G-NT3806KSJP

[FROM the pier to the elbow of the estuary]






FROM the pier to the elbow of the estuary
subaquatic channels, unexpected passages which
conceal themselves under the superficial expanse, estuarial veneer
bounding them the sphere shuts like
a cup of air
it could be said to be floating, but floating within it are
the lovers
who
teetering uphold each other, and all the while
above the surface squawk nomadic black birds which
no one sees

Hearing themselves mutually intelligible only
via strings filaments
not even knots
sinews of reasoning
caught in their own memories
how should they address each other?
some ideas about she he
who at every moment are and are not there
in the manner of a loose writing that
was born to devolve liquid
letting itself go and folding back over itself
I mean to say that the calendar accompanies the steps:
in this moment they learn how to liquidate a desire
and something in the air
something in the air between them
is settled.

There was talk of a dialogue of indefinite nature
which was, however, very precisely
a third body an anti-body breathing
like the city sweats the gas of the age
an intruder or silhouette fruit of
of a duration: the time in which the lichen
absorbed the walls which upheld it.

It’s the pattern of the sun, its method ending
as always as every time in a
fissure through which slips
this succession of minor wounds
small major fistulas
insignificant extraordinary spikes
which can and

It’s the empire of necessity which creeps, insisting:
cease all writing
cease all writing under this dominant star
cease all writing

To find
in a handful of planted time
stillness beyond certain figurations:

this entire city with its gaze empty
ruined in black trying to cross
from the eyes of its inhabitants to their colors
the shipyard packs capsules of the past
while it maintains the urban will to
cross the colors of their eyes
leaving them pallid exhausted
like this vision
the most real of them all
I’m determined to place it:

the peak of the city luckily is
with them and you can already see it
anyone can see it
illuminating its lighthouses
and unfurling like a tapestry
to express:

you walked outside of yourselves
come back now by your inner branches
walk on them
selves upheld in fever
fallen in the night but also
through it, which is to say
you tried something whose flavor
was too reminiscent of death
you must change your own government of error

Do you see that bird as a castaway
sealing the sky?
They wanted to close it off, to prevent an air
external to them from infiltrating and
inscribing itself on the bodies and
moving them forward and
pushing them forward and
being able to hurt them.

They’re right there, you see them
in a bird that dances
and atop the breeze
knows itself inextinguishable
it holds an enigma
knows a truth, perhaps the only one:

desire is this written abundance which orange unmakes us


Oriana Méndez (Vigo, 1984) is the author of six poetry collections in the Galician-language, most recently, plains successions (Chan da Pólvora, 2023). Winner of several major prizes for her work, she has also translated into Galician books by Arthur Rimbaud (co-translated with Tamara Andrés) and Marguerite Duras. Poems from this collection have appeared in Pamenar Online Magazine, and she has also had poems published in Waxwing (trans. Neil Anderson) and Poem-a-Day (trans. Erín Moure).

Jacob Rogers is a translator of Galician and Spanish. He has received grants from the National Endowment of the Arts and the PEN/Heim Translation Fund, and has translated books by Manuel Rivas and Berta Dávila, with further work forthcoming by Xavier Queipo and Brais Lamela.