By Emmy Pérez
Pérez finds the strengths and nuances of a universe the place no observe is “foreign.” Her fast-moving, evocative phrases remove darkness from the prayers, gasps, touches, and gritos born of daily discoveries and occasions. a number of kinds of reference enhance the poems within the kind of mantra: ecologist’s box notes, geopolitical and ecofeminist observations, flora and fauna catalogs, minutiae, and vigil chants.
“What is it to like / inside viewing distance of evening / imaginative and prescient goggles and guns?” is a query vital to a lot of those poems.
The assortment creates a poetic confluence of the private, political, and international forces affecting border lives. even if alluding to El Valle as a spot the place pollution now move borders extra simply than humans or natural world, or to elevated militarization, immigrant seizures, and twenty-first-century wall-building, Pérez’s voice is intimate and pressing. She laments, “We can't tattoo roses / at the wall / Can’t tattoo Gloria Anzaldúa’s roses / at the wall”; but, she additionally reaffirms Anzaldúa’s notions of desire via resilience and conocimiento.
With the River on Our Face drips deep like water, changing into amistad—an inquisition into human relationships with planet and self.
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Geborene Aloisia Maria Hasenbichler,geboren 1944 in St. Stefan bei Finkenstein,Matura der Handelsakademie Villach 1963,Notariatsangestellte, Postbeamte, Hausfrau,Slowenisch-Studium in Klagenfurt ab 1994,Diplomarbeit über Passionsspiele 2002,Doktorarbeit über Florjan Lipuš.
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