Original illustration by Pedro Gomes

2.

Thought reduced to ashes —
in the golden sky tracing lines.
No more of time, already empty.
What fills the air is the duration of the leaves.

In the light the speaker turns clairvoyant
in casual words.
In the light the visible scenes illuminate the unseeable
for inhuman eyes.

Final night.
Neither sound nor image.
In the unconscious wait
the body abandons itself.
At the expanse of earthly seas it abandons itself.

3.

On the other side we will cease to feel
the impressions that remain in the mouth of the cave,
namely: the gardens’ room,
the pulse of the tide.

I will find the night objects — I said —
unneeded by the animal eye,
because I’ve been tiger-angel
and forgotten the teacher’s visit.
What I’d wanted to say was a dead gaze
or a prison of growing walls.

Harmony is the sleeper, the slow one.
What starts and doesn’t finish
or is coming now, untying the night.

Embrace me, star —
there is no real corpse:
the emptiness in white bones
was filled by mistake.

4.

I’ve lost the forgetfulness of death,
bewitching mother, divested of the inheritance
save for the shadows.

I enter the water through the energy
that doesn’t touch the earth.
I enter the water to conceive immaculately
a body
and each part ties itself to another
without the ropes of blood.

Savage animal
— the ceremony is sterile.
On a bed of yellow flowers
I deposit the birth.
The atoms in the mirrors burst,
face and skin rip apart.
In that moment, what is eternity,
what is sight, hole, scream.

5.

I am that breath, those fluid arms.
I breathe stuck to shining sheets,
orbit or cloud, even farther on.

I am the woman who flees
to ponds of matter.
That basin of voices,
amid feathered trees the virgin cave
still guards the river’s teeth.

A day shifts time.
The earth shifts time.

I am the dreaming woman,
I want to be the dream.

Liliana Ponce

Liliana Ponce is a poet and scholar of Japanese literature and writing. She has published five books of poetry in Argentina: Trama continua (Corregidor, 1976); Composición (Ultimo Reino, 1984); Teoría de la voz y el sueño (tsé-tsé, 2001); Fudekara (tsé-tsé, 2008); and Paseante y huésped (Club Hem, 2016). Her poems, essays, and translations of Japanese poetry have appeared widely in both Argentinian and international literary journals, and her work has been selected for inclusion in numerous anthologies, including Antología de la poesía Argentina (Casa de las Américas, 1999) and 200 años de poesía Argentina (Alfaguara, 2010).

Michael Martin Shea

Michael Martin Shea is the translator of Argentine poet Liliana Ponce. A bilingual chapbook, Diary, was published by Ugly Duckling Presse in 2018; a second chapbook, Fudekara, was published by Cardboard House Press in 2022. His poems and translations have appeared in Colorado Review, Conjunctions, Fence, Gulf Coast, Jubilat, New England Review, and elsewhere. He lives in Philadelphia, where he is a doctoral candidate in Comparative Literature and Literary Theory at the University of Pennsylvania.