8
A mushroom in the sauce
impresses like a tree:
not through violence, through perseverance.


13
Red watermelon humor:
meaty appearance,
watery vanity.


14
Bolder, the pear:
the heart is dead,
the shell sings on.


17
Illustrious tyranny of the peach:
no proliferating soviet seeds;
at heart, just a stony monarch.


20
Uses of the lentil:
its double convex zeal
focuses earth's joy.


21
The ant is the grape of its kingdom:
it models solidarity
clustering in clans, black bunches.


39
Laughter in the water:
so many strawberries
are already a memory.


From "Moras en el día," in La voz inútil (Buenos Aires: Bajo la Luna, 2003). Copyright Guillermo Saavedra. Translation copyright 2008 by Michele McKay Aynesworth. All rights reserved.

8
Un hongo en la salsa
se impone como el árbol:
no gana con violencia, persevera.


13
Rojo humor de la sandía:
su apariencia de carne,
su vanidad de agua.


14
Más audaz, la pera:
en el centro está muerta,
canta en la cáscara.


17
Despotismo ilustrado del durazno:
no prolifera en soviets de semillas,
solo un carozo, pétrea monarquía.

20
Utilidad de la lenteja:
su doble afán convexo
enfoca la alegría de la tierra.

21
La hormiga es la uva de su reino:
alcanza a dibujar su pertinencia
en solidario clan, negro racimo.


39
Risas en el agua:
tantas frutillas
son ya recuerdo.

From "Moras en el día," in La voz inútil (Buenos Aires: Bajo la Luna, 2003). Copyright Guillermo Saavedra. Translation copyright 2008 by Michele McKay Aynesworth. All rights reserved.

 




Guillermo SaavedraGuillermo Saavedra

Guillermo Saavedra (Buenos Aires, 1960) is a poet, editor, literary and theater critic, and cultural journalist. His books include the poetry collections Caracol (Último Reino, 1989), Tentativas sobre Cage (La Marca, 1995), El velador (Bajo la Luna, 1998) and La voz inútil (Bajo la Luna, 2003); a collection of interviews with Argentine writers, La curiosidad impertinente (Beatriz Viterbo, 1993); and the anthologies Cuentos de historia argentina (Alfaguara, 1998), La pena del aire (Mondadori, 2000), Cuentos escogidos de Andrés Rivera (Alfaguara, 2000), Mi cuento favorito (Alfaguara, 2000), Cuentos de escritoras argentinas (Alfaguara, 2001), four volumes in the series Vamos a leer published by the Secretariat of National Culture, and El placer rebelde, on the fiction of Luisa Valenzuela (Fondo de Cultura Económica, 2003). He was a Guggenheim fellow in 2001. His poetry collection Del tomate will be published this year, and he is working on three other poetry books, Pescado frito, Desocupado, and El corredor de fondo, as well as a collection of critical essays, Sueños ajenos, vicios propios. He lives in Buenos Aires, where he is the director of publications of the Complejo Teatral de Buenos Aires, director of the cultural journal Las ranas, and an editor at Editorial Losada.

Translated from SpanishSpanish by Michele McKay AynesworthMichele McKay Aynesworth

Michele McKay Aynesworth, who lived in Buenos Aires for over twenty years, has specialized in the translation of Argentine authors. Her translation of Roberto Arlt's novel Mad Toy- along with her bilingual poem "And If I Accuse Roberto Arlt?" / "Y si se delata a Roberto Arlt?"- was published in 2002 by Duke University Press and was subsequently honored as a finalist for the Texas Institute of Letters's Soeurette-Diehl Fraser Translation Award. Among her translation credits are several short stories by Argentine humorist Fernando Sorrentino and a number of poems by Nicaraguan poet Horacio Peña. Other publications include Blue on Rye, a collection of her poetry, and Beacons 10, an anthology of literary translations which she edited for the American Translators Association. She is currently editor for Source, the newsletter of the ATA's Literary Division.