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image of a total solar eclipse

Threshold

By Scott Broker
Silhouette of a crowd of people wielding swords against a fiery background, as if to suggest war.

Once Upon a Time

By Natsume Sōseki, translated from Chinese by Ryan Choi
A fly sits on edge of a white flower's petal against a blurry green background.

Kingdom

By Brian Gyamfi

My Mother’s Stalker

By K-Ming Chang

Max Rojas

Max Rojas is considered in Mexico to be a true poet’s poet, in addition to being a recognized essayist, literary critic, and novelist. Rojas was born in 1940 in Mexico City and studied philosophy at the National Autonomous University of Mexico. At eighteen, Rojas joined the Communist Party, beginning a lifelong commitment to the labor movement. He also served as director of the Museo Casa de Leon Trotsky from 1994 to 1998. In 1971 he financed his first book of poetry, El turno del aullante, in a print run of 100 copies, later republished in 1983. In 1986, he published his second book of poems, Ser en la sombra, before falling silent for over twenty years. He re-emerged in the late 2000s with the first installments of Cuerpos. Rojas’s poetry was relatively unknown throughout most of his life, though his early writings were popular with members of the Infrarealist group, including Roberto Bolaño and Mario Santiago Papasquiaro. After Cuerpos received the Carlos Pellicer Iberoamerican Prize in Poetry in 2009, his singular style attained some notoriety, making him a more influential figure in contemporary Mexican poetry. Rojas died in 2015 at the age of 74.
Poetry

from Bodies

By Max Rojas, translated from the Spanish by Zane Koss and Gerónimo Sarmiento Cruz July 1, 2021
“Like ash or nearing the fabrication of mirrors / or alcoholic drinks”
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Guernica

Guernica is a non-profit magazine dedicated to global art and politics, published online since 2004. With contributors from every continent and at every stage of their careers, we are a home for singular voices, incisive ideas, and critical questions.

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