lovership

tatiana nascimento
Translated from the Portuguese

planning the end of the world, to me,is an Afro-diasporic longing fornight becoming dayon the roof of your mouth,wordapocalypse.planning the world, in the end,is this Afro-diasporic longing fornight becoming roofin the mouth of your day,wordapocalypse.planning the end, in the world,is this Afro-diasporic longing fora mouth becoming nighton the day of your roof,wordapocalypse.planning the bottom of me, for a second,is this banzo for a night becoming dayon the roof of your mouth,wordapocalypse. 

lovership:

planejar o fim do mundo, pra mim,é esse banzo por uma noite virandocéu no dia da sua boca,apocalipsede palavras.planejar o mundo, por fim,é esse banzo por uma noite virandocéu na boca do seu dia,apocalipsede palavras.planejar o fim, no mundo,é esse banzo por uma boca virandonoite no dia do seu céu,apocalipsede palavras.planejar o fundo do mim, por um segundo,é esse banzo por uma noite virandodia no céu da sua boca,apocalipsede palavras.

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Black and white photo of tatiana nascimento
Photo:
Thaís Mallon

tatiana nascimento is from brasília, Brazil, she’s 41 years old, she’s a wordsmith: she invents poems, prose, songs, essays, translations, and handmade books. she has published almost two dozen books of her own, and more than 50 titles of other black/sexual dissident authors through padê editorial, her publishing house specialized in artisanal cardboard publications. Her research/production dives into silences, memories, noises, melodies, to disarchitect words and assemble a re-engineering of the senses, especially in the themes of affection, blackness, the brazilian savannah, the sea & her beloved daughter irê.

Black and white photo of Affonso Natália
Photo:
MJA Chancy

Natália Affonso is a translator, teacher, researcher and activist who sometimes commits (to) poems. She’s from Rio de Janeiro, Brazil, where she created the award-winning literary salon Sapatão & Ficção. She studies Caribbean and Brazilian sexual-dissident literature and is interested in how these can make decolonizing love together. She’s pursuing her Ph.D. in Comparative Literature at UC Irvine, where she is one of the head editors of Interversar, a graduate-student-run interdisciplinary Latin American Studies journal. Her translations of tatiana nascimento’s poetry appeared in Cuíer (Two Lines Press, 2021).

Cover of lunduzinho

Brooklyn, New York

"lunduzinho is tatiana nascimento’s living testament, demiurgic engine, and praise poem to the boundless possibilities inherent in a queer Afro-Brazilian poetical philosophy. Her revelatory linguistic artistry travels through Natália Affonso’s potent translation into English as ecocentric technology for renewed, renewing, renewable ways of being. In defiance of a rigid colonial blueprint, nascimento splits, remixes, and reforges words not to discover but reclaim epistemological lineages released from capitalist temporalities into a fluid, circular time that encompasses a wider natural world of shared knowledge and futurity. Affonso brings a detailed, sensitive, and rebellious English as portal for nascimento’s unified sexual, spiritual and intellectual vision of literary activism. The lines throb, dance and pulse with a unique vitality rarely captured. Avoiding an anthropological transparency, her translation conveys transnational realities inherent in the work without sacrificing the truth of who nascimento is and where she exists on the page."
—Akilah White

"nascimento's provocative Afro-futurist poems demand to be read out loud, felt in the body in their own terms, like the lundu dance from the title. In Natália Affonso's brilliantly inventive translations, they sing in multiple languages and dialects, from Black Portuguese and Cuíer lingos to Spanish and English, to form a language all their own. A stunning chapbook to cherish and reread."
—Bruna Dantas Lobato

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