Quintero writers and Victoria di Stefano. On one occasion has recognized the literary value of his works. I wonder if you have had opportunity to read other current Venezuelan writers and what-have it your opinion, of its jobs?

EVM. Rafael Cadenas, Luis Moreno Villamediana, Antonio López Ortega, Ana Teresa Torres, Alberto Barrera Tyszka, José Balza, Olivar Norberto José, Lidia Salas, Daniel Centeno, Jacqueline Goldberg, Juan Carlos Méndez, Edgar Borges are some of the Venezuelan authors have read with great interest. It was, moreover, a great admirer of Eugenio Montejo. Great poet, no doubt. As great as chains, of course. And as Luis Enrique Belmonte, a young genius. Already disappeared, Oswaldo Trejo, Pedro Berroeta, Adriano González León, were tried and writers who once impressed me literally, for several reasons.

The full interview.