Social Classes

The poor are princes who must reconquer their kingdom.

Agustín Díaz-Yanes, Nobody Will Talk About Us When We’re Dead

 

When he was six years old, my father worked

from spring to spring.

From sunrise to sunset he cared for animals.

The foreman tied him to a rope

so he wouldn’t get lost in the ditches,

in the branches of the olive trees, in the streams,

in the winter frost of the gullies.

When it grew dark, he pulled him back easily,

returning him white as snow,

bruised, his hands

trembling and blistered,

and a tangle of abandonment

in the fragile walls

of his pink lungs

and his tiny heart.

 

In his last years he became a child again.

He remembered the proletarian cold,

(now embedded in his bones),

the scent of sage, the first silent film,

and the bread with olive oil at the hour of the Angelus,                                                                                  

the hour of mock nutrition.

 

But his master, who was kind,

with his leather boots and rain gloves,

took him once, in a horse-drawn carriage,

to the doctor. He does not remember the trip.

When they withdrew him from the carriage he had no pulse,

his fever was above 104 degrees,

and he was about to die,

my father, six years old, of that pneumonia.

My father, six years old.

 

 

The Inheritance

The inconsolable cold of the poor.

Affluence is not enough to blanket the cold

inherited in the genes and born from rubble.

No firewood can melt that much embryonic snow.

We light fireplaces. We knit a sun with wool,

a closetful of suns, illusory fabric.

We acquire down comforters like a bird’s nest.

And the cold, underneath, remains.

From the marrow the subcurrent of ice returns

to cover my eyes like dried blood.

 

Now everything is blackness, glacier, and blood.

A euthanizing river thickens in my veins,

the brutal abandonment of a paternal hand,

the brothers lost in the haste of a bridge.

Congenital illness watches me, simmering.

It mocks my flight when I change my name

and usurp the rights of another’s life.

Now everything is scar, hospital, and scorpions.

 

You withstand the barrios, the whiteness

of the lice and the infusions. You learn the customs.

You gain access to the office, the clothes, the warmth,

to the cushioning heat of bodies.

And yet the cold remains.

 

 

The Lice

When I return from a trip,

stained by the trains’ migration,

towering because of the height of the flights,

it seems that home, this home of mine,

has allowed itself to be invaded by woodworm,

and next to each object there are small piles

of yellow dust or flecks of a pill,

like dry tears, traces of semen,

rancid powder of a banned book,

old snow or fossilized hail.

 

Like the dirty snow that some children

have in their hair, I myself a toddler,

I myself, blond hair splattered

with larvae at the moment they hatch.

Cold lice of an abandoned child, contamination

and sick dandruff

learning to read at three parasitic years,

my lice learning like me

that alphabet common to human vermin.

My lice learning addition and subtraction,

multiplying their eggs: our mane sparkles.

 

In short, that snow receives me, the salt

of a southern swamp banished to my house.

The woman in her deepest soul receives me,

the rage of my shadow, combatant,

the vulva and its statutes not yet obeyed.

My attachment to lemons welcomes me

and the bluing of white clothes.

And also a pinch of madness,

the harsh unlikelihood of another life,

another life of patios and lilies.

 

I want to return then to cities

foreign and utopic, rebellious streets,

so as never to cheapen the dream.

And go back to the most remote campfires

a time when we lived wildly

in damp caves, gathering fruits

and firewood, woman sapiens of the Neolithic,

covered with the hides of the hunt,

when as iron oxide artists,

almost domesticated humans,

we painted our most primal scenes.

 

Let the future erect distance

while hyenas devour fresh cadavers.

Both my cruelty and my egotism are such

that sometimes I forget my own heart beats,

and then, psychopathic, I desire an evil

that shames me even to say it:

Let lice hatch in the heads of others.

Clases sociales

Los pobres son príncipes que tienen que reconquistar su reino.

Agustín Díaz-Yanes, Nadie hablará de nosotros cuando hayamos muerto

 

Con seis años, mi padre trabajaba

de primavera a primavera.

De sol a sol cuidaba de animales.

El capataz lo ataba de una cuerda

para que no se perdiera en las zanjas,

en las ramas de olivo, en los arroyos,

en la escarcha invernal de los barrancos.

Ya cuando oscurecía, sin esfuerzo, tiraba de él,

lo regresaba níveo,

amoratado, con temblores

y ampollas en las manos,

y alguna enredadera de abandono

en las paredes quebradizas

de sus pulmones rosas

y su pequeño corazón.

 

En sus últimos años volvía a ser un niño.

Se acordaba del frío proletario,

(porque ya era substancia de sus huesos),

del aroma de salvia, del primer cine mudo

y del pan con aceite que le daban al ángelus,

en la hora de las falsas proteínas.

 

Pero su señorito, que era bueno,

con sus botas de piel y sus guantes de lluvia,

una vez lo llevó, en coche de caballos,

al médico. Le falla la memoria del viaje.

Lo sacaron del cortijo sin pulso,

tenía más de cuarenta de fiebre

y había estado a punto de morirse,

con seis años, mi padre, de aquella pulmonía.

Con seis años, mi padre.

 

 

La herencia

El frío inconsolable de los pobres.

No basta la abundancia para arropar el frío

que se hereda en los genes y nace del escombro.

No hay leña que derrita tanta nieve embrionaria.

Se encienden chimeneas. Con la lana se teje un sol,

un armario de soles, un paño de artificio.

Se adquieren edredones como un nido de pájaros.

Y el frío, por debajo, permanece.

De la médula vuelve la trastienda del hielo

a cubrirme los ojos como sangre reseca.

 

Ya todo es negritud, glaciar y sangre.

Por mis venas se espesa la eutanasia de un río,

el brutal abandono de la mano paterna,

los hermanos perdidos en la prisa de un puente.

La enfermedad congénita me vigila larvada.

Se burla de mi huida cuando cambio de nombre

y usurpo los derechos de otra vida.

Ya todo es cicatriz, hospital y alacranes.

 

Se conquistan los barrios, la blancura

de las liendres y el suero. Se aprende la costumbre.

Se accede a la oficina, al ropaje, a la fiebre,

al calor esponjoso de los cuerpos.

Y el frío, sin embargo, permanece.

 

 

Las liendres

Cuando llego de un viaje,

manchada del destierro de los trenes,

gigante por la altura de los vuelos,

parece que el hogar, este hogar mío,

se ha dejado invadir por la carcoma,

y junto a cada cosa hay pequeños montones

de polvo amarillento o serrín de una píldora,

como lágrimas secas, limaduras de semen,

rancia harina de libro censurado,

nieve vieja o granizo arqueológico.

 

Como es nieve sucia que llevan por el pelo

algunos niños, yo misma criatura,

yo misma salpicado el pelo rubio

de larvas en su punto de eclosión.

Liendres frías de expósita, contagio

y caspa enferma

aprendiendo a leer con tres años parásitos,

aprendiendo mis liendres como yo

ese alfabeto igual de los más bichos.

Aprendiendo mis liendres las sumas y las restas,

multiplicando sus huevos: la melena fulgura.

 

Me recibe esa nieve, en fin, la sal

de una marisma sur desterrada en mi casa.

La mujer en su almario me recibe,

la rabia de mi sombra, combatiente,

la vulva y su estatuto por cumplir.

Me recibe el arraigo a los limones

y al azulillo de la blanca ropa.

Y también un pellizco de locura,

la incertidumbre bronca de otra vida

si otra fuera mi vida con patios y pilastras.

 

Quiero entonces volver a las ciudades

extranjeras y utópicas, a la calle insurrecta,

para no abaratar el sueño nunca.

Y volver a las brasas más remotas

de cuando en cuevas húmedas

habitamos silvestres, recolectando frutos

y leña, mujer sapiens del Neolítico,

cubiertos por las pieles de la caza,

cuando artistas del óxido,

casi humanos domésticos,

pintamos las escenas más rupestres.

 

Que levante el futuro la distancia,

que las hienas devoren los cadáveres frescos.

Y tanta mi crueldad y tanto mi egoísmo

que a veces los latidos se me olvidan,

y entonces quiero un mal como psicópata

que me humilla nombrarlo solamente:

Que eclosionen las liendres en las cabezas de otros.

 

 

 

Translator's Note

Isabel Pérez Montalbán is a contemporary Spanish poet, author of fifteen collections of verse, and the recipient of multiple Spanish literary awards including the Premio Internacional de Poesía (2019). Born in Córdoba in 1964, Pérez Montalbán was raised in extreme poverty, and had a difficult childhood and adolescence due to her mother’s suicide when she was three years old, her father’s alcoholism, her siblings’ mental illness, and years spent in abusive foster homes. She is the founder in Spain of a subgenre of poetry titled “Poetry of Conscience” and has made it her mission to give voice to the marginalized and poor and address universal themes like inequity, injustice, and exploitation.

One of the principal challenges of translating Pérez Montalbán’s poetry stems from her reliance on words and images that, while relatively accessible in Latinate Spanish, can be jarring in English. For example, in “The Lice,” she mentions granizo arqueológico, which translates literally as “archaeological hail”−a puzzling image in English that would seem to suggest hail left over from a remote historical period. When I asked Pérez Montalbán about this image, she said that she was referring to hail stones from past storms that hardened even more into crystals as they gathered and aged in gutters and ditches. In my translation of the poem, I tried to capture this idea with the more concrete image of “fossilized hail” which avoids pulling the reader out of the poem and into the field of archaeology. Later, in the same poem, Pérez Montalbán describes larvas en su punto de eclosión, “larvae at their moment of eclosion”−again employing a Latinate scientific term that seems formal and emotionally distancing in a poem describing a toddler infested with lice. I substituted “eclosion” with the verb “hatch” in order to capture the visual and more compelling image of larvae bursting from their eggs.

Perhaps the greatest challenge in translating Pérez Montalbán was that of replicating the cadence and musicality of her voice in English. Despite the grim, sometimes horrific scenes she conjures in her poetry, her language always retains a distinctive sense of rhythm and lyricism, which serves as a powerful antidote to despair. Her precise, evocative voice reminds us of the complexity of her personal story and makes us confront her essential duality−the fact that as she writes, she is always aware of two separate but tragically related realities: 

You withstand the barrios, the whiteness

of the lice and the infusions. You learn the customs.

You gain access to the office, the clothes, the warmth,

to the cushioning heat of the bodies.

And yet the cold remains.


Elena Barcia

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