The day after the party                                                                                                                     

The ocean’s blue diamond bends through
the blinds of your childhood room
a glass of warm water
rests on the little red table

     You said that your dad made it
like so many other artifacts, homemade inventions,
knick knacks
that today bloom like seedlings of sword ferns
                                from the damp of the earth

 Out of the corner of the window
      a gathering of spores tremble, sway without haste
till they die eclipsed by the summer sun

I confuse them with the remains
of ashes
that linger in the fire
                          of this burning city

It’s not yet noon in the Quinto Sector of Playa Ancha
             and the twittering of turtledoves, seagulls, thistles and
 egg sellers seeps
through the cracks in the hill

Out there, further still, you can hear
             the engine of a car speeding up the ravine
 the humming of your neighbor as she tidies up
 and the bolero on the radio singing

                                                     Soy tan pobre, ¿qué otra cosa puedo dar?

It’s Saturday morning and your bed
is an eye into the ocean
that blinks open to the day after the party.



Poems from Río herido

How do you write a name
that was born wounded,
before it was written
before the origin
of the letter?


The river is a voice
that won’t
keep quiet.
What opens
            in the language
                        of the waters? 


My dead 
are not history. 

They walk without tongues
howling
like replicas of the sign.

What good is it
to write you, if you disappear
into the page
into the current?


The words are no longer bones
but ghosts
buried in their mouth. 

A gathering of phonemes
that fold
under silence. 


The river submerges us
in the rolling of its waves.

I place stones in my pockets
to ensure the descent. 

In the vestige of the sign: 
we are born
from rage
from poverty 
from oblivion 
like moss on the banks of the river. 


The swamp 
announces itself
between the water
and the earth. 

Some roots sprout
with the audacity 
of an aphonic
gesture. 


On their wounded voyage
the elements 
dragged by the river create
deep and fertile plains.   


Daniela Catrileo is a writer, artist, activist, and professor of philosophy. She holds a Bachelor’s degree in Education from the Universidad Metropolitana de Ciencias de la Educación in Chile, a certification in Cultural Journalism, Editing and Book Criticism from the Universidad de Chile, and a Master’s degree in American Aesthetics from the Pontificia Universidad Católica de Chile. Her published works include Río herido (Edicola), Guerra florida (Del Aire), Piñen (Pez Espiral; Las Afueras), Las aguas dejaron de unirse a otras aguas (Pez Espiral), El territorio del viaje (Edicola), Todas quisimos ser el sol (Las Guachas) and Chilco (Seix Barral). She has received various awards for her work, including the Santiago Municipal Prize for Literature (2019), the award for Best Literary Work in the short story category from the Ministry of Cultures, Arts and Heritage of Chile (2020) and the first place prize for her audiovisual work Llekümün (2020) at Ax: Encounters of Indigenous and Afro Descendent Cultures from the National Cultural Heritage Service. She is a member of the Mapuche Rangiñtulewfü Collective and part of the editorial team for Yene, a digital magazine featuring art, writing, and critical thought from across Wallmapu and the Mapuche diaspora. She also co-directs Traytrayko, the Journal of Mapuche Literature.

Edith Adams is a translator and scholar of contemporary Latin American literature. Her translations have appeared in Guernica, Latin American Literature Today, mercury firs, New England Review, Northwest Review, and Words Without Borders, as well as in two anthologies: Daughters of Latin America: An International Anthology of Writing by Latine Women (HarperCollins) and Best Literary Translations Anthology (Deep Vellum). She is currently a Ph.D. Candidate in Comparative Literature at the University of Southern California, where she is writing a dissertation on the legacies of colonial naming practices in Latin America and the Caribbean.