#odile cisneros

[garadinervi]

Haroldo de Campos, (1984), Galáxias, Translated by Translated by Odile Cisneros, Suzanne Jill Levine, Charles Perrone, Christopher Middleton, Norman Maurice Potter, Ugly Duckling Presse, Brooklyn NY, 2024 [Open Books: A Poem Emporium, Seattle, WA]

what i mostly see here on this paper is the emptiness of paper folding over scorpion of words folding over itself and the cavernous cavity it forms when words empty out from their emptiness the scorpion has a sharp nail of words and its sting brands silence nails through silence in the singular i nail writing about or not writing and when this emptiness turns dense and dances and tenses its arabesques between scripted and ex-scripted trembling trellises in reverse white excrement of suspended suppressed spiders the silence where the i selves itself selfsighting enselves inmyselfselving hangingthread of text ex-text that’s why i write rewrite nail in the nought the font of this text the fork fiendish fingers of fables what follows is finding fables finite fables the finiunison of the one overflowing in emptiness what i mostly see here is this paper that i scalp the pulp of words on paper i expalpate the blank palpus of a cobweb paper woven from those threads from webs of surprised spiders ― (excerpt)

[diasdelfuego]

Odile Cisneros, From Isomorphism to Cannibalism: The Translatability of Concrete Poetry