Meet Hemisferio Cuir Contributor: Pablo Romero (Argentina)
- letraslatinasblog2
- Jun 26
- 4 min read
DESLUGAR DE ENUNCIACIÓN
Escribo lo sucediendo: mi género
no es gramatical
:
yo puede morir gramaticalmente
en mi poema
yo puede desaparecer en la noche
de la noche.
Amé un hombre y su nombre ardió
en mi boca como un río: mar de piedras,
dientes que bruxan de deseo.
Escribo lo sucediendo: mi escritura
no tiene distancia biográfica
cuando digo aquí en realidad digo aquí
:
cuando digo aquí la palabra señala
como un dedo
(apunta) dispuesta a romper la distancia
entre la boca y el silencio
:
yo quiere olvidar mi vida.
Soñé el amor imposible
entre la imagen y la palabra
que mi cuerpo deseaba (por fin)
la idea de un cuerpo
y amaba el amor
con cada mano que tiende la furia
soñé
que fijaba mi poema a la lengua
del hombre que ardía en mi lengua
(como un río)
para enseñarle al idioma
las palabras del desamparo.
Yo puede morir entre nosotros
y en manos de mi texto
yo quiere renunciar
a la sombra de ser hombre
al asombro de ser hambre
ENUNCIATION DISPLACEMENT
I write what is happening: my gender
is not grammatical
:
I is capable of dying grammatically
in my poem
I is capable of disappearing in the night
of the night
I loved a man and his name burned
in my mouth like a river: a sea of stones,
teeth clattering of desire.
I write what (is) happening: my writing
lacks biographical distance
when I say here I’m really saying here
:
when I say here the word points
like a finger
(points) willingly to break the distance
between my mouth and silence
:
I wants to forget my life.
I dreamt the impossible love
between the image and the word
my body desired (at last)
the idea of a body
and I loved the love
with every hand that tends the rage
I dreamt
that I fixed my poem to the tongue
of the man that burned in my tongue
(like a river)
to teach language
the words of homelessness.
I is capable of dying among us
and at the hands of my text
I wants to renounce
the shadow of being a man
the wonder of hunger
What has it meant to be part of this anthology?
This anthology testifies that there is not just one way of being or writing from the queer, that form puts the foundations of language in crisis, and that each of these languages carries a memory that demands to be preserved. It is not a map to locate oneself, but to lose oneself and find oneself among voices that resonate from the other. Each voice in this book comes from a different place, from a different geographical and socio-political context, yet a loving and violent undercurrent connects us. Not from identity as something closed, but from the practice of disobedience.
Rather than constructing a kind of canon, it proposes a broad and diverse constellation of bodies, languages, memories and pleasures. Not to be equal, but to celebrate difference, understanding that the sum of all our subjectivities is a new reality. To be in this anthology is to be part of a collective gesture that does not seek to draw a boundary but to caress the borders and edges in a critical and sensitive way. I celebrate that.
Tell us more about yourself and your poetry.
My writing is constantly crossed by my work as an editor and translator. I find, time and again, that the texts around me affect what I look at in very unexpected ways.
I have just finished a collection of poems about my psychiatric hospitalisations. I rewrote it many times, trying to be faithful to the experience. But at some point, I realised that the more I try to enunciate reality, the more it escapes me. Writing implies cutting, ordering, crossing out, but reality doesn't work like that. It's more like a burst, a tremor, a scene that doesn't allow itself to be completely anchored. To write, you have to give up the idea of capturing experience. It's not a matter of desubjectivising the gaze, but of opening it up. To find another way of reading what has been lived, to re-signify it in new nuances.
I have been obsessed with form as a vehicle of meaning for some time now. I want to stop talking about myself a little. I don't seek to fix reality, but to accompany its escape.
Who are some of your favourite poets from your country?
I don't have favourite authors but obsessions that move according to what I'm working on. I really like Liliana Lukin, Beatriz Vignoli, Osvaldo Lamborghini, Mirta Rosenberg, María Negroni, Rodolfo Fogwill, Juana Bignozzi. If I had to recommend a young poet, it would be Luciana García Barraza.
Pablo Romero (b Tucumán, Argentina, 1999) is a poet, editor, workshop leader and translator. Author of Los días de Babel (Mexico, 2015) Palabras tectónicas (Argentina 2022, reed, Chile, 2022) and La jaula del hambre (Spain, 2024). He lived in Slovakia as a Rotary International exchange student and translates Slavic poetry. His translations include Milán Rufus, Milá Haugová, T.S. Eliot, Walt Whitman, and Katherine Mansfield. He was awarded the Premio Festival Poesía Ya! 2023 by the Centro Cultural Kirchner, the Premio a la Trayectoria de la Feria Itinerante del Libro (Tucumán) and has been a finalist for the Premio Loewe de Poesía Joven 2023 and the Premio Fundación Antonio Ródenas 2024. His work has been partially translated into French, Italian, and Portuguese. He is currently studying for a BA and BA in Literature at the National University of Tucumán. Since 2019, he has co-directed the
poetry publisher Aguacero Ediciones.
