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In this experimental translingual work, Brent Armendinger follows the work of five contemporary Argentinian poets into the streets of Buenos Aires, attempting to map the ways a word might be an echo of the city itself. Interested in the surface areas of language and the generative potential of failure in translation, the author follows a set of procedures oriented simultaneously in the lines as well as in the streets of the city, gathering impressions, associations, and language through unpredictable encounters with the place and its inhabitants. Notes from these encounters appear interlaced, here, between the original poems in Spanish and their translations. Featuring poems by Alejandro Méndez, Mercedes Roffé, Fabián Casas, Néstor Perlongher, and Diana Bellessi, and artwork by Alpe Romero.

A new Polish-English dual-language translation from the Operating System's Glossarium: Unsilenced Texts series. "An astounding book about dreaming and about dreams-dreams of God, dreams of falling, dreams of Russia and of China; dreams of death. Everything is in here: fish mandalas in the sky; Cathars on clifftops; angels on the streets of Warsaw; Castaneda and Gurdjieff and the I Ching; chakras and human sacrifices; popes and Nazis and President Bill Clinton. Reading it is pure delight-you never know what extraordinary image, mind-bending concept, or stunning juxtaposition will come next. All is held together by a controlled and compelling narratorial voice brilliantly rendered into English by translator Victoria Miluch, who has perfectly captured Zelwan's heady mix of memory, spirituality, philosophy, and sheer psychic energy. A marvel!" - Bill Johnston, award winning translator of 'Pan Tadeusz.'Dreaming (¿nienie) is a collection of lyric fragments that revolve around dreams and the way they reflect, refract, and seep into the waking world. Read individually, the fragments are measured and contemplative, imagistic and surreal, and peppered with humor of the absurd. Taken together, we start to notice obsessions and threads that serve as lodestars guiding us through the chaotic unconscious. Figures and events return, but what's most recognizable about them is their tendency toward transformation and flux. Aphorism-like truths are posited, then questioned. An idea comes to light, then blends into a fabric of images, literatures, religions, histories, and the quotidian everyday, and becomes something else altogether.

[A Spanish-English Dual Language anthology featuring selections from Cuba's "Generation Zero," including Luis Yuseff, Isaily Pérez González, Javier Marimón Miyares, Leymen Pérez García, Marcelo Morales Cintero, Oscar Cruz, Liuvan Herrera Carpio, Jamila Medina Ríos, Moisés Mayán Fernández, Legna Rodríguez Iglesias, and Sergio García Zamora.]It's not a cliché by any means to declare that few times in its history has Cuban poetry been more varied, innovative, critical, and attractive than it is right now. And an undeniable part of it is what has been written by the so-called Generation Zero (Generación Cero), poets born after 1970 and who begin publishing after 2000. It's a numerous group, as the title of their most complete anthology illustrates, La isla en versos: Cien poetas cubanos [The Island in Verse: One Hundred Cuban poets] (2011 and 2013). In fact, our selection of 11 poets was compiled having read over sixty books, tens of anthologies, and numerous journals and magazines. Indeed, the only way to truly do justice to this poetry is to offer up book-length anthologies; our aim in these pages is to be the first to simply introduce it to English-speaking readers.These days, no one expects this kind of poetry from a Cuban, not in literary circles in the Spanish-speaking world, on the left or the right, not in North American academic and creative writing circles either. And perhaps that's why it hasn't received the attention it deserves. Though they are relatively isolated, whether it be because of extremely limited access to the Internet or the difficulties of traveling off the island, Generation Zero poets aren't behind the times at all, on the contrary, they are at the forefront of poetry being written anywhere in the world. Here there's no trace of superficiality, no fear of emotional complexity or intellectual density, of formal rigor or experimentation. It's poetry open to reality and the most diverse forms of representation. The authors know that intellectuals participate in society through their cultural production.