The Violent Foam, Vol. 1
The Violent Foam includes selections from Zamora's previous acclaimed books and poems written since 1993. About her earlier book, Clean Slate, MultiCultural Review noted "Zamora was shaped by revolution and gender, but her voice is true and universal, transcending political boundaries and sounding clear notes of sanity in times of madness." Her new poems, beautifully translated by the poet George Evans, continue her lyrical, clear-sighted vision of the world with humor and gentle irony.\...
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The Violent Foam includes selections from Zamora's previous acclaimed books and poems written since 1993. About her earlier book, Clean Slate, MultiCultural Review noted "Zamora was shaped by revolution and gender, but her voice is true and universal, transcending political boundaries and sounding clear notes of sanity in times of madness." Her new poems, beautifully translated by the poet George Evans, continue her lyrical, clear-sighted vision of the world with humor and gentle irony.LASSIE (Autobiography)It's true. I was faithful.My one desire was to be pattedon the headby a disdainful hand.And happily wagging that tailI ran in circles, barked, and rolled aroundto welcome the master.
The Violent Foam\ New and Selected Poems\ \ \ By Daisy Zamora\ Translated by George Evans\ \ CURBSTONE PRESS\ Copyright © 2002 Daisy Zamora.\ Translation copyright © 2002 George Evans.\ All rights reserved.\ ISBN: 1880684888\ \ \ \ \ Excerpt\ \ \ A CADA QUIÉN LA VIDA\ \ \ A cada quién la vida le extrae un rostro.\ \ No hablo de pómulos,\ de narices rectas, ni de cejas, ni de ojos,\ ni de arrugas en la frente,\ ni de mejillas y párpados\ colgantes\ sino de aquello inocultable\ o irreparable por cirugías o afeites.\ \ Hablo de la miseria y el horror\ de la mezquindad y el gozo,\ de la crueldad o la conmiseración\ que vislumbramos —no sabemos cuándo—\ en el rostro del otro\ que sorpresivamente es nuestro rostro.\ \ \ FROM EACH ONE LIFE\ \ \ From each one life draws a face.\ \ I'm not talking about cheekbones,\ perfect noses, eyebrows, eyes,\ wrinkled foreheads\ sagging cheeks or\ eyelids\ but of what is impossible to hide\ or fix with surgery or make-up.\ \ I'm talking about the misery and horror\ meanness and joy,\ the cruelty or compassion\ we see, without warning,\ on someone else's face\ surprisingly our own.\ \ \ DAGUERROTIPO DE LA MADRE\ \ \ Todo lo entendiste perfectamente:\ la época, los límites, el lugar que ocupabas.\ \ Tu inteligencia se desperdició en minucias.\ Invertiste tu talento en administrar la despensa\ y organizar el servicio de la casa.\ Tu imaginación fue confinada a la vulgaridad\ de lo doméstico.\ \ ¡Cómo resistías con los labios cerrados\ y el llanto naufragaba antes de alcanzar tus ojos!\ \ Pero tu dignidad nutrió mi rebeldía,\ y tu silencio mi voluntad de hablar.\ \ \ DAGUERREOTYPE OF A MOTHER\ \ \ You understood everything perfectly:\ the epoch, the limits, your place.\ \ Your intelligence was wasted on petty details.\ You invested your talent in managing the pantry,\ organizing the household,\ your imagination confined\ to common housework.\ \ How you put up with it, kept your mouth shut,\ sank your tears before they surfaced!\ \ But your dignity nourished my rebellion,\ and your silence my will to speak out.\ \ \ OTILIA PLANCHADORA\ \ \ Al ritmo de la Sonora Matancera\ Otilia pringa la ropa,\ la dobla en grandes tinas de aluminio\ y no sé si baila o plancha\ \ "Los aretes que le faltan a la luna ..."\ Otilia los llevó puestos al baile\ \ (Ella tenía novio de bigotito.)\ \ Otilia, frutal y esquiva,\ entallada por el vestido\ bailó, bailó, hasta que se humedecieron\ oscuros sus sobacos entalcados.\ \ En la barraca del rondo\ —bodega de tabaco, cuarto de planchar,\ albergue del relente de las noches\ que refresca las tardes de verano—\ Otilia guarda su plancha.\ Sueña que Bienvenido Granda\ cantan para ella "Novia mía"\ mientras se pringa la cara con lágrimas.\ \ \ (Continues...) \ \ \ Excerpted from The Violent Foam by Daisy Zamora. Copyright © 2002 by Daisy Zamora. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. \ \ \ \
