Churchless Sunday

Sotero Rivera Avilés
Translated from the Spanish

My artificial arm,carelessly tossed on some couch,can laugh like an aimless shoe,destroyed,thrown to nights and rainin what was once my yard.I understand its ironyand have thoughtof old almanacs,of dark towels,of whiffs of incensewhen nunspass beneath my sweltry window.…You see my artificial arm                            understands—it has that supreme ability to laughwhen it thinks of the priest and the old womenthat raise their rage and destroy pulpitsif they see too few sinners.

Domingo sin iglesia

Mi brazo artificial,echado sin reparos sobre un mueble,puede reír igual que un zapato sin rumbos,destruido,tirado a lluvia y nochesen el patio de entonces.Comprendo su ironíay he pensadoen viejos almanaques,en toallas obscuras,en vapores de inciensocuando monjaspasan bajo el calor de mi ventana.…Y es que mi brazo artificial                    comprende—tiene ese don supremo de reírsecuando piensa en el cura y las señoras viejasque alzan su rabia y destrozan púlpitoscuando ven pocos pecadores.

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Sotero Rivera Avilés (b. 1933 in Añasco, Puerto Rico) is mostly associated with the Guajana Generation. Alongside Carmelo Rodríguez Torres and Jorge María Ruscalleda Bercedoniz, he founded the literary group Mester de poetas and the literary journal homónima (1967). His early works include various poetry books: Nostalgia (1957), Abandonos (1958), Elegía mayor a la tierra: una estampa que debe leerse en tierra seca (1968), and the unpublished typewritten manuscript El Pueblo Obscuro y una puerta la jardín (unknown date), as well as a journal titled 1963. In 1974, Rivera Avilés won the Premio Ventana for Cuaderno de tierra y hombre. More than a decade later, it was followed by the publication of Nada pierdes, caballo viejo (Faena de remedios). In 1993, he finished his first and only novel, Con premeditación y alevosía: (Radiografía de un crimen)

Much of his poetry dealt with being a disabled veteran living in a small town while teaching at the nearby Mayagüez Campus of the University of Puerto Rico. In writing about being a post-war veteran in a rural Puerto Rican town and the broken promises of Luis Muñoz Marín’s populist modernization projects, he demystified the jíbaro archetype of the naïve, but good-hearted field laborer saved by mass migration to urban centers, such as San Juan and New York. He wrote openly about his disabilities, delved into the seldom described experience of post-war return migration, and left a record of regionalisms from a world that no longer exists. His is some of the only poetry written about Humatas, and the breadth of his work never overshadowed the importance of the life he led before acquiring a formal education.

Photo:
Tamara Maz

Raquel Salas Rivera (Mayagüez, 1985) is a Puerto Rican poet, translator, and editor. His honors include being named the 2018-19 Poet Laureate of Philadelphia and receiving the New Voices Award from Puerto Rico’s Festival de la Palabra. He is the author of five full-length poetry books. His third book, lo terciario/ the tertiary won the Lambda Literary Award for Transgender Poetry and was longlisted for the 2018 National Book Award. His fourth book, while they sleep (under the bed is another country), was longlisted for the 2020 Pen America Open Book Award and was a finalist for CLMP’s 2020 Firecracker Award. His fifth book, x/ex/exis won the inaugural Ambroggio Prize. antes que isla es volcán/before island is volcano, his sixth book, is an imaginative leap into Puerto Rico’s decolonial future and is forthcoming from Beacon Press in 2022. He has co-edited two anthologies. Puerto Rico en mi corazón is a bilingual anthology based on a special collection of handmade letterpress broadsides by contemporary Puerto Rican poets. La piel del arrecife is the first anthology of Puerto Rican trans poetry. He holds a Ph.D. in Comparative Literature and Literary Theory at the University of Pennsylvania and writes and teaches in Puerto Rico. 

September 2020

Notre Dame, Indiana

University of Notre Dame

Editors
Johannes Göransson
Joyelle McSweeney

Managing Editors
Paul Cunningham
Katherine Hedeen

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