The notes are the translator’s, made to let counter-noises run in, through and against the translated texts, troubling them as colonialism has troubled Chile, Ajens’ country. The work of Ajens embeds many counter-narratives and names that act as Southern resistances from within his text. In English, a translator can’t reconvey quite those same reverberations without turning them into explanations or footnotes of a Chilean culture and history of dominations that still seem “distant” to our North. Explanations can’t really account here. So rather than patiently explaining the ingressions and transgressions of the text (and his hemisphere) to northern readers (as Ajens did to me, his North-American reader), I created the note texts. They are traitorous notes. And thus, I believe, honest.