Friday, March 13, 2026

A Week of Civic Engagement in Santa Barbara

 

 Melinda Palacio  

Kristen Sneddon 

 

When my neighbor, Kristen Sneddon, invited me to read poetry at her Mayoral Campaign Kick-off, I did not hesitate to say Yes. I remember when she was canvassing the neighborhood during her campaign for City Council in 2017. At the time, I didn’t know that she lived next door to my dog’s favorite persimmon tree. Since then, I’ve been impressed by her compassion and leadership. As a geophysicist and city council member, Kristen is a profound listener who cares about our city and the global environment. When she realized she needed a bigger venue for all who had rsvp’d for her kick-off party, she was happy Laura Capps offered her beautiful home.


Two weeks ago, one of my biggest concerns was the continued bombardment of ICE raids on our town and country. Today, thoughts of war occupy my waking hours, as well as ICE and how this is impacting our community and country. As a friend and representative of our city, Kristen has expressed how much she appreciates my poems on immigration and ICE. I brought four poems, but read three. ICE Detention Tornillo, Texas was a poem I wrote in 2017 during Trump’s first term. Friday Morning Before Work in Carpinteria is from last year and Canopy over Milpas and Alphonse is a poem written this year in response to the Fair Trade Exhibit and Patricia Clarke’s photograph of La Super Rica. Even in this ekphrastic poem, I had ICE on my mind. You can read the poem in last month’s column. As I waited to read my poems and took in the diverse crowd in support of Sneddon for Mayor of Santa Barbara, I was impressed by the strong feeling of community. Another highlight of the event was hearing Kristen’s family band entertain the crowd before the speakers. Although they are not usually a band, her daughter, Elsie Sneddon on drums, and son, Harry Sneddon on bass, joined their friend Lucien Dempsey on keys, and formed a very impressive and impromptu house band.


Hannah-Beth Jackson offered the closing remarks and reminded everyone of Santa Barbara’s strong history of electing female mayors. It’s always an honor for me to contribute poetry at important community events. Last Sunday, I read some poems honoring my mother and grandmother at Carpinteria’s International Women’s Day Festival, held at the Carpinteria Children’s Project. Geri Ann Carty who was recognized as Carpinterian of the Year in 2022 was one of the festival’s organizers. The day included a variety of women-owned and women-centered organizations, as well as performances by local singers and dancers, a fun start to Women’s History Month. 

 

*an earlier version of this article appears in the Santa Barbara Independent 

Thursday, March 12, 2026

Many Colors on the American Palette

                                                                                     
My Mexican grandmother's immigration photo, circa 1918

     I was fifteen years old, visiting my grandmother, when “they” killed President John F. Kennedy in Dallas, Texas. Like most Americans, I grieved, not only because he was president but also because he was an Irish Catholic, and the Irish nuns and brothers who educated me talked about him in damn-near saintly language, same as my Catholic Mexican-Democrat working-class family who revered Kennedy. My dad was a “union man,” who told me he’d have no healthcare, pension, or vacation days without the AFL-CIO and support of the Democrats. 
     The son of Mexican immigrants, my dad was one of the first natural born U.S. citizen in his family. My guess is none of us really understood the politics of the day; although, not much has changed, but one thing, when JFK died, the entire country grieved—as one. Then we went back to the old political game. The Republicans cut taxes for the rich, while Democrats spent them on social programs for the poor, and the working-class got the shaft, or so that's how it was framed. Sound familiar? And that was sixty-two years ago. Talk about “same tired old playbook.” 
     What do you expect when there's only a two-party system, or the semblance of a “two” party system? The progressive party has morphed into a “big-tent” party straddling the “middle,” while, according to pundits, the conservative party has been hijacked by a “cult-like” figure who refuses to go along with the “program” because he didn’t win the last election, and his party, or those remaining, follow him to the fringes, his main gripe: immigrants without legal documentation are murderers and rapists and running rampant, destroying our country. He said he heard it was so bad that in Springfield, Ohio, immigrants “are eating the dogs and cats.” 
     I, and many Americans, can deal with an immigrant-bashing political campaign strategy. It’s been going on for years, and there is an argument to be made, but objective scholarly studies show immigrants, illegal or otherwise, work hard, pay taxes, and commit fewer crimes than most citizens, and nobody can prove they're eating cats and dogs. 
     I entered the military in 1966, and I realized America, culturally, was, much broader than I was led to believe in my sheltered corner of Los Angeles, an ethnically integrated neighborhood sandwiched between Santa Monica and Westwood. It really hit me when I arrived in Vietnam and saw how many different types of soldiers saw themselves as Americans, regardless of their ethnicity or language. 
     I made friends with guys from everywhere, places I’d never heard of, like the Virgin Islands, home to my buddy Ronny La Beet, a black Virgin Islander who spoke with a French accent. Jerry Lugo was a Puerto Rican New Yorker with a Bronx accent. There was Jack Brun, a homespun Arkansan, a kind-hearted kid who played the Gomer Pyle role but was smarter than a whip. Thomas Simmons, a bible-reading black kid from Alabama, was quiet and always respectful, sometimes embarrassed by the urban Black guys who called him, "Country." One of my closest friends was Joe Bel-Air, a handsome blonde hair, blued eyed kid from Sante Fe Springs, east of Downtown L.A. Jonathan Bolan, a high-I.Q. hippie, always with a book in hand, hailed from Indio, California, and Robert Elliot who scolded us Southern Californians for calling his hometown “Frisco” instead of San Francisco. 
     There was Alex Mayo, a reservation Indian from Wyoming, and Montana cowboy, Big Tom Waylon, and West Virginia and Pennsylvania coal miners’-kids, Wayne Podlesnik and Nick Samuels. Of course, there were many Mexicans, a bunch from all over L.A. and small-town boys from the San Joaquin Valley. The guys from Texas, especially the Rio Grande Valley, spoke Spanish much better than English. Talk about a multi-cultural America. 
     Nobody questioned the legal status of kids from Mexico who came across the border to volunteer. Hell, Puerto Rico wasn’t even a state, and the government lowered the language requirement to draft them. Filipinos filled the ranks, mainly among the NCO’s who’d fought in WWII. Guys who came from Guam and the Dominican Republic shed their blood when many Mainland Americans refused to go. 
     It's annoying when I hear people say the U.S. is a “White,” Christian country. Though they wouldn't admit it, a few founding fathers, like Thomas Jefferson and Ben Franklin saw themselves more as agnostics than believers in Christ. Muslims, Jews, Hindus, Confusions, agnostics, and atheists made their home here and served in the military going back to the Revolutionary War. In the 1700's, ships entering Boston and New York Harbors brought in traders from around the world, including Russians, Syrians, Africans, and Chinese. In Herman Melville’s 1851 novel Moby Dick, the “Pequod” carried sailors from around the world, some who could barely communicate in English but worked as a team on board the whaling vessel. 
     This multi-ethnic, multi-religious representation of the real America isn’t an anomaly. When I talked to my dad about the different guys I met in the army, kind of jokingly, he said it was the same during his time in the service. He said he met guys from everywhere, and of all colors and ethnicities, a polyglot of languages. Today, I assume, its ditto for the men and women serving around the world. 
     It’s no secret the CIA has always recruited from university foreign language, literature, psychology, and anthropology departments, men and women who studied folklore and culture. The spy agency sought naturalized citizens who came from other countries and understood the customs of others. How can we spy on foreign countries if our agents can’t blend in and speak the languages or understand cultures abroad? John Steinbeck wrote of those who came here from other lands, "...not the best but the worst. The hungry are ambitious...the hurt and hunted carry the dream of justice, the driven most likely to make a stand...This was our strength and our foundation." (America and Americans
     This is the real America, but you’d never know it listening to politicians who rail about the “browning of American” and the poisoning of our culture, but what culture is that? We've never had one culture, and we’re not browning as a nation. We’ve always been multi-colored, from the time Dutch and English pilgrims meandered about the shores of Plymouth, trading with the native people, who numbered in the hundreds of thousands, if not millions. Germans, seen as dirty and crude, started their own settlement German Town, Pennsylvania in 1683. There were French, Spanish, Africans, mulattos, blacks, and Seminoles in Louisiana and La Florida.
     If not for the Iroquois Confederacy, the White strangers from different shores would not have lasted a winter here. In a 1784 essay titled, “Savages, We Call Them,” Benjamin Franklin, "Clearly [did] not regard Native Americans as savages. The 'savages' are, in fact, as civilized or more civilized than Whites; it is the Whites who must rely on force, punishment, and prisons to enforce good behavior." Native people had none of these. They adhered to their customs and cultural practices of their people to survive.
     If you’ve never left your home or travelled the country, you wouldn’t really understand what Woody Guthrie meant when he sang, “This land is Your Land/ This land is my land/ From California to the New York Island.” The "your" is plural, and it intends to include the many and not the few.
     I’m not sure many homogenous locations remain in the country, “all one color,” or if they ever did. Africans and Indians have been part of the ethnic color pattern since the start. Even in Ohio Amish country, the locals mix with immigrants who have moved in to neighboring towns to do the work the locals won’t do, especially in agriculture. Drive down through the Rio Grande Valley and, though it's dominated by Mexicans, there are plenty of Irish, Germans, Poles, Syrians, and Chinese who have been there for generations. 
     Maybe on reservations, like Pine Ridge, South Dakota, you might find only Lakota, but they aren't isolated. Rapid City is close by and comes with residents of all colors and mixed cultures. In Alabama, Mississippi, and Tennessee, states whose towns were once nearly all black and white, times change, just like in parts of California’s Orange County, all Vietnamese, and L.A.’s Monterrey Park, Chinese, Koreans, and Latinos. Put them all together, that’s a lot of colors on the American palette. American culture, composed of so many ethnic styles and tastes, is the most copied by other cultures. I even heard kids bumping to the Texas Tornados in a small Peruvian town. Bad Bunny has already sold out shows in London. 
     That's why it's so distressing and disappointing to see ICE agents chasing down an old man with a leaf blower in his hand or waiting at construction sites or outside kids' schools. I see my Mexican grandparents and relatives in those folks, or, again, as Steinbeck, who wrote the screenplay to the movie Zapata, said, it's "What we in America found early and have apparently forgotten."
     The best artists take advantage of all colors on the palette, or as the Mexican folksong goes, "Y por eso los grandes amores de muchos colores me gustan a mi."

Wednesday, March 11, 2026

Tay naja nitajtaketzki achtu tik Nawat / ‌Mis primeras palabras en nahuat / My First Words in Nahuat‌


Written by Jorge Argueta

Illustrated by El Aleph Sánchez 

Nawat translation by Juan Valentín Ramírez García 

English Translation by Elizabeth Bell



*ASIN: B0FF1LG2RW

*Publisher: Groundwood Books

*Publication date: April 7, 2026

*Print length: 60 pages

*ISBN-10: 1773067818

*ISBN-13: 978-1773067810

*Reading age: 9 years and up


A collection of powerful poems, in Nahuat, Spanish and English, that celebrate Indigenous life and language despite efforts to eradicate them.

These poems are a moving and eloquent description of how great poet Jorge Argueta came to know the almost extinct language of his ancestors. The poems tell stories of Jorge’s life growing up in the Salvadoran village of Witzapan, where his own grandmother taught him his first words in Nahuat.

There are poems about the clay used to construct the village, the trees that grow in the countryside, the corn used to make tortillas and pupusas, and the Tepechapa River. Beautiful illustrations painted by Salvadoran artist El Aleph accompany each poem.

In the early 1930s, the government of El Salvador massacred many Nahuat people and banned them from speaking the language, attempting to eradicate their Indigenous identity. Despite the ban, village elders continued to keep the language and culture alive.

Today there are many efforts to reintroduce the Nahuat language in El Salvador. Nahuat readers can share in Jorge’s childhood world of Witzapan. So can we, whether in the original or through the Spanish and English translations of his poems.


Review

“A poet’s Nahua childhood engenders a halcyon homage through concise verses and inviting visuals.” ― Kirkus Reviews

“A must-purchase..., offering aspects of under-represented ­languages and cultures.” ― School Library Journal


JORGE ARGUETA, a Nahua from El Salvador and Poet Laureate Emeritus of San Mateo County, is a prize-winning author of more than twenty children’s books. His book Somos como las nubes / We Are Like the Clouds won the Lee Bennett Hopkins Poetry Award and was named to USBBY’s Outstanding International Books List, ALA Notable Children’s Books and the Cooperative Children’s Book Center Choices. Jorge is the founder of the International Children's Poetry Festival Manyula and the Library of Dreams, a non-profit organization that promotes literacy in El Salvador. Jorge divides his time between San Francisco, California, and El Salvador.

EL ALEPH SÁNCHEZ is a Salvadoran fine artist, a member of the Wixnamickcin artistic group (the ancestral Nahuat word for “companions”). His art has been exhibited around the world, often specifically to represent El Salvador. He illustrated the book Olita y Manyula: El gran cumpleaños / Olita and Manyula: The Big Birthday, written by Jorge Argueta, which was an International Latino Book Award honor book. El Aleph is a member of the Festival Internacional de Poesía Infantil Manyula.

JUAN VALENTÍN RAMÍREZ GARCÍA was born in Santo Domingo de Guzmán, El Salvador. He is a teacher who has taught Nahuat to middle school students and other teachers. He translated The Little Prince by Antoine Saint Exupéry into Nahuat in 2019. He is passionate about promoting the Nahuat language and hopes to see its importance recognized on a large scale.

ELIZABETH BELL lives in the Mission District of San Francisco, California. Her translations have appeared in the City Lights anthologies Light from a Nearby Window (Mexican poetry) and Island of My Hunger (Cuban poetry), among other publications. She translated the middle-grade novel in verse Caravan to the North by Jorge Argueta.





Tuesday, March 10, 2026

Here Are Women and Angel Wings

Weep And Adelante, Mujeres

Review: Thelma T. Reyna. The Heavens Weep for Us and other stories. Golden Foothills Press, 2009(link)

Michael Sedano

La Bloga-Tuesday is happy to observe Women’s History Month 2026 with this review of Thelma T. Reyna’s The Heavens Weep for Us and other stories. Twelve stories focus on women’s lives, what they see and think when a woman faces whatever situation time has placed her.

Reyna’s stories come rich with ironies, tragedy, horror, love, and genuine people. The author is a master of structure and coherence, seeming divagations pull right back into the heart of the matter, flashbacks enrich many narratives. Weeping doesn’t fix nor build anything, weeping is a condition that’s better left to heaven. Here on earth, women face, fix, and endure.

In “White Van,” a woman without a name imagines a shared moment of grace with an elderly neighbor and builds an imaginary relationship based on her expectation of seeing him in passing.

In the title story—only three pages--a pair of small caskets lie in an open grave. An unnamed mother, fleeing abuse, abandons her children to the abusive man to be beaten and burned to death.

“Little Box” a mother’s fanciful imagination leaves a residue of disappointed expectations and demoralized suspicion. It’s as if an imagined woman has come out of that box and into being, fulfilling one woman’s fantasy and ruining another woman’s happiness like a perverse Pandora’s box.

One of the collection’s memory stories is “Marry Me,” featuring two women.  Marta is a middle-age woman reinventing herself. Kika is an 80 year old widow who recognizes her husband of 54 years in young Diego and asks him to marry her. For Diego, it’s harassment. For Kika the resemblance is ongoing pain of losing him every time she asks. And she keeps asking.

“Comatose” features a woman in a coma. Reyna posits the deeply comforting theory that patients hear and comprehend their surroundings. A couple have a fight over his infidelity. Paula leaves in distress, has the accident. Robert fills with remorse, stays at his wife’s bedside, begging doctors for hope only to be told to pull the plug.

Santa Fe Santana is the collection’s most perplexing woman. At 23 she prowls places indiscriminately picking up men for sex. Her bedmate mocks her for being married and named Santa. Faith, her English name, acts out of disappointed expectations. She expected “the one,” a lifelong companion and instead her military husband volunteers for overseas assignment. She fills his two-year absence with strange men’s beds and revenge sex. Disappointment feeds resentment leading to Faith’s unfaithfulness.

“KeiKei & Ollie” introduces a thirty-something solitary woman and a lonely immigrant bachelor with unspoken yearnings for one another. Joe sees Amy as serious, serene, alert, and kind. Amy sees exotic and outside the sameness of her lifestyle. The title characters are Amy’s dog and cat. When the dog is dying, Joe and Amy make a connection. Out of weeping, Amy will allow herself to love Joe.

“Fooled” is a second memory story, this one of cruelty. Maggie lives in early stages of a dementia. She depends on family members for news of  her three children especially her favorite child, Cora. Family decides the woman doesn’t have the right to know Cora died, making tiresome excuses why Cora doesn’t call. As the woman crosses to the Other Side, three souls await Maggie’s transition.

 “Victim” recounts how a lie explodes into more lies with substantial harm to others. Maria is having a crummy day. Her academic future is shaky, she’s broken a nail and there’s blood, and a cop stops her. Maria is scared shitless of her low-achieving husband, Al. Thinking to avoid confrontation with the jerk, Maria lies about a shadowy man in the parking lot and by the end of the story her husband, surprisingly tender, comforts Maria and the relieved Maria magnifies the lie.

Two old friends reunion in a dusty Texas bar. Manuel looks for his friend, Juana Macho, the story’s title character, as he travels around dusty Texas towns. Manuel is guilty that he looked with obvious revulsion at Juana’s fire-scarred body. Juana doesn’t like to see her body, breastless, stiff scar tissue. She flees Manuel’s approaches and he’s determined to make amends. Reyna offers these characters the possibility of a happy end.

Thelma Reyna displays masterful control of point of view in “Illusions,” following thoughts of cosmeticians Millie, Beth, Tina, and customers the blonde, and Johnnie.

The final story of the collection, “Saving Up,” is the book’s final memory story. The title refers to an unnamed woman’s memories of a lifetime’s crucial moments, good things dampened by painful ones for this character. She counts them: Intense sexual episodes. The birth of the boy who burned. Building their house by hand. The fire, her husband’s near death, the boy’s death. Memory is this woman’s way of compartmentalizing joy and neutralizing pain.

Readers will enjoy Thelma T. Reyna’s descriptive elegance, mot juste vocabulary, and story development. These thumbnail sketches only scratch the surface of Reyna’s developed situations, keenly felt moments, and insight into her characters.

The omniscient narrator doesn’t take sides nor pick at a character’s choices and motives. They just are and do. Reyna leaves it to her readers to decipher the exigencies moving her women. For example, is Faith unfaithful simply out of revenge, or is she hedonistic-- or nihilistic-- in her sexual pursuit of a substitute for “the one”? Are her expectations fair and reasonable? Does imagination call a spirit out of a small box, give it substance to linger and insinuate itself into other lives? 

I personally endorse Reyna’s proposition in “Comatose.” My Barbara was always present in the deepest days of living with Alzheimer’s Dementia when aphasia robbed her of comprehensible communication, then she stopped talking at all. Barbara was always there.

What those people do to Maggie in her early dementia is wrong and selfish, and a little bit evil and I wish they hadn't intruded into my space. 

Maggie’s transition rings true, they await us pa’lla.


On the Snow White Wings of A Colibrí

Last week's La Bloga-Tuesday (link) shared my ongoing photographic project I call Things With Wings. I photograph birds and insects, concentrating on hummingbirds and butterflies. This photographic project ordinarily engages miles of stalking things with wings, especially in the air. When I moved into a new home, ending my Eaton Fire refugee status, it came with a wondrous hedge colibríes frequent.

I seek the perfect photograph of a bird in the air, wings rampant, eyes and beak and feathers sharply focused. Recently I experimented with movement. That is, hummingbirds with wings rampant but instead of wings frozen in mid-motion, the foto shows the wings in luxurious blur, moving, with the body of the birds más o menos stationary and in good detailed focus.

You probably can get these fotos with your camera phone, but I have no idea how. I use a Canon EOS 6D Mark II with a Canon 300mm lens. Usually I handhold the lens but for these exposures of moving light I mount the camera and lens on a tripod and pan and tilt with a steady base. Setting the lens to f32, even at ISO5000, slows down the shutter to 1/100, 1/125, and 1/160. With the camera set on aperture, the device adjusts the shutter speed based on the ambient light.

Click an image and your browser should treat you to a larger size image.

Sadly, camera shake plays havoc with feather focus but those wings, mira nomás!

Sunday, March 08, 2026

“Fuerza ancestral” por Xánath Caraza

“Fuerza ancestral” por Xánath Caraza

 

Xanath Caraza

El Mes de la Historia de la Mujer se celebra cada año en marzo. Cada 8 de marzo se destaca esta fecha como el Día Internacional de la Mujer para reconocer contribuciones intelectuales, políticas, familiares y de activismo social en las respectivas comunidades donde muchas mujeres viven.  La historia ha pasado por alto, olvidado, reprimido, mal informado, no reconocido los logros de muchas mujeres a lo largo de los años, de los siglos, no solo en este país sino en todo el mundo.

Gracias a la perseverancia de tantas mujeres activistas, estas voces junto con sus aportaciones a la sociedad han salido a la superficie y han ido ganando terreno para ser reconocidas públicamente y alcanzar igualdad. 

No en todos los países somos afortunadas de poder honrar estos logros y de reconocer a tantas mujeres que han abierto brecha para cada una de nosotras.  Muchas se han quedado en el camino, otras han experimentado desapariciones forzadas, otras, experimentan violencia doméstica, social o pobreza. Para mí es un honor poder celebrar cada año ese día, el 8 de marzo, el Día Internacional de la Mujer, que nunca doy por sentado.

Para este 2026 me gustaría compartir un poema titulado “Fuerza ancestral” que fue originalmente publicado en mi poemario trilingüe Conjuro (Mammoth Publications, 2012) y en 2019 fue incluido en la antología Voices from the Ancestors: Xicanx and Latinx Spiritual Expressions and Healing Practices (University of Arizona Press, 2019). La traducción al francés, “Force ancestrale, es de Justine Temeyissa Patalé. La versión original de “Fuerza ancestral” y la versión en inglés, “Anestral Strenght”, son de la que escribe.

Muchas gracias y espero, queridos lectores de la Bloga, que disfruten “Fuerza ancestral”.

 


Fuerza ancestral por Xánath Caraza

 

Fuerza de mujer:

delicada

que fluye en aguas rojas

pensamientos concéntricos

fuerza que renace

se enreda en las copas de los árboles

Cihuacoatl

 

Fuerza creadora que canta

que despierta

que guía entre el oscuro laberinto

que susurra al oído el camino extraviado

que invita a vivir

Tonantzin

 

Latidos de obsidiana

de fuerza incandescente

de humo azul

corazón de piedra verde

frente a ti están

otras vibraciones femeninas

Yoloxóchitl

 

Fuerza de mujer que fluye

entre las páginas

de poemas extraviados

de signos olvidados

entre galerías

de imágenes grabadas

poesía tatuada en la piel

Xochipilli

 

Corazón enardecido

que explota

respira

siente

vive

Tlazoteotl

 

Montañas de malaquita

áureo torrente matutino

que recorre los surcos

del cuerpo

Coatlicue

 

Fuerza femenina ancestral

sobre papel amate

que se entrega

a los intrínsecos diseños

de las frases dibujadas

Coyolxauqui

 

Pensamiento de jade

que se evapora con la luna

que se integra a los caudalosos blancos ríos

Tonantzin

 

Fuerza de mujer:

del lejos y cerca

de arriba y abajo

del dentro y de fuera

de ciclo eterno

fuerza dual

de cielo de granate

 

Cihuacoatl, Tonantzin

Yoloxóchitl, Xochipilli

Tlazoteotl, Coatlicue

Coyolxauqui

 

Guirnaldas de flores blancas las celebran

plumas de quetzal adornan las cabelleras

las abuelas creadoras cantan

al unísono en esta tierra

 

Fuerza femenina, ancestral

 

Xanath Caraza

Ancestral Strength

 

Women’s strength

Delicate

Flows in red waters

Concentric thoughts

Strength reborn

Tangles in the tree tops

Cihuacoatl

 

Creative force that sings

That awakens

That guides through the dark labyrinth

That whispers into the ear the lost road

That invites to live

Tonantzin

 

Heartbeats of obsidian

Of incandescent strength and

Of blue smoke

Heart of green stone

Before you are

Feminine vibrations

Yoloxochitl

 

Women’s strength flows

Among pages

Of lost poems

Of forgotten glyphs

Among galleries

Of engraved images

Poetry tattooed on the skin

Xochipilli

 

Heart inflamed with passion

Bursts

Breathes

Feels

Lives

Tlazoteotl

 

Mountains of malaquite

Golden morning torrent

Flows along the channels

Of the body

Coatlicue

 

Ancestral feminine strength

On amate paper

Surrenders itself

To the intricate designs

Of the drawn phrases

Coyolxauqui

 

Thought of jade

Evaporates with the Moon

Integrates into the white water rivers

Tonantzin

 

Women’s strength

From far away and near

From above and below

From inside and out

Of the eternal cycle

Dual strength

Sky of garnet

 

Cihuacoatl, Tonantzin

Yoloxochitl, Xochipilli

Tlazoteotl, Coatlicue

Coyolxauqui

 

White flower garlands celebrate you

Feathers of Quetzal decorate your long tufts                         

Grandmothers sing

In unison on this land

 

Ancestral, feminine strength

 

Xanath Caraza

Force ancestrale

 

Force de la femme

Délicate

Qui coule dans les eaux rouges

Pensées concentriques

Force qui renaît

S'enroule dans les cimes des arbres

Cihuacóatl

 

Force créatrice qui chante

Qui éveille

Qui guide à travers le sombre labyrinthe

Qui murmure à l'oreille le chemin égaré

Qui invite à vivre

Tonantzin

 

Battements d'obsidienne

De force incandescente

De fumée bleue

Cœur de pierre verte

Devant toi se trouvent

D'autres vibrations féminines

Yoloxóchitl

 

Force de femme qui coule

Parmi les pages

De poèmes égarés

De signes oubliés

Parmi les galeries

D'images gravées

Poésie tatouée sur la peau

Xochipilli

 

Cœur enflammé

Qui explose

Respire

Ressens

Vit

Tlazotéotl

 

Montagnes de malachite

Torrent doré matinal

Qui parcourt les sillons

Du corps

Coatlicue

 

Force féminine ancestrale

Sur papier d'amate

 

Qui se livre

Aux dessins intrinsèques

Des phrases dessinées

Coyolxauqui

 

Pensée de jade

Qui s'évapore avec la lune

Qui se fond dans les rivières de blanc puissant

Tonantzin

 

Force de la femme

Du lointain et du proche

De haut en bas

De dedans et de dehors

Du cycle éternel

Force du ciel grenat

 

Cihuacóatl, Tonantzin

Yoloxóchitl, Xochipilli

Tlazotéotl, Coatlicue

Coyolxauqui

 

Des guirlandes de fleurs blanches les célèbrent

Des plumes de quetzal ornent les cheveux

Les grand-mères créatrices chantent

De concert sur cette terre

 

Force féminine, ancestrale

 

Xanath Caraza


Xanath Caraza